Posts Tagged ‘Japanese’

Fukushima Anniversary Questions Nuclear Power

Thursday, March 9th, 2023

Fukushima Anniversary Questions Nuclear Power Safety – London, 9th March 2013

Fukushima Anniversary Questions Nuclear Power

On 11th March 2011 Japan suffered its most powerful recorded earthquake. The Fukushima power plants fusion reactors were immediately shut down and diesel generators started to pump the coolant needed to keep the reactors safe.

Fukushima Anniversary Questions Nuclear Power

But the earthquake generated a tsunami, with giant 45ft waves which swept over the sea walls of the power plant, flooding and disabling the emergency generators. As Wikipedia states “The resultant loss of reactor core cooling led to three nuclear meltdowns, three hydrogen explosions, and the release of radioactive contamination in Units 1, 2 and 3 between 12 and 15 March.“

Fukushima Anniversary Questions Nuclear Power

Around 110,000 people were evacuated from a 12 mile exclusion zone around the plant because of airborne radioactive contamination, with many losing their livelihoods as well as their homes. The Tokyo Electric Power Company (TEPCO) who owned the site are still carrying out necessary cleanup of the site and removal of the radioactive fuel debris is expected to take until around 2040 or 2050.

Fukushima Anniversary Questions Nuclear Power

A TEPCO report in 2000 had recommended improved safety measures against seawater flooding, designed to stop tsunami waves greater than those that caused the 2011 disaster, but these and several other warnings were dismissed by the company as unrealistic. Earlier scientist had expressed concerns about the dangers of building nuclear power plants in Japan because of the earthquake problems.

Japanese expatriates in London began a series of weekly protests against nuclear power at the Japanese Embassy on Piccadilly and also protested outside the TEPCO offices in Berkeley Square. The protest on Saturday 9th March was was organised by ‘Japanese Against Nuclear UK’ together with ‘Kick Nuclear’ and CND.

I went to photograph the protesters as they met up for the march at Hyde Park Corner. They intended to make brief protests at several locations including the Japanese embassy, the EDF office and Downing St before ending with a rally and final protest opposite Parliament in Old Palace Yard.

Many of them had come with sunflowers, a symbol of renewable clean energy, particularly solar energy. There were several banners with the smiley sun symbol and the message ‘Nuclear Power? No Thanks’ and a group of people encased in fluorescent yellow barrels with a radioactive danger symbol and labelled ‘Radioactive Waste.’

Some of the Japanese protesters had brought Japanese masks used to hide faces at protests in Japan against Fukushima, although many preferred to have sunflowers painted on their faces.

Among those who had come to protest were some who had come on a coach from Somerset, where they were opposing plans by EDF to build a new power station at Hinkley Point. The plans for the first new nuclear reactor in Britain for over 30 years were approved by the EDF board and the UK government in 2016. The first reactor arrived there last month though the project is several years behind time and is now expected by EDF to be completed in 2028.

Although some environmentalists have backed nuclear as a necessary part of our energy supply if we are to cut carbon emissions, it seems likely that increases in the efficiency and the continuing drop in costs of renewable alternatives will make the new power station a huge white elephant, producing electricity at a much higher cost guaranteed by the UK government to the developers.

More on My London Diary at Fukushima 2nd Anniversary.

I left the protesters as the march was about to start to go to the Million Women Rise march which was taking place at the same time. You can see more about that at Million Women Rise.

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Bad Ass and Beauty – Mao Ishikawa

Saturday, April 10th, 2021

I am seriously considering buying another photography book. For the last ten or so years its an area there has been a moratorium on in this household, as we live in a smallish house that is overflowing with books, mainly photographic monographs, many of which came as review copies, but with a hefty core of key volumes I paid real money for, including some long ago when I had little or no cash to spare.

Unlike some other reviewers, I’ve never relied on selling off review copies to get a decent income, and never asked for copies of anything I didn’t intend to review, though there were a few sent unasked that I felt it best to hold my silence about and gave away. Since I gave up reviewing books (and ran out of space) virtually the only books I’ve bought or occasionally been given, have been by photographers I know or have known personally. Even then I’ve been fairly selective in my purchases.

Most of what is currently being published holds little attraction for me – even if by photographers I admire, certainly those that are well-known. I don’t need yet another book of pictures by Henri Cartier Bresson or Paul Strand or Eugene Atget et al, as even if these may contain a few images not already on my shelves they are probably less interesting than those already there. And there are relatively few published works by contemporary or previously unknown photographers that seem worth buying.

Bad Ass and Beauty – One Love is a 408 page retrospective of the work of Okinawa born photographer Ishikawa Mao, born in 1953 and, according to her publisher’s web site (like the book in both Japanese and English) “contains all 15 series of Ishikawa’s works, from her early work ‘Akabanaa’ to her latest work ‘The Great Ryukyu Photo Scroll’, as well as essays by various experts, a chronology of Ishikawa’s life, and a bibliography.” It is published to accompany her first solo exhibition at a museum, the Okinawa Prefectural Museum and Art Museum.

I learnt of the book through Jörg M. Colberg who recently published a highly appreciative post Bad Ass and Beauty on his Conscientious Photography Magazine. Usually his perceptive reviews put me off buying the books he writes about, but this was an exception.

The Japanese price for the book, 3960 Yen, corresponds to around £26, and I considered first buying it from Japan, but found the carriage cost made this uneconomic. There are suppliers in the UK at various prices, and should I yield to the temptation I would probably go with Beyond Words, who are currently taking advance orders and have a sensible price and carriage costs.

Although it was Colberg who first alerted me to the book, my interest in it was greatly raised by another author, Ross Tunney, whose 2017 PhD Thesis at the University of Tasmania, with the lengthy title Between ‘Reality’ and Representation: Photographic Ambiguities of Place and Identity in Japan’s Postwar Modernity you can read online.

I can’t claim to have read all 351 pages, but the work looks at projects by seven Japanese photographers, including two of my favourites, Issei Suda and Shomei Tomatsu, as well a Mao Ishikawa’s ‘Hot Days in Okinawa‘, and his chapter on her work gives rather more information and insight into her work, reproducing a number of images which it discusses.

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Fukushima 10 years on

Thursday, March 11th, 2021

On 11th March 2011 the Fukushima Daiichi Nuclear Power Plant in Japan suffered the worst nuclear disaster since the 1986 Chernobyl meltdown. An earthquake had led to the reactors to automatically shut down their electricity production which led to the plant relying on emergency power generators to run the cooling pumps needed to keep the reactors safe. But the tsunami tidal wave almost 50 ft high caused by the earthquake swept over the plant’s sea wall and flooded the generators, cutting the power supply.

‘Windscale 1957, Three Mile Island 1979, Chernobyl 1986, Fukushima 2011′ 

Without cooling, three reactors heated up and then melted down and over the following three days there were three explosions of hydrogen gas and the release of huge amounts of radiation from the damaged reactors to the air and the Pacific Ocean. The release of radiation into the ocean was continued at high levels for at least 2 years, and there is still some leakage from the plant.

154,000 people in the area had to be evacuated from their homes in a area of 20km radius from the nuclear plant. The clean-up is expected to continue for another 20-30 years. You can read much more about the disaster in ‘10 Years Since The Fukushima Nuclear Disaster‘ by Philip White.

The possibility of such a disaster had been predicted in studies carried out some years earlier and an internal report by the company running the plant, TEPCO, had in 2000 recommended that there should be improved safety measures, but the management rejected both this and a 2008 internal report calling for better protection against seawater flooding.

Campaigners in London held regular protests outside the Japanese Embassy and TEPCO’s London offices for some years and have organised larger annual protests on or close to the March 11th. Among the on-line events scheduled for 2021 is the free International Uranium Film Festival with two films online including Fukushima No Daimyo, a 2014 Italian film (in Japanese with Portuguese sub-titles) from March 11-18.

More pictures on My London Diary:

2017: Fukushima anniversary challenges nuclear future
2018: Remember Fukushima, 7th Anniversary
2019: Remember Fukushima 8 years On
and in 2011, 2013 and 2014.

All photographs on this and my other sites, unless otherwise stated, are taken by and copyright of Peter Marshall, and are available for reproduction or can be bought as prints.

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Japanese hand colour

Wednesday, October 14th, 2020

Although I knew something about the history of Japan and of photography in the country in the nineteenth century, and had written a little about it and in particular the work of European photographers such as Felice Beato, the video in ‘How colorized photos helped introduce Japan to the world‘ from VOX which was featureed on Digital Photography Review with a useful introduction showed me much that I hadn’t previously known. It was particularly interesting to see the comparisons between some of the photographs and Ukiyo-e woodblock prints and paintings.

The introduction of photography led to redundancies among Ukiyo-e artists (as it did to miniature painters in Europe) and some found new employment using their skills in photographic studios hand colouring prints in a much more subtle manner than in other countries. Soon some of them were becoming photographers too and setting up their own studios. I haven’t read Photography in Japan 1853-1912 by Terry Bennett which the video credits, but it looks an interesting volume.

Japanese art was in the same period being taken back to the west and had a strong influence on many western artists, and I think largely through them on photography around the end of the nineteenth and beginning of the 20th century which can clearly be seen for example in some of the work exhibited by members of the Photo-Secession some of the best of whose work was published by Alfred Stieglitz in his fine magazine Camera Work.

Recent years have seen a new interest in hand-colouring of old pictures, now made much easier by digital means. It’s something that while it may add some life and a greater sense of reality to old photographs I find rather upsetting when applied to many well-known images. As a photographer I feel that there is a disrespect in changing what was a carefully considered black and white image into one in colour and I imagine the photographers turning in their graves at how their work is being done to their pictures.

It also bothers me because the digital recolouring is creating a false reality – as hand colouring could also do. For a long time we had on a mantelpiece a hand coloured picture of my wife sitting in a Manchester park wearing a red jumper; it had been hand-coloured and although the grass had been coloured in a fair approximation to its actual colour, her green jumper was not. It’s a trivial example, but what the colouring produces is false colour and fake reality. For most subjects it probably isn’t a great problem but it seems to me to undermine one of the fundamental aspects of photography, the physical link between subject and depiction. The camera with our help lies but it doesn’t invent.

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Suziki and Fuji

Sunday, February 9th, 2020

There are reports on several web sites including PetaPixel and DPReview about Fuji removing a promotional video showing Japanese photographer Tatsuo Suziki and removing him from their https://www.dpreview.com/news/6165309898/fujifilm-pulls-controversial-x100v-promo-video-due-to-the-featured-photographer-method global list of photographers.

I’m not sure how photographers qualify to be on the list, though I took a quick look through it and failed to find a single name I recognised but that probably isn’t the main criteria. As someone who has owned at least five Fuji-X cameras and used them at least occasionally since Fuji first brought out the X100 (now a paperweight on my desk) I don’t recall ever having heard of it before. But I’m more interested in what you can do with cameras than in the always fallible beasts.

It is a decision that has caused considerable controversy, generating many comments from photographers on both sides. Both PP and DPR point out that Suziki’s approach has similarities with that of Magnum photographer Bruce Gilden. When his book ‘Facing New York’ came out I wrote a review in which I expressed my uncomfortable feeling about his combative approach to his subjects, more or less pushing his camera and flash into the faces of unfortunate strangers on the streets of the city.

It wasn’t the fact that he took pictures without permission that worried me; we live in a public domain on the streets and just as we may look I think we have the same right to take photographs – so long as we do so without causing distress to others. That seemed to be a line that Gilden obviously and aggressively crossed, and so does Suziki, though in a rather more creepy way.

There is something about the way he moves, and the way he looks not at the subjects through a view finder but at the screen on the rear of the Fuji X100V the video was promoting which I find unsettling as so clearly do some of the people, mainly women, he confronts on the street. Much as I dislike Gilden’s approach it somehow seems more honest and direct.

My love/hate relationship with Fuji cameras continues. While they are capable of fine results, on a par with the heavier and larger full-frame Nikons I also own, the Fuji XT30 and XT1 do add a little unpredictability to my photography. I suspect it comes down to my having fingers, but sometimes on the XT30 I find my settings seem to have mysteriously changed during a session taking pictures. So one day when I had set the ISO to my ‘Auto-3’ setting I found that I had taken quite a few images at H – ISO 51200 before I noticed the change. I also notice some rather odd behaviour with shutter speeds when working with shutter priority. I may have the shutter set to 1/250 but sometimes the camera has a different opinion. And for aperture priority I’ve learnt to use a piece of black sticky tape to stop the aperture ring on the 18-35 lens from making mysterious moves as I handle the camera.

And oddities remain. Although I’ve turned off image review I still sometimes find myself looking at the previous exposure sometimes when I raise the camera to my eye to focus, though I can’t get this to happen consistently. There are good points too. Particularly the image stabilisation when using the 18-135 lens in low light is remarkable.

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Issei Suda (1940-2019)

Tuesday, February 4th, 2020

I first came across the work of Issei Suda at some time in the 1980s, when I used to make regular visits to the few bookshops in London that stocked a reasonable range of photographic books.

I’d got to know Claire De Rouen when she was running the bookshop at the Photographer’s Gallery (though I think we first met at the ICA) and we both were part of a large group of people who might visit the Porcupine for a drink after openings and meetings. From there she moved to run the photographic section of Zwemmers a short distance away – and of course later to set up her own splendid bookshop a little further up the street on the opposite side. The shop, above a bookmakers (not as often said a sex store), continued after her death, I think aged around 80, though she always seemed so much younger, in 2012 but just wasn’t the same without her and it closed in 2017.

Whenever I went into the bookshop we would have a talk and share our latest enthusiasms in photography – and if the shop wasn’t too busy these were sometimes rather long conversations which always ended in me buying at least one of the books she had enthused about.

One in particular was Issei Suda’s 1978 monograph ‘Fushi Kaden‘, one volume from a long packed shelf of works published by Asahi Sonorama (and possibly some other Japanese publishers) that I think were unavailable elsewhere in the UK. I couldn’t read most of the text (there is one page in English), but could read the pictures, though they were clearly in a different language.

In the Eye of Photography today is an article The Legacy of Issei Suda (1940-2019) : Human Memory which accompanies ” the first posthumous exhibition in the United States of renowned Japanese photographer Issei Suda who passed away in early 2019″ at the Miyako Yoshinaga gallery, the second show of his work there.

You can see a ‘page-through’ of a later edition of his work, ‘Issei Suda – Fushikaden‘ by PhotoBookStore UK on Vimeo. It’s a different sequence to the book I have and I think rather more pictures, though many of them are the same. The hands turning the book sometimes get in the way, and at times some pages escape scrutiny, but it gives a good general impression.

You can also read a scholarly paper about the work,

Archiving the Spirit: Suda Issei’s Fushi Kaden and “Essential” Japan by Ross Tunney in Trans-Asia Photography Review – here is a short quote from what is an interesting discussion:

Suda has nonetheless suggested a sense of native experience in two ways: first, by evoking a sense of natural association to aesthetic practice in his subjects; and second, by fashioning these same subjects into static signs that reflect a putatively timeless and uniquely Japanese aesthetic.

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