My Homeland—Domon and Macijauskas’s Second-Person Realism

by Shinya B

Associate Professor of Art, Temple University (Japan)

As a Japanese photographer, I am involved in instructing photography at an American university and conducting comparative research on photographic cultures in the West and Japan. I curated Japanese photographers for the Human Baltic exhibition and wrote this introductory article about them. I have incorporated photographers from Baltic states for comparative analysis.

Given the historical context, I initially considered focusing on Japanese photographers of the 1960s and their work in Provoke (Issues 1–3, Provoke-sha, 1968–69). When artistic photography emerged in the Baltic states under Soviet rule, people used it as a form of expression due to limitations on freedom of speech. These photographs, serving as creative outlets, have evolved into important social and historical records. This parallels the work of Ken Domon. Domon is renowned for his bold realism theory and is among the photographers who shaped Japan's post-war photography culture with a controversial approach, like ‘directly connecting the subject and the camera.’ Due to limited space, I will only introduce Camera photo magazines, Hiroshima, and Chikuhō-no-kodomotachi (Children of Chikuhō). However, there are many other excellent photo books, like Bunraku (traditional Japanese puppet theater) and Muroji Temple, so I encourage readers to explore them independently.

Ken Domon (Japanese, 1909–1990), Self-Portrait published in the November issue of Sankei Camera magazine, 1958 / Courtesy of Ken Domon Museum of Photography

Photography Magazine Camera

Camera was a monthly magazine first published in April 1921. The magazine set the standard for modern photography publications, showcasing the works of professional photographers, hosting monthly reader photo contests, and publishing articles on camera and darkroom techniques. The magazine had a significant impact on Japanese photography culture before and after World War II, but stopped publishing after the August 1956 issue. Domon, a professional photographer before the war, was appointed as judge for the magazine’s monthly photography contest in January 1950. His critiques of contest entries are well-documented. In these reviews, Domon advocated for ‘absolute non-directed, absolute snapshots’ and argued that the camera and the subject should be directly connected, promoting a documentary theory. This philosophy inspired young photographers and sparked the realism movement. Domon declared the end of the ‘First Period of Realism’ in 1954, encouraging photographers to shift to the ‘Second Period of Realism,’ which involved resolving themes practically along with simple realism. His own photography had shifted to more powerful themes.

Hiroshima

The atomic bombing of Hiroshima is historically significant as it marked the first use of nuclear weapons in warfare. The atomic bomb, referred to as Little Boy, was released by the B-29 aircraft known as Enola Gay on August 6, 1945. The explosion took place at an altitude of 600 meters above the urban area, causing significant destruction. The use of nuclear weapons led to both immediate and long-lasting consequences. The surrender of Japan was officially declared on August 15, 1945, signifying the end of World War II. Nevertheless, the utilization of the atomic bomb led to substantial human casualties. In Hiroshima, out of an estimated population of 350,000 residents, around 100,000 individuals died, with many others later succumbing to illnesses related to radiation exposure. In 1957, over a decade following the bombing, Domon made a visit to Hiroshima. He embarked on a dynamic photo series that depicted the challenges encountered by residents impacted by the war. In his work Hiroshima (Kenkosha, 1958), Domon reflects on his visit to the city, expressing, ‘I had forgotten about ‘Hiroshima,’ or rather, I had never known anything about it. The significance of ‘Hiroshima’ remains relevant in modern times. Our comprehension of the subject matter was insufficient. No, to be precise, we were not adequately informed about it.’ Domon's empathetic approach is evident in his photographs, where he skillfully portrays the enduring effects of a tragedy.

Ken Domon (Japanese, 1909–1990), Patients at the Hiroshima Atomic-bomb Hospital. Ms. Kintoki. Skin grafting for disfiguring scar on the left side of the face (From the series Hiroshima), 1957 / Courtesy of Ken Domon Museum of Photography


Children of Chikuhō

In Japan, the transition from coal to oil energy began in the late 1950s. In regions with coal mining, there were numerous coal mines that were once essential to the industrial sector. Due to this shift to oil, one mine after the next closed, leading to widespread unemployment among coal miners. In December 1959, Domon documented the lives of unemployed coal miners and their families in Chikuhō using photography as a medium, shedding light on their struggles and daily lives. In January of the following year, he released the photo book Chikuhō-no-kodomotachi (Children of Chikuhō) (Patria Shoten, 1960). The photo book, priced at 100 yen to ensure accessibility to a wide audience, attained bestseller status and garnered significant social recognition as an outstanding piece of reportage.

Ken Domon (Japanese, 1909–1990), Rumie (From the series Children of Chikuhō), 1959 / Courtesy of Ken Domon Museum of Photography


Wabi-Sabi and Mono-no-Aware

To comprehend Domon’s worldview, it is essential to grasp influences of Japanese art and culture. Concepts like wabi-sabi (appreciating imperfection and impermanence) and mono-no-aware (acknowledging the ephemeral) are significant in shaping aesthetic and thematic elements. These Japanese philosophies reflect the universal human experiences of impermanence and beauty. Both the photo books Hiroshima and Children of Chikuhō capture the imperfections of our world and the sorrow for the ever-changing homeland. In that place, life and death coexist, revealing a sensitivity to the transient nature of existence.

Aleksandras Macijauskas

I chose Aleksandras Macijauskas from the Baltic photographers. Both Domon and Macijauskas are acclaimed documentary photographers who capture the essence of their respective homelands, and I seek to explore the connection between their work. I own Macijauskas’s photo book My Lithuania, published by Thames and Hudson Inc. in the United States in 1991. I purchased it from a secondhand bookstore in the United States. The ‘Village Markets’ series showcased in this book is also featured in the Human Baltic exhibition. This study examines rural markets in Lithuania during the period from 1967 to 1973. The work illustrates the ‘direct connection between motif and camera’ as endorsed by Domon. I purchased this book due to its strong photographic content.

Second-Person Realism

Both Domon and Macijauskas, former press photographers, transitioned from a journalistic third-person perspective to a second-person realism that emphasizes themes. This change suggests a theatrical perspective is being added to their works. At one point, Domon advocated ‘absolute non-direction,’ but in a roundtable discussion titled ‘On ‘Hiroshima’’ published in the July 1958 issue of the magazine Photo Art, he stated:

That was something I intended with clear calculation. I became one with the doctors and nurses, covered in blood, as they worked to heal atomic bomb survivors during surgery. I also felt a connection to those who were helping to remove the scars left by the atomic bomb. I concentrated on camera angles and positions to realize my vision. I exclusively captured photos from a second-person perspective, seeking to see through the eyes of the doctor and nurse.

The photograph ‘Patients at the Hiroshima Atomic-bomb Hospital, Ms. Kintoki,’ used as a point of reference for Hiroshima, evidently employs a second-person perspective in its staging. ‘Rumie’ can also be interpreted as a second-person perspective when examined from the father’s point of view. If ‘Self-Portrait’ (1958) was crafted considering the reader’s perspective, it also embraces a second-person point of view.

Macijauskas vividly captured the people in the rural markets he documented, aligning with Domon’s preferred style. A pivotal moment in Macijauskas’s life occurred when he visited the Utena market on his travels. He wrote in the photo book commentary:

Suddenly I saw that all the people I had been combing Lithuania for were there, all in one place, with their children, possessions and animals, their vices, their kind hearts and their faces. What faces! Here in the market square was everything—work and pleasure, the ritual of buying and selling, the seller’s witty patter that the buyer would never forget when putting his purchase to use.

Furthermore, he states, ‘The fact is that, every time I came to a marketplace and began to study the future heroes of my photographs, I became firmly convinced that I had met these people before. […] I recognized him. Surely, he was the incarnation of my late grandfather.’ This suggests a strong connection to the people Macijauskas photographs, as if the strangers at the marketplace were his own grandparents with whom he spent his summer vacations. I believe Macijauskas used ‘My’ in the title of the photo book because he was conscious about creating a second-person documentary structure of ‘You and I, Lithuanians.’ The worldview of second-person realism creates a unique photographic reality, and the movements and dynamism depicted by the market people feel like a vivid stage production. Domon's Hiroshima had the structure of ‘the doctor (me) and the patient,’ while Macijauskas’s rural market had ‘me and the people of the rural market (grandfather),’ both employing the structure of second-person realism. 

In Macijauskas’s rural market photographs, human life, animal life, and death coexist. These works reflect a sensitivity to the transient nature of life, capturing scenes that evoke a sense of mono-no-aware. Like Domon, these photo collections capture universal human experiences of impermanence and beauty. The works of Baltic photographers narrate the indomitable history and spirit of the region, from oppression to independence and transformation. Domon’s photographs are significant historical records of post-war Japan, prompting reflection on Japanese identity and humanity. Let this brief discussion serve as a tribute to the profound bond of photography shared between these two individuals who never met.

Aleksandras Macijauskas, from the series Rural Markets





Shinya B

Photographer, artist, educator, and dramaturg. Born in Setagaya Ward, Tokyo. Graduated from the Tyler School of Art in the United States. He founded the Art Department at Temple University, Japan Campus, where he currently serves as a faculty member. His solo photography exhibitions include 'Things I See, Do Away' (Gallery Art Space, 1999), 'Afterwords, Me' (Gendai Heights, 2013), and 'Sakurei - Frequently Asked Questions and Words Disappearing from Photography' (Place M, 2022). He directed the Butoh dance performance 'fuchi (don't know)' and currently serves as a judge for the Karuizawa Photo Fest and the RICOH THETA official photo exhibition. He is delivering photography lectures titled 'Is Photography Feasible' at PURPLE in Kyoto and Japanese universities.

Other essays:
My Homeland—Domon and Macijauskas’s Second-Person Realism

by Shinya B

Associate Professor of Art, Temple University (Japan)

As a Japanese photographer, I am involved in instructing photography at an American university and conducting comparative research on photographic cultures in the West and Japan. I curated Japanese photographers for the Human Baltic exhibition and wrote this introductory article about them. I have incorporated photographers from Baltic states for comparative analysis.

Given the historical context, I initially considered focusing on Japanese photographers of the 1960s and their work in Provoke (Issues 1–3, Provoke-sha, 1968–69). When artistic photography emerged in the Baltic states under Soviet rule, people used it as a form of expression due to limitations on freedom of speech. These photographs, serving as creative outlets, have evolved into important social and historical records. This parallels the work of Ken Domon. Domon is renowned for his bold realism theory and is among the photographers who shaped Japan's post-war photography culture with a controversial approach, like ‘directly connecting the subject and the camera.’ Due to limited space, I will only introduce Camera photo magazines, Hiroshima, and Chikuhō-no-kodomotachi (Children of Chikuhō). However, there are many other excellent photo books, like Bunraku (traditional Japanese puppet theater) and Muroji Temple, so I encourage readers to explore them independently.

Ken Domon (Japanese, 1909–1990), Self-Portrait published in the November issue of Sankei Camera magazine, 1958 / Courtesy of Ken Domon Museum of Photography

Photography Magazine Camera

Camera was a monthly magazine first published in April 1921. The magazine set the standard for modern photography publications, showcasing the works of professional photographers, hosting monthly reader photo contests, and publishing articles on camera and darkroom techniques. The magazine had a significant impact on Japanese photography culture before and after World War II, but stopped publishing after the August 1956 issue. Domon, a professional photographer before the war, was appointed as judge for the magazine’s monthly photography contest in January 1950. His critiques of contest entries are well-documented. In these reviews, Domon advocated for ‘absolute non-directed, absolute snapshots’ and argued that the camera and the subject should be directly connected, promoting a documentary theory. This philosophy inspired young photographers and sparked the realism movement. Domon declared the end of the ‘First Period of Realism’ in 1954, encouraging photographers to shift to the ‘Second Period of Realism,’ which involved resolving themes practically along with simple realism. His own photography had shifted to more powerful themes.

Hiroshima

The atomic bombing of Hiroshima is historically significant as it marked the first use of nuclear weapons in warfare. The atomic bomb, referred to as Little Boy, was released by the B-29 aircraft known as Enola Gay on August 6, 1945. The explosion took place at an altitude of 600 meters above the urban area, causing significant destruction. The use of nuclear weapons led to both immediate and long-lasting consequences. The surrender of Japan was officially declared on August 15, 1945, signifying the end of World War II. Nevertheless, the utilization of the atomic bomb led to substantial human casualties. In Hiroshima, out of an estimated population of 350,000 residents, around 100,000 individuals died, with many others later succumbing to illnesses related to radiation exposure. In 1957, over a decade following the bombing, Domon made a visit to Hiroshima. He embarked on a dynamic photo series that depicted the challenges encountered by residents impacted by the war. In his work Hiroshima (Kenkosha, 1958), Domon reflects on his visit to the city, expressing, ‘I had forgotten about ‘Hiroshima,’ or rather, I had never known anything about it. The significance of ‘Hiroshima’ remains relevant in modern times. Our comprehension of the subject matter was insufficient. No, to be precise, we were not adequately informed about it.’ Domon's empathetic approach is evident in his photographs, where he skillfully portrays the enduring effects of a tragedy.

Ken Domon (Japanese, 1909–1990), Patients at the Hiroshima Atomic-bomb Hospital. Ms. Kintoki. Skin grafting for disfiguring scar on the left side of the face (From the series Hiroshima), 1957 / Courtesy of Ken Domon Museum of Photography


Children of Chikuhō

In Japan, the transition from coal to oil energy began in the late 1950s. In regions with coal mining, there were numerous coal mines that were once essential to the industrial sector. Due to this shift to oil, one mine after the next closed, leading to widespread unemployment among coal miners. In December 1959, Domon documented the lives of unemployed coal miners and their families in Chikuhō using photography as a medium, shedding light on their struggles and daily lives. In January of the following year, he released the photo book Chikuhō-no-kodomotachi (Children of Chikuhō) (Patria Shoten, 1960). The photo book, priced at 100 yen to ensure accessibility to a wide audience, attained bestseller status and garnered significant social recognition as an outstanding piece of reportage.

Ken Domon (Japanese, 1909–1990), Rumie (From the series Children of Chikuhō), 1959 / Courtesy of Ken Domon Museum of Photography


Wabi-Sabi and Mono-no-Aware

To comprehend Domon’s worldview, it is essential to grasp influences of Japanese art and culture. Concepts like wabi-sabi (appreciating imperfection and impermanence) and mono-no-aware (acknowledging the ephemeral) are significant in shaping aesthetic and thematic elements. These Japanese philosophies reflect the universal human experiences of impermanence and beauty. Both the photo books Hiroshima and Children of Chikuhō capture the imperfections of our world and the sorrow for the ever-changing homeland. In that place, life and death coexist, revealing a sensitivity to the transient nature of existence.

Aleksandras Macijauskas

I chose Aleksandras Macijauskas from the Baltic photographers. Both Domon and Macijauskas are acclaimed documentary photographers who capture the essence of their respective homelands, and I seek to explore the connection between their work. I own Macijauskas’s photo book My Lithuania, published by Thames and Hudson Inc. in the United States in 1991. I purchased it from a secondhand bookstore in the United States. The ‘Village Markets’ series showcased in this book is also featured in the Human Baltic exhibition. This study examines rural markets in Lithuania during the period from 1967 to 1973. The work illustrates the ‘direct connection between motif and camera’ as endorsed by Domon. I purchased this book due to its strong photographic content.

Second-Person Realism

Both Domon and Macijauskas, former press photographers, transitioned from a journalistic third-person perspective to a second-person realism that emphasizes themes. This change suggests a theatrical perspective is being added to their works. At one point, Domon advocated ‘absolute non-direction,’ but in a roundtable discussion titled ‘On ‘Hiroshima’’ published in the July 1958 issue of the magazine Photo Art, he stated:

That was something I intended with clear calculation. I became one with the doctors and nurses, covered in blood, as they worked to heal atomic bomb survivors during surgery. I also felt a connection to those who were helping to remove the scars left by the atomic bomb. I concentrated on camera angles and positions to realize my vision. I exclusively captured photos from a second-person perspective, seeking to see through the eyes of the doctor and nurse.

The photograph ‘Patients at the Hiroshima Atomic-bomb Hospital, Ms. Kintoki,’ used as a point of reference for Hiroshima, evidently employs a second-person perspective in its staging. ‘Rumie’ can also be interpreted as a second-person perspective when examined from the father’s point of view. If ‘Self-Portrait’ (1958) was crafted considering the reader’s perspective, it also embraces a second-person point of view.

Macijauskas vividly captured the people in the rural markets he documented, aligning with Domon’s preferred style. A pivotal moment in Macijauskas’s life occurred when he visited the Utena market on his travels. He wrote in the photo book commentary:

Suddenly I saw that all the people I had been combing Lithuania for were there, all in one place, with their children, possessions and animals, their vices, their kind hearts and their faces. What faces! Here in the market square was everything—work and pleasure, the ritual of buying and selling, the seller’s witty patter that the buyer would never forget when putting his purchase to use.

Furthermore, he states, ‘The fact is that, every time I came to a marketplace and began to study the future heroes of my photographs, I became firmly convinced that I had met these people before. […] I recognized him. Surely, he was the incarnation of my late grandfather.’ This suggests a strong connection to the people Macijauskas photographs, as if the strangers at the marketplace were his own grandparents with whom he spent his summer vacations. I believe Macijauskas used ‘My’ in the title of the photo book because he was conscious about creating a second-person documentary structure of ‘You and I, Lithuanians.’ The worldview of second-person realism creates a unique photographic reality, and the movements and dynamism depicted by the market people feel like a vivid stage production. Domon's Hiroshima had the structure of ‘the doctor (me) and the patient,’ while Macijauskas’s rural market had ‘me and the people of the rural market (grandfather),’ both employing the structure of second-person realism. 

In Macijauskas’s rural market photographs, human life, animal life, and death coexist. These works reflect a sensitivity to the transient nature of life, capturing scenes that evoke a sense of mono-no-aware. Like Domon, these photo collections capture universal human experiences of impermanence and beauty. The works of Baltic photographers narrate the indomitable history and spirit of the region, from oppression to independence and transformation. Domon’s photographs are significant historical records of post-war Japan, prompting reflection on Japanese identity and humanity. Let this brief discussion serve as a tribute to the profound bond of photography shared between these two individuals who never met.

Aleksandras Macijauskas, from the series Rural Markets





Shinya B

Photographer, artist, educator, and dramaturg. Born in Setagaya Ward, Tokyo. Graduated from the Tyler School of Art in the United States. He founded the Art Department at Temple University, Japan Campus, where he currently serves as a faculty member. His solo photography exhibitions include 'Things I See, Do Away' (Gallery Art Space, 1999), 'Afterwords, Me' (Gendai Heights, 2013), and 'Sakurei - Frequently Asked Questions and Words Disappearing from Photography' (Place M, 2022). He directed the Butoh dance performance 'fuchi (don't know)' and currently serves as a judge for the Karuizawa Photo Fest and the RICOH THETA official photo exhibition. He is delivering photography lectures titled 'Is Photography Feasible' at PURPLE in Kyoto and Japanese universities.

Other essays:
My Homeland—Domon and Macijauskas’s Second-Person Realism

by Shinya B

Associate Professor of Art, Temple University (Japan)

As a Japanese photographer, I am involved in instructing photography at an American university and conducting comparative research on photographic cultures in the West and Japan. I curated Japanese photographers for the Human Baltic exhibition and wrote this introductory article about them. I have incorporated photographers from Baltic states for comparative analysis.

Given the historical context, I initially considered focusing on Japanese photographers of the 1960s and their work in Provoke (Issues 1–3, Provoke-sha, 1968–69). When artistic photography emerged in the Baltic states under Soviet rule, people used it as a form of expression due to limitations on freedom of speech. These photographs, serving as creative outlets, have evolved into important social and historical records. This parallels the work of Ken Domon. Domon is renowned for his bold realism theory and is among the photographers who shaped Japan's post-war photography culture with a controversial approach, like ‘directly connecting the subject and the camera.’ Due to limited space, I will only introduce Camera photo magazines, Hiroshima, and Chikuhō-no-kodomotachi (Children of Chikuhō). However, there are many other excellent photo books, like Bunraku (traditional Japanese puppet theater) and Muroji Temple, so I encourage readers to explore them independently.

Ken Domon (Japanese, 1909–1990), Self-Portrait published in the November issue of Sankei Camera magazine, 1958 / Courtesy of Ken Domon Museum of Photography

Photography Magazine Camera

Camera was a monthly magazine first published in April 1921. The magazine set the standard for modern photography publications, showcasing the works of professional photographers, hosting monthly reader photo contests, and publishing articles on camera and darkroom techniques. The magazine had a significant impact on Japanese photography culture before and after World War II, but stopped publishing after the August 1956 issue. Domon, a professional photographer before the war, was appointed as judge for the magazine’s monthly photography contest in January 1950. His critiques of contest entries are well-documented. In these reviews, Domon advocated for ‘absolute non-directed, absolute snapshots’ and argued that the camera and the subject should be directly connected, promoting a documentary theory. This philosophy inspired young photographers and sparked the realism movement. Domon declared the end of the ‘First Period of Realism’ in 1954, encouraging photographers to shift to the ‘Second Period of Realism,’ which involved resolving themes practically along with simple realism. His own photography had shifted to more powerful themes.

Hiroshima

The atomic bombing of Hiroshima is historically significant as it marked the first use of nuclear weapons in warfare. The atomic bomb, referred to as Little Boy, was released by the B-29 aircraft known as Enola Gay on August 6, 1945. The explosion took place at an altitude of 600 meters above the urban area, causing significant destruction. The use of nuclear weapons led to both immediate and long-lasting consequences. The surrender of Japan was officially declared on August 15, 1945, signifying the end of World War II. Nevertheless, the utilization of the atomic bomb led to substantial human casualties. In Hiroshima, out of an estimated population of 350,000 residents, around 100,000 individuals died, with many others later succumbing to illnesses related to radiation exposure. In 1957, over a decade following the bombing, Domon made a visit to Hiroshima. He embarked on a dynamic photo series that depicted the challenges encountered by residents impacted by the war. In his work Hiroshima (Kenkosha, 1958), Domon reflects on his visit to the city, expressing, ‘I had forgotten about ‘Hiroshima,’ or rather, I had never known anything about it. The significance of ‘Hiroshima’ remains relevant in modern times. Our comprehension of the subject matter was insufficient. No, to be precise, we were not adequately informed about it.’ Domon's empathetic approach is evident in his photographs, where he skillfully portrays the enduring effects of a tragedy.

Ken Domon (Japanese, 1909–1990), Patients at the Hiroshima Atomic-bomb Hospital. Ms. Kintoki. Skin grafting for disfiguring scar on the left side of the face (From the series Hiroshima), 1957 / Courtesy of Ken Domon Museum of Photography


Children of Chikuhō

In Japan, the transition from coal to oil energy began in the late 1950s. In regions with coal mining, there were numerous coal mines that were once essential to the industrial sector. Due to this shift to oil, one mine after the next closed, leading to widespread unemployment among coal miners. In December 1959, Domon documented the lives of unemployed coal miners and their families in Chikuhō using photography as a medium, shedding light on their struggles and daily lives. In January of the following year, he released the photo book Chikuhō-no-kodomotachi (Children of Chikuhō) (Patria Shoten, 1960). The photo book, priced at 100 yen to ensure accessibility to a wide audience, attained bestseller status and garnered significant social recognition as an outstanding piece of reportage.

Ken Domon (Japanese, 1909–1990), Rumie (From the series Children of Chikuhō), 1959 / Courtesy of Ken Domon Museum of Photography


Wabi-Sabi and Mono-no-Aware

To comprehend Domon’s worldview, it is essential to grasp influences of Japanese art and culture. Concepts like wabi-sabi (appreciating imperfection and impermanence) and mono-no-aware (acknowledging the ephemeral) are significant in shaping aesthetic and thematic elements. These Japanese philosophies reflect the universal human experiences of impermanence and beauty. Both the photo books Hiroshima and Children of Chikuhō capture the imperfections of our world and the sorrow for the ever-changing homeland. In that place, life and death coexist, revealing a sensitivity to the transient nature of existence.

Aleksandras Macijauskas

I chose Aleksandras Macijauskas from the Baltic photographers. Both Domon and Macijauskas are acclaimed documentary photographers who capture the essence of their respective homelands, and I seek to explore the connection between their work. I own Macijauskas’s photo book My Lithuania, published by Thames and Hudson Inc. in the United States in 1991. I purchased it from a secondhand bookstore in the United States. The ‘Village Markets’ series showcased in this book is also featured in the Human Baltic exhibition. This study examines rural markets in Lithuania during the period from 1967 to 1973. The work illustrates the ‘direct connection between motif and camera’ as endorsed by Domon. I purchased this book due to its strong photographic content.

Second-Person Realism

Both Domon and Macijauskas, former press photographers, transitioned from a journalistic third-person perspective to a second-person realism that emphasizes themes. This change suggests a theatrical perspective is being added to their works. At one point, Domon advocated ‘absolute non-direction,’ but in a roundtable discussion titled ‘On ‘Hiroshima’’ published in the July 1958 issue of the magazine Photo Art, he stated:

That was something I intended with clear calculation. I became one with the doctors and nurses, covered in blood, as they worked to heal atomic bomb survivors during surgery. I also felt a connection to those who were helping to remove the scars left by the atomic bomb. I concentrated on camera angles and positions to realize my vision. I exclusively captured photos from a second-person perspective, seeking to see through the eyes of the doctor and nurse.

The photograph ‘Patients at the Hiroshima Atomic-bomb Hospital, Ms. Kintoki,’ used as a point of reference for Hiroshima, evidently employs a second-person perspective in its staging. ‘Rumie’ can also be interpreted as a second-person perspective when examined from the father’s point of view. If ‘Self-Portrait’ (1958) was crafted considering the reader’s perspective, it also embraces a second-person point of view.

Macijauskas vividly captured the people in the rural markets he documented, aligning with Domon’s preferred style. A pivotal moment in Macijauskas’s life occurred when he visited the Utena market on his travels. He wrote in the photo book commentary:

Suddenly I saw that all the people I had been combing Lithuania for were there, all in one place, with their children, possessions and animals, their vices, their kind hearts and their faces. What faces! Here in the market square was everything—work and pleasure, the ritual of buying and selling, the seller’s witty patter that the buyer would never forget when putting his purchase to use.

Furthermore, he states, ‘The fact is that, every time I came to a marketplace and began to study the future heroes of my photographs, I became firmly convinced that I had met these people before. […] I recognized him. Surely, he was the incarnation of my late grandfather.’ This suggests a strong connection to the people Macijauskas photographs, as if the strangers at the marketplace were his own grandparents with whom he spent his summer vacations. I believe Macijauskas used ‘My’ in the title of the photo book because he was conscious about creating a second-person documentary structure of ‘You and I, Lithuanians.’ The worldview of second-person realism creates a unique photographic reality, and the movements and dynamism depicted by the market people feel like a vivid stage production. Domon's Hiroshima had the structure of ‘the doctor (me) and the patient,’ while Macijauskas’s rural market had ‘me and the people of the rural market (grandfather),’ both employing the structure of second-person realism. 

In Macijauskas’s rural market photographs, human life, animal life, and death coexist. These works reflect a sensitivity to the transient nature of life, capturing scenes that evoke a sense of mono-no-aware. Like Domon, these photo collections capture universal human experiences of impermanence and beauty. The works of Baltic photographers narrate the indomitable history and spirit of the region, from oppression to independence and transformation. Domon’s photographs are significant historical records of post-war Japan, prompting reflection on Japanese identity and humanity. Let this brief discussion serve as a tribute to the profound bond of photography shared between these two individuals who never met.

Aleksandras Macijauskas, from the series Rural Markets





Shinya B

Photographer, artist, educator, and dramaturg. Born in Setagaya Ward, Tokyo. Graduated from the Tyler School of Art in the United States. He founded the Art Department at Temple University, Japan Campus, where he currently serves as a faculty member. His solo photography exhibitions include 'Things I See, Do Away' (Gallery Art Space, 1999), 'Afterwords, Me' (Gendai Heights, 2013), and 'Sakurei - Frequently Asked Questions and Words Disappearing from Photography' (Place M, 2022). He directed the Butoh dance performance 'fuchi (don't know)' and currently serves as a judge for the Karuizawa Photo Fest and the RICOH THETA official photo exhibition. He is delivering photography lectures titled 'Is Photography Feasible' at PURPLE in Kyoto and Japanese universities.

Other essays:
My Homeland—Domon and Macijauskas’s Second-Person Realism

by Shinya B

Associate Professor of Art, Temple University (Japan)

As a Japanese photographer, I am involved in instructing photography at an American university and conducting comparative research on photographic cultures in the West and Japan. I curated Japanese photographers for the Human Baltic exhibition and wrote this introductory article about them. I have incorporated photographers from Baltic states for comparative analysis.

Given the historical context, I initially considered focusing on Japanese photographers of the 1960s and their work in Provoke (Issues 1–3, Provoke-sha, 1968–69). When artistic photography emerged in the Baltic states under Soviet rule, people used it as a form of expression due to limitations on freedom of speech. These photographs, serving as creative outlets, have evolved into important social and historical records. This parallels the work of Ken Domon. Domon is renowned for his bold realism theory and is among the photographers who shaped Japan's post-war photography culture with a controversial approach, like ‘directly connecting the subject and the camera.’ Due to limited space, I will only introduce Camera photo magazines, Hiroshima, and Chikuhō-no-kodomotachi (Children of Chikuhō). However, there are many other excellent photo books, like Bunraku (traditional Japanese puppet theater) and Muroji Temple, so I encourage readers to explore them independently.

Ken Domon (Japanese, 1909–1990), Self-Portrait published in the November issue of Sankei Camera magazine, 1958 / Courtesy of Ken Domon Museum of Photography

Photography Magazine Camera

Camera was a monthly magazine first published in April 1921. The magazine set the standard for modern photography publications, showcasing the works of professional photographers, hosting monthly reader photo contests, and publishing articles on camera and darkroom techniques. The magazine had a significant impact on Japanese photography culture before and after World War II, but stopped publishing after the August 1956 issue. Domon, a professional photographer before the war, was appointed as judge for the magazine’s monthly photography contest in January 1950. His critiques of contest entries are well-documented. In these reviews, Domon advocated for ‘absolute non-directed, absolute snapshots’ and argued that the camera and the subject should be directly connected, promoting a documentary theory. This philosophy inspired young photographers and sparked the realism movement. Domon declared the end of the ‘First Period of Realism’ in 1954, encouraging photographers to shift to the ‘Second Period of Realism,’ which involved resolving themes practically along with simple realism. His own photography had shifted to more powerful themes.

Hiroshima

The atomic bombing of Hiroshima is historically significant as it marked the first use of nuclear weapons in warfare. The atomic bomb, referred to as Little Boy, was released by the B-29 aircraft known as Enola Gay on August 6, 1945. The explosion took place at an altitude of 600 meters above the urban area, causing significant destruction. The use of nuclear weapons led to both immediate and long-lasting consequences. The surrender of Japan was officially declared on August 15, 1945, signifying the end of World War II. Nevertheless, the utilization of the atomic bomb led to substantial human casualties. In Hiroshima, out of an estimated population of 350,000 residents, around 100,000 individuals died, with many others later succumbing to illnesses related to radiation exposure. In 1957, over a decade following the bombing, Domon made a visit to Hiroshima. He embarked on a dynamic photo series that depicted the challenges encountered by residents impacted by the war. In his work Hiroshima (Kenkosha, 1958), Domon reflects on his visit to the city, expressing, ‘I had forgotten about ‘Hiroshima,’ or rather, I had never known anything about it. The significance of ‘Hiroshima’ remains relevant in modern times. Our comprehension of the subject matter was insufficient. No, to be precise, we were not adequately informed about it.’ Domon's empathetic approach is evident in his photographs, where he skillfully portrays the enduring effects of a tragedy.

Ken Domon (Japanese, 1909–1990), Patients at the Hiroshima Atomic-bomb Hospital. Ms. Kintoki. Skin grafting for disfiguring scar on the left side of the face (From the series Hiroshima), 1957 / Courtesy of Ken Domon Museum of Photography


Children of Chikuhō

In Japan, the transition from coal to oil energy began in the late 1950s. In regions with coal mining, there were numerous coal mines that were once essential to the industrial sector. Due to this shift to oil, one mine after the next closed, leading to widespread unemployment among coal miners. In December 1959, Domon documented the lives of unemployed coal miners and their families in Chikuhō using photography as a medium, shedding light on their struggles and daily lives. In January of the following year, he released the photo book Chikuhō-no-kodomotachi (Children of Chikuhō) (Patria Shoten, 1960). The photo book, priced at 100 yen to ensure accessibility to a wide audience, attained bestseller status and garnered significant social recognition as an outstanding piece of reportage.

Ken Domon (Japanese, 1909–1990), Rumie (From the series Children of Chikuhō), 1959 / Courtesy of Ken Domon Museum of Photography


Wabi-Sabi and Mono-no-Aware

To comprehend Domon’s worldview, it is essential to grasp influences of Japanese art and culture. Concepts like wabi-sabi (appreciating imperfection and impermanence) and mono-no-aware (acknowledging the ephemeral) are significant in shaping aesthetic and thematic elements. These Japanese philosophies reflect the universal human experiences of impermanence and beauty. Both the photo books Hiroshima and Children of Chikuhō capture the imperfections of our world and the sorrow for the ever-changing homeland. In that place, life and death coexist, revealing a sensitivity to the transient nature of existence.

Aleksandras Macijauskas

I chose Aleksandras Macijauskas from the Baltic photographers. Both Domon and Macijauskas are acclaimed documentary photographers who capture the essence of their respective homelands, and I seek to explore the connection between their work. I own Macijauskas’s photo book My Lithuania, published by Thames and Hudson Inc. in the United States in 1991. I purchased it from a secondhand bookstore in the United States. The ‘Village Markets’ series showcased in this book is also featured in the Human Baltic exhibition. This study examines rural markets in Lithuania during the period from 1967 to 1973. The work illustrates the ‘direct connection between motif and camera’ as endorsed by Domon. I purchased this book due to its strong photographic content.

Second-Person Realism

Both Domon and Macijauskas, former press photographers, transitioned from a journalistic third-person perspective to a second-person realism that emphasizes themes. This change suggests a theatrical perspective is being added to their works. At one point, Domon advocated ‘absolute non-direction,’ but in a roundtable discussion titled ‘On ‘Hiroshima’’ published in the July 1958 issue of the magazine Photo Art, he stated:

That was something I intended with clear calculation. I became one with the doctors and nurses, covered in blood, as they worked to heal atomic bomb survivors during surgery. I also felt a connection to those who were helping to remove the scars left by the atomic bomb. I concentrated on camera angles and positions to realize my vision. I exclusively captured photos from a second-person perspective, seeking to see through the eyes of the doctor and nurse.

The photograph ‘Patients at the Hiroshima Atomic-bomb Hospital, Ms. Kintoki,’ used as a point of reference for Hiroshima, evidently employs a second-person perspective in its staging. ‘Rumie’ can also be interpreted as a second-person perspective when examined from the father’s point of view. If ‘Self-Portrait’ (1958) was crafted considering the reader’s perspective, it also embraces a second-person point of view.

Macijauskas vividly captured the people in the rural markets he documented, aligning with Domon’s preferred style. A pivotal moment in Macijauskas’s life occurred when he visited the Utena market on his travels. He wrote in the photo book commentary:

Suddenly I saw that all the people I had been combing Lithuania for were there, all in one place, with their children, possessions and animals, their vices, their kind hearts and their faces. What faces! Here in the market square was everything—work and pleasure, the ritual of buying and selling, the seller’s witty patter that the buyer would never forget when putting his purchase to use.

Furthermore, he states, ‘The fact is that, every time I came to a marketplace and began to study the future heroes of my photographs, I became firmly convinced that I had met these people before. […] I recognized him. Surely, he was the incarnation of my late grandfather.’ This suggests a strong connection to the people Macijauskas photographs, as if the strangers at the marketplace were his own grandparents with whom he spent his summer vacations. I believe Macijauskas used ‘My’ in the title of the photo book because he was conscious about creating a second-person documentary structure of ‘You and I, Lithuanians.’ The worldview of second-person realism creates a unique photographic reality, and the movements and dynamism depicted by the market people feel like a vivid stage production. Domon's Hiroshima had the structure of ‘the doctor (me) and the patient,’ while Macijauskas’s rural market had ‘me and the people of the rural market (grandfather),’ both employing the structure of second-person realism. 

In Macijauskas’s rural market photographs, human life, animal life, and death coexist. These works reflect a sensitivity to the transient nature of life, capturing scenes that evoke a sense of mono-no-aware. Like Domon, these photo collections capture universal human experiences of impermanence and beauty. The works of Baltic photographers narrate the indomitable history and spirit of the region, from oppression to independence and transformation. Domon’s photographs are significant historical records of post-war Japan, prompting reflection on Japanese identity and humanity. Let this brief discussion serve as a tribute to the profound bond of photography shared between these two individuals who never met.

Aleksandras Macijauskas, from the series Rural Markets





Shinya B

Photographer, artist, educator, and dramaturg. Born in Setagaya Ward, Tokyo. Graduated from the Tyler School of Art in the United States. He founded the Art Department at Temple University, Japan Campus, where he currently serves as a faculty member. His solo photography exhibitions include 'Things I See, Do Away' (Gallery Art Space, 1999), 'Afterwords, Me' (Gendai Heights, 2013), and 'Sakurei - Frequently Asked Questions and Words Disappearing from Photography' (Place M, 2022). He directed the Butoh dance performance 'fuchi (don't know)' and currently serves as a judge for the Karuizawa Photo Fest and the RICOH THETA official photo exhibition. He is delivering photography lectures titled 'Is Photography Feasible' at PURPLE in Kyoto and Japanese universities.

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