T- Enami. org - Home IMAGES OF LOTUS LAND: THE LIFE and CAMERA WORK OF* T. ENAMI *JAPAN'S ENIGMATIC PHOTOGRAPHER Of the MEIJI and TAISHO ERASKing of the Stereoview, Master of the Lantern- Slide, Prolific, Anonymous Contributor To the World of Meiji- era Yokohama Album Views, Dedicated Street Photographer, and Honored Alumni of National Geographic Magazine. NOBUKUNI ENAMI (1. Myths and Legends of China, by Edward T.C. Search CowboyPoetry.com. The Latest What's New Newsletter Subscribe (free!) Be a Part of it All About the BAR-D. And finally, if you'd like to purchase a hard copy of this text or other related information on NIKOLA TESLA please visit our RESEARCH ARCHIVEor scroll down to the. C., Hawks, Francis L., compiler: Narrative of the Expedition of an American Squadron to the China Seas and Japan, Performed in the Years 1852. Start studying History 1301 - Chapters 7 & 8. Learn vocabulary, terms, and more with flashcards, games, and other study tools. Under Western Eyes (1911) is a novel by Joseph Conrad. The novel takes place in St. Petersburg, Russia, and Geneva, Switzerland, and is viewed as Conrad's response to. Trouble in Korea - Codes of Behavior - Cultural Roots - Status in Korea - Teachers' Status Basic Manners - Table Manners - How to Dress - Bosses - Dating. 9780387768120 0387768122 Fuzzy Multi-Criteria Decision Making, Cengiz Kahraman 9781934770269 1934770264 The Healing Power of Forgiveness, George Foster. Enami opened his Yokohama studio in APRIL, 1. Enami seen three images above was possibly taken in 1. If so, Enami would be about 5. Ogawa's 1. 91. 3 book SOGYO KINEN SANJU NEN SHI. Ogawa's commercial photographic enterprises that, among other things, provided portraits of the photographers and associate members of the K. Ogawa Alumni Association. This rare book was re- discovered in 1. The Empire of Japan quietly annexed Korea in 1910. At the time, the Korean Peninsula was a dusty backwater hovel, several hundred years behind the rest of. Torin Boyd. He was kind enough to send me copies of these halftone illustrations, which look just fine here.. SCANS of a XEROX of HALFTONES made from a long lost PHOTOGRAPH ! Enami ? A: Enami replaced the N. This was a far less drastic change than that made by the author Samuel Clemens who took Mark Twain for his now- famous pen name ! Why did Enami pick the letter T. CURRENT BEST ANSWER : The T. Enami's own grandson, who was himself not sure about the T., agreed to the same possibility. In any case, while Toshi remains the best bet, no one knows for sure. OTHER RARE PORTRAITS OF T. ENAMITwo other collectible portraits of Enami can be found as stereoviews published by GRIFFITH & GRIFFITH, and C. H. Graves' UNIVERSAL PHOTO ART CO. These American- issued stereoviews are relatively rare, but still find their way to the occasional on- line auction, or box of views at a photo show. Both show Photographer Enami in full Samurai costume in his Yokohama studio, the shutter tripped by either his wife, or a studio assistant. They are shown just below. Although the copyright dates are separated by two years, they are both variants from the same SELF PORTRAIT session, most likely taken somewhere between 1. In many places I have used . This is the earliest verified image of T. ENAMI, published by GRIFFITH & GRIFFITH of Philadelphia, Pennsylvania. Published in 1. 90. Enami stereoviews issued by Griffith during that year. Griffith also appears to be the first stereoview publisher outside of Japan to issue Enami's stereoviews. Japan- proper stereoviews found on Griffith & Griffith mounts are true, real- photo T. ENAMI images, although printed and mounted by Western hands in Philadelphia. The only difference was that, with rare exception, the Griffith prints were all Black & White, while Enami's Yokohama prints were largely hand colored. Ancient Warrior Costume of the Japanese. Copyright and published two years later in 1. C. H. GRAVES as part of his first offering of real- photo Japan views. Position No. 1. 90 in an ambitious 2. JAPAN set under the UNIVERSAL PHOTO ART COMPANY banner. Most of the views in this set were by H. G. PONTING, but included many T. ENAMI views that Ponting liked, and had sent back to the company along with his own. Enami(enlarged in the oval for this website posting), the illustrious K. Ogawa (seated center in a stove- pipe hat), K. Tamamura (in a top hat, seated third to Ogawa's right), and many other notables from Japan's photographic world. ENAMI (enlarged #1. K. OGAWA and other notables. Tokyo, 1. 90. 9 In the above photo, it is interesting that Tamamura and Enami are on the same row, seated equidistant on either side of the centrally posed Ogawa. Only three years after this April 1. Ogawa would publish a folio plate- book of Mt. This 1. 91. 2 book is described in more detail with two sample photos shown at list- item (2. FUJI SAN - - A 1. K. Ogawa publication featuring many credited T. Enami photos taken during the last years of the Meiji era. See the full contents of FUJI SAN at the Baxley Website. HERE. THE . This important Enami- Holmes connection is discussed in more detail at numbers (2. The covers are made from multi- hued silk over boards. Only the first ten volumes contain the real- photo illustrations. So far, the largest number of identified photographs used in the various versions of this folio- sized set were taken by T. Fuji) in Volume One; and Tamamura, while also providing many of his own images, is said to have organized and overseen the . As efforts to identify the photographers behind the Brinkley images continues, the number of Kimbei contributions currently follows at a close second behind those of Enami. BELOW : Extract copied from the Volume One introduction to the 1. TOO MANY ! In some ways, Enami's . All of Enami's well- known contemporaries stuck with their . Enami's first son, Tamotsu (who was not a photographer), kept the T. Enami moniker for himself when, after his father's death, he took over the studio in 1. Tamotsu ran the studio in a business capacity to.. These are mostly found today as unnumbered and uncaptioned lantern- slides marked with a T. ENAMI - 2. 9 BENTEN STREET label, but also included black and white . These are mostly found today as lantern- slides having personal, amateur image content of both Japanese and foreign locations. I have personally seen over 5. Although Enami had passed away in 1. It is assumed that Tamotsu continued using the old darkroom staff and photo colorists who were assembled and trained by his father. After the great earthquake of 1. Enami moved from his old No. Benten Street address to rebuild at No. After he passed away in 1. Tamotsu continued to use the same stationary until it ran out. Tamotsu eventually dropped the PHOTOGRAPHER by- line when he reprinted new stationary and envelopes, as in the 1. ENAMI .. and the rest of ENAMI'S . Born in 1. 86. 0, Ogawa was a year younger than Enami. In all post- 1. 95. Japanese and Western sources that mention him, Enami is variously called either a . Both men were born in Edo- Bakumatsu- era Tokyo, which was then called Edo, or Yedo. Ogawa learned photography from Hideo Yoshiwara. The Wikipedia states that while. Ogawa was in Yokohama studying English, he took some additional photographic lessons from the pioneering photographer Renjo Shimooka. The Wiki links do not lead to any direct verification of this claim, and such a . Ogawa, was himself quite handy with a stereo camera, producing a set of over 1. If further research someday proves that Shimooka really did have a part (albeit, even a small one) in teaching Ogawa, that would immediately connect Enami to at least three other stereo- photographers that came before him - -- Renjo Shomooka, Matsusaburo Yokoyama (another disciple of Shimooka), and the American John Wilson. Wilson discipled Shimooka, and eventually sold Shimooka all of his photography equipment, including his stereo- camera(s). A fine study of two old session variants. ABOVE : A young Geisha or Maiko modeling as a . The top view shows an original, untransposed and unmounted proof print. The bottom view is the finished, hand- colored stereoview. BELOW : A popular Enami lantern- slide made from a half- stereoview negative that was photographed during the same session as the above. Although they might look the same at first glance, if you compare the area where her left hand is holding her . Enami usually took many . While Enami's earlier output of lantern- slides were reductions made from his over 8. Toward the end of the Meiji- era, most of the lantern- slides in his 5. CLICK HERE FOR... T. ENAMI 3- D CONVERSIONS ON You. Tube ! Ca. 1. 90. Wayside Rest on the Rustic Road to Fuji. A classic composition in detailed depth. In 1. 90. 5- 6, British photographer Herbert George Ponting took a similar stereoviews at this exact same spot. Enami might have seen it, and been inspired to take the same composition with his own rustic models. The exact timing of this Enami view, and a few others that share similarities with Ponting's work, are still under scrutiny. When Ponting first arrived in japan in 1. T. Enami's 3- D compositions. Both also shared a publishing relationship with Enami's teacher, K. Enami and Ponting might also have shared a photo- camaraderie over the years, and possibly took a 3- D Photo trek together, catching similar views at the same time for their own respective clientele. This is still in the realm of speculation, and further research is ongoing. ENAMI MOVES ON Studio dates imply that the Student- Teacher relationship between Ogawa and Enami possibly beganin the mid- to- late 1. Tokyo. Since the timing of the . However, Enami eventually struck out on his own, and moved to Yokohama. There, in April of 1. Benten Street. Ogawa's name is discussed further below. Japanese Junks. Under Sail. Enami image of old Japan. It was widely published. A LESSON IN JAPANESE- - THEN, AND NOW - - The old, pre- WW2- style Japanese name characters printed under Enami's old portrait above read fromrightto left - -- the opposite direction from English - -- in the customary . A NOTE TO ALL BUDDING TRANSLATORS AND SCHOLARLY SCHOLARS While the world of serious scholarship usually aims to maintain Japanese name order when converting things into English and other Western languages, it might surprise some to know that, at least in the world of non- scholarly translation it has always been the accepted custom of professional Japanese- English translators and translation teams to follow the Western name order of placing family names last. That is to say, when translating a Japanese name into English for business cards, popular book or magazine covers, and general announcements, Japanese translators rarely adhear to Japanese name order, but instead reverse it - -- writing it (or saying it) the English (or Western) way - -- NOT the Japanese way ! Thus, the Japanese Enami Nobukuni becomes. Nobukuni Enami in English, French, German, Swedish, Dutch, Italian, Spanish, and etc. In the same way, all other Japanese names on this . However, if I were to submit a serious paper on T. Enami to a scholarly publication attched to a University, the editors would probably re- arrange things to conform to native Japanese name order.
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