Sh\u014dji Ueda
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Sh\u014dji Ueda (\u690d\u7530 \u6b63\u6cbb, Ueda Sh\u014dji, 1913\u20132000) was a photographer of Tottori, Japan, who combined surrealist
compositional elements with realistic depiction. Most of the work for
which Ueda is widely known was photographed within a strip of about
350 km running from Igumi (on the border of Tottori and Hy\u014dgo) to Hagi (Yamaguchi).[1]
Ueda was born on 27 March 1913 in Sakai (now Sakaiminato), Tottori. His father was a manufacturer and seller of geta;
Sh\u014dji was the only child who survived infancy. The boy received a
camera from his father in 1930 and quickly became very involved in
photography, submitting his photographs to magazines; his photograph Child on the Beach (\u6d5c\u306e\u5b50\u4f9b), Hama no kodomo) appeared in the December issue of Camera.
In 1930 Ueda formed the photographic group Ch\u016bgoku Shashinka Sh\u016bdan (\u4e2d\u56fd\u5199\u771f\u5bb6\u96c6\u56e3) with Ry\u014dsuke Ishizu, Kunio Masaoka, and Akira Nomura (\u91ce\u6751\u79cb\u826f); from 1932 till 1937 the group exhibited its works four times at Konishiroku Hall (\u5c0f\u897f\u516d\u30db\u30fc\u30eb, Konishiroku H\u014dru) in Nihonbashi, Tokyo. Ueda studied at the Oriental School of Photography in Tokyo in 1932 and returned to Sakai, opening a studio, Ueda Shashinj\u014d (\u690d\u7530\u5199\u771f\u5834), when only nineteen.
Ueda married in 1935, and his wife helped him to run his
photographic studio. His marriage was a happy one; his wife and their
three children are recurring models in his works. Ueda was active as an
amateur as well as a professional photographer, participating in various
groups.
In 1941 Ueda gave up photography, not wanting to become a
military photographer. (Toward the end of the war, he was forced to
photograph the result of a fire.) He resumed shortly after the war, and
in 1947 he joined the Tokyo-based group Ginry\u016bsha.
Ueda found the sand dunes of Tottori excellent backdrops for
single and group portraits, typically in square format and until
relatively late all in black and white. In 1949, inspired by Kineo Kuwabara, then the editor of Camera, Ueda photographed the dunes with Ken Domon and Y\u014dichi Midorikawa.
Some of these have Domon as a model, far from his gruff image. The
photographs were first published in the September and October 1949
issues of Camera and have been frequently anthologized. Ueda
started photographing nudes on the dunes in 1951, and from 1970 he used
them as the backdrop for fashion photography.
The postwar concentration on realism led by Domon, followed by the rejection of realism led by Sh\u014dmei T\u014dmatsu, sidelined Ueda's cool vision. Ueda participated in "Japanese Photography" at the New York Museum of Modern Art in 1960 and had solo exhibitions in Japan, but had to wait till a 1974 retrospective held in the Nikon Salon in Tokyo and Osaka before his return to popularity.
Ueda remained based in Tottori, opening a studio and camera shop in Yonago in 1965, and in 1972 moving to a new three-storey building in Yonago: Ueda Camera on the first floor, the Charanka (\u8336\u862d\u82b1) coffee shop on the second, and Gallery U on the third. The building served as a base for local photographic life.
From 1975 until 1994, Ueda was a professor at Kyushu Sangyo University.
Critical and popular recognition came from the mid seventies. A
succession of book-length collections of new and old appeared. Ueda
weathered the death in 1983 of his wife, and continued working well into
the 1990s. He died of a heart attack on 4 July 2000.
The Shoji Ueda Museum of Photography (\u690d\u7530\u6b63\u6cbb\u5199\u771f\u7f8e\u8853\u9928 Ueda Sh\u014dji Shashin Bijutsukan), devoted to his works, opened in Kishimoto (now H\u014dki, near Yonago) Tottori Prefecture in 1995.
In 2015, a retrospective was published featuring previously
unseen works. The publishers were given access to 5000 unpublished
photos and includes a short story by [Toshiyuki Horie].[2]
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