{"id":"japanese-realism-photography","no":350,"name":"Japanese Realism Photography","ja":"リアリズム写真運動","era":"1950–1958","family":"写真運動","kind":"スタイル","collection":"Dictionary expansion 19","addedAt":"2026-08-18","source":{"title":"土門拳記念館","url":"http://www.domonken-kinenkan.jp/"},"reference":{"status":"verified","pageUrl":"http://www.domonken-kinenkan.jp/","credit":"土門拳記念館","gallery":[{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/A%20shoeshine%20boy%20in%20Ginza%20-%20ca1951-1952%20-%20Domon%20Ken.png?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:A%20shoeshine%20boy%20in%20Ginza%20-%20ca1951-1952%20-%20Domon%20Ken.png","credit":"土門拳《銀座のシューシャンボーイ》1951年頃 — Wikimedia Commons / Public domain"},{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/A%20war-orphaned%20girl%20and%20a%20gladiolus%20-%20Ueno%2C%20T%C5%8Dky%C5%8D%20-%201951%20-%20Domon%20Ken.png?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:A%20war-orphaned%20girl%20and%20a%20gladiolus%20-%20Ueno%2C%20T%C5%8Dky%C5%8D%20-%201951%20-%20Domon%20Ken.png","credit":"土門拳《浮浪児とグラジオラス》1951 — Wikimedia Commons / Public domain"},{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/Wayside%20-%20Ginza%20T%C5%8Dky%C5%8D%20-%201954%20-%20Domon%20Ken.png?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:Wayside%20-%20Ginza%20T%C5%8Dky%C5%8D%20-%201954%20-%20Domon%20Ken.png","credit":"土門拳《路傍》1954 — Wikimedia Commons / Public domain"}]},"essence":"土門拳が「絶対非演出の絶対スナップ」を掲げて主導した戦後日本の運動。『ヒロシマ』『筑豊のこどもたち』の直視が、アマチュア月例投稿を巻き込み社会と写真を結び直した。","cues":["絶対非演出の原則","社会的主題の直視","接近した広角","粒子の粗い印画"],"intents":["信頼","反骨","親密"],"works":["社会問題の取材で、当事者に近づいて撮り続けるとき","公募や社内報のように、素人が撮る写真の基準をつくるとき"],"recipe":{"type":"見出しは主題を名指しし、比喩や情緒的な語を使わない","layout":"広角で寄り、相手の手や足元まで画面に入れる","material":"増感して粒子を残し、印画は硬めに焼く"},"avoid":"非演出を掲げながら被写体にそのままでいることを強い、撮る側と撮られる側の関係を問わないまま終わる。","colors":["#d4d4d4","#525252","#020202"],"motif":"photo","pair":["provoke","snapshot-aesthetic"],"study":["土門拳『ヒロシマ』","『カメラ』誌の月例","木村伊兵衛との対比"],"en":{"essence":"The postwar Japanese movement Domon Ken led under 'absolutely unstaged, absolute snapshots.' Hiroshima and Children of Chikuho faced society directly, drawing amateur monthly contests into the reconnection of photography and life.","cues":["The unstaged principle","Social subjects faced directly","Close wide-angle work","Coarse-grained prints"],"works":["Reporting on social issues that requires staying close to the people involved","Setting a shooting standard for open calls and staff-made photography"],"recipe":{"type":"Headlines name the subject plainly, with no metaphor","layout":"Move in wide and keep hands and feet inside the frame","material":"Push the film, keep the grain, print on the hard side"},"avoid":"The unstaged principle is proclaimed while the subject is pressed to stay as they are, and the relation between photographer and photographed goes unexamined.","study":["Domon Ken's Hiroshima","the Camera magazine monthlies","the contrast with Kimura Ihei"]},"links":{"page":"https://indexstyle.org/styles/japanese-realism-photography","json":"https://indexstyle.org/api/styles/japanese-realism-photography","designSpec":"https://indexstyle.org/styles/japanese-realism-photography/design.md","imagePrompt":"https://indexstyle.org/styles/japanese-realism-photography/prompt.txt"},"usage":{"license":"CC-BY-4.0","licenseName":"Creative Commons Attribution 4.0 International","licenseUrl":"https://creativecommons.org/licenses/by/4.0/","attribution":"IndexStyle — https://indexstyle.org","attributionUrl":"https://indexstyle.org","scope":"Original IndexStyle text and structured data. Reference images, quoted works, and third-party material are excluded and retain their own rights."}}