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was a Japanese photographer, prominent in the years before the war. Born in Ōtsu, Shiga Prefecture,〔Matsumoto claims — in “Sakka kaisetsu” (, About the photographers) — that he was born in Tokyo; this article instead follows the ''Biographic Dictionary'' and ''Founding'' as later and perhaps better informed works.〕 Tamura graduated from the Tokyo College of Photography (, ''Tōkyō Shashin Senmon Gakkō''; now Tokyo Polytechnic University) and entered Oriental (, ''Orientaru Shashin Kōgyō'') in 1928 and became editor of ''Photo Times.'' He was an active contributor to the magazine ''Geijutsu Shashin Kenkyū'' and in the group Nihon Kōga Kyōkai (), created in 1928 and related to Nihon Kōga Geijutsu Kyōkai (). He was a leading figure in the New Photography Research Society (, ''Shinkō Shashin Kenkyūkai''), formed in 1930. Tamura's work was influenced both by pictorialism and by New Photography. Tamura is particularly known for his portraits, and ''Shiroi hana'' (, White flower, 1931) is the best known of these and widely anthologized.〔Handsome reproductions of two different versions appear as plate 52 of Matsumoto, ed., ''Collection'' (reddish), and plates 32 and 93 of ''Founding'' and Tucker, ed., ''History'' respectively (much more neutral).〕 Okatsuka says that it expresses a certain lyricism but “displays a more sophisticated sense of maturity” than the works of his contemporaries Masataka Takayama and Jun Watanabe.〔Akiko Okatsuka, in ''Founding,'' 20.〕 ==Books by Tamura== *''Seibutsu shashin no utsushikata'' (). Tokyo: Sōgeisha, 1952. A guide to photographing still lifes. *''Sakuga no daiippo'' (〔On the cover, a nonstandard glyph is used for 画: 二 enclosing 田.〕). Tokyo: Genkōsha, 1954. A guide to the practice of photography. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Sakae Tamura (photographer)」の詳細全文を読む スポンサード リンク
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