The Curious Case of Japan’s First Pro Photographer Who Actually Buried His Legacy

The BBC is shining a light-weight on the story of Ukai Gyokusen, Japan’s first skilled photographer, who buried his glass negatives, practically erasing his legacy.

In 1883, pioneering Japanese photographer Ukai Gyokusen buried a number of hundred of his glass plate negatives in a Tokyo cemetery, an act he believed would protect them. Four years later, he was interred beside his images, with two tombstones detailing his life and profession. With this closing gesture, a lot of the tangible proof of his work and recognition for his contributions disappeared.

In a BBC documentary, picture historians Naomi Izakura, curator on the JCII Camera Museum, and Torin Boyd, filmmaker and photojournalist, focus on Ukai’s profession, the importance of his buried negatives, and thrilling new discoveries which have emerged throughout analysis into his life.

“Nearly 150 years ago, a man carefully digs a hole and places several hundred glass plate photographs inside. He buries them. And there they lie until some 70 years later. Some survive, most don’t. They were a worm feast for all that time. It’s kind of sad, but in a strange way, there’s kind of a poetry to that,” BBC’s video explains.

From Sake Seller to Japan’s First Pro Photographer

Ukai, born the son of a samurai, initially pursued a number of paths as an artist and vintage collector. His encounter with American photographer Orin Freeman in Yokohama launched him to the brand new artwork of pictures. Ukai bought a digital camera and classes from Freeman, returning to Edo (modern-day Tokyo) at age 54 to ascertain Aishendo, Japan’s first skilled pictures studio, that means “Hall of True Images.”

Operating primarily for the samurai class and aristocracy, Ukai’s work didn’t instantly discover a broad market. According to his tombstone, pictures was initially met with skepticism. However, by 1861, he was clearly lively, making him the nation’s first skilled photographer. Ukai solely employed the ambrotype approach, producing one-of-a-kind photos with out further darkroom prints, creating treasured treasures for his topics.

For eight years, Ukai captured samurai, dignitaries, and cultural elites. In 1869, on the daybreak of pictures’s broader recognition in Japan, he abruptly closed his studio and deserted the career, returning to his ardour for antiquities.

“He alone revered the ancient,” one historian notes. “There’s a certain irony that this pioneer of Japanese photography, who revered antiques to such an extent that he ditched the new fad of photography, has now been the subject of a long chase to recover his buried images themselves… now antiques.”

The Burial of History

Frustrated by the fading of his photos and his incapability to distribute them to their topics, Ukai buried a number of hundred glass plates beside his personal grave at Yanaka Cemetery. Historians describe the choice as baffling, given the fragility of photographic glass, but it additionally displays Ukai’s devotion to older, vintage artwork kinds over newer methods.

“As photographs faded and deteriorated over time, he became disillusioned. I just can’t even fathom putting a negative into the ground, just how that would destroy the image. That’s unbelievable,” BBC’s movie explains.

Ukai handed away roughly 4 years later, and his legacy remained largely forgotten.

Excavations and Rediscovery

In 1956, intrigued pictures specialists and Ukai’s descendants organized an excavation of the grave plot. About 100 glass plates survived, although most had been severely broken, deteriorated, or consumed by worms. Efforts to protect or publicly show the negatives had been restricted, leaving Ukai’s work largely inaccessible.

A second try in 2009 yielded little further materials, as prior excavations and soil compaction had destroyed remaining negatives. Some surviving plates ultimately entered non-public collections or had been donated by pictures fans, providing glimpses into Nineteenth-century Japan via Ukai’s perspective.

“Suddenly, we can see a much deeper glimpse into 19th-century Japan through Ukai’s eyes. Rather than a mere footnote in Japanese history, his compositions demonstrate a man ahead of his time rather than one chasing it,” the historians share.

A Photographer Ahead of His Time

Ukai’s compositions reveal a complicated, inventive eye, distinguishing him from contemporaries. Many sitters are depicted trying away from the digital camera or partaking with the body in unconventional methods, demonstrating a creativity not often seen in early Japanese pictures.

Ukai Gyokusen’s story is a reminder that innovation and foresight don’t all the time assure recognition, and that the preservation of historical past will be as fragile because the glass plates that after captured it.

Image credit: BBC