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actively collaborated with Smith to stage the perfect shot. Jim Hughes, (a biographer) said of Smith, "Although he wanted a photograph that would clearly show Tomoko's deformed body, Gene told me it was Ryoko Uemura, the mother, who suggested the bathing chamber". The photograph was finally taken on a chilly afternoon in
December 1971, with Ryoko, Tomoko, Smith and his wife Aileen all cramped into the small bathing room. Taken with a
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eradication of pollution, we agreed to interviews and photographs while the organizations that were working on our behalf used the photograph of Tomoko frequently". However the increased attention was not without its drawbacks. Rumors began to circulate in the
Minamata community that the Kamimuras were benefiting financially from the publicity. Some local people (who relied on the polluting
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photograph to the family in 1998, so that they might have the right of decision regarding its use. Aileen M. Smith said, "This photograph would mean nothing if it did not honor Tomoko. This photograph would be a profanity if it continued to be issued against the will of Tomoko and her family. Because this was a statement about Tomoko's life, it must honor that life and by it her death."
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to public attention. During those three years Smith took thousands of photographs, leading to the production of numerous magazine articles, exhibitions and a book. Smith realised that a single, striking photograph was required to become a symbol of
Minamata disease. In Smith's own words, "It grew and
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In 1997, a French television production company contacted the
Kamimura family, asking permission to use Smith's famous photograph in a documentary about the most important photographs of the 20th century, and to interview the family once again about Minamata disease and the photograph. However, by
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for their livelihoods) were fiercely opposed to the
Minamata disease victims' struggle for compensation. All these pressures added up significantly for the Kamimura family. "I do not think," Yoshio Kamimura stated, "that anybody outside our family can begin to imagine how unbearable the persistent
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Tomoko's parents allowed Smith to photograph their daughter's body, in the hope that it might draw attention to the plight of similar families in
Minamata and other pollution victims all over the world. Ryoko Kamimura was keen for the photograph to portray her daughter in a sympathetic manner and
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After W. Eugene Smith's death in 1978, the copyright of his
Minamata photographs passed to his ex-wife Aileen Mioko Smith. Upon hearing the reaction of the Kamimura family to the request of the TV company, she travelled to Minamata and met with them. She decided to grant the copyright of the
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The striking nature of the photograph ensured that it became world-famous very quickly. The
Kamimura family found themselves under a media spotlight. Tomoko's father, Yoshio Kamimura said, "We were faced with an increasing number of interviews. Thinking that it would aid the struggle for the
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as Smith's greatest work. The black-and-white photo depicts a mother cradling her severely deformed, naked daughter in a traditional
Japanese bathroom. The mother, Ryoko Kamimura, agreed to deliberately pose the startlingly intimate photograph with Smith to illustrate the terrible effects of
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this stage, 20 years after his daughter's death, Yoshio
Kamimura had changed his mind. He refused any interviews and disliked the idea of Tomoko's image being further exploited: "I wanted Tomoko to be laid to rest and this feeling was growing steadily", he said.
72:) on the body and mind of her daughter Tomoko Kamimura. Upon publication the photo became world-famous, significantly raising the international profile of Minamata disease and the struggle of the victims for recognition and
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grew in my mind that to me the symbol of Minamata was, finally, a picture of this woman , and the child, Tomoko. One day I simply said let us try to make that symbolic picture".
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76:. At the wishes of Tomoko Kamimura's family, the photograph was withdrawn from further publication in 1997, 20 years after Tomoko's death.
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and the plights of the victims was brought to worldwide attention by this photo essay and book. As well, Smith was attacked and beaten by
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rumors made our daily lives... Although she could not speak herself, I am sure that Tomoko felt that her family were worried for her".
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W. Eugene Smith: Shadow & Substance: The Life and Work of an American Photographer
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Although the subject's surname is "Kamimura", the photograph is commonly known as
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Let Truth Be the Prejudice: W.Eugene Smith His Life and Photographs
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The photograph was first published in the June 2, 1972, edition of
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from 1971 to 1973, with the specific aim of bringing
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223:"The Photograph 'Tomoko and Mother in the Bath'"
147:magazine as the centrepiece of a short Minamata
177:Tomoko Kamimura died in 1977 at the age of 21.
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369:Works originally published in Life (magazine)
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165:hired by Chisso, the polluting corporation.
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245:"The End of a Tragedy in Pictures"
59:in 1971. Many commentators regard
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133:and super wide 16mm Rokkor lens.
87:of the subject's surname Kamimura
103:Tomoko is Bathed by Her Mother
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243:Andrew Pollack (1997-08-03).
45:Tomoko and Mother in the Bath
37:Tomoko and Mother in the Bath
364:Black-and-white photographs
309:Jim Hughes (October 1989).
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313:. McGraw-Hill: New York.
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81:Tomoko Uemura in Her Bath
39:(1971) by W. Eugene Smith
18:Tomoko Uemura in Her Bath
290:"Tomoko Uemura, R.I.P."
225:. Aileen Archive. 2020
137:Publication and impact
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267:Maddow, Ben. (1985).
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249:The New York Times
171:Chisso Corporation
99:Tomoko in Her Bath
52:taken by American
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379:1970s photographs
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271:. Aperture
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229:2021-09-08
206:References
181:Withdrawal
50:photograph
329:19981194
194:See also
153:Minamata
118:Minamata
109:Capture
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162:yakuza
61:Tomoko
85:kanji
48:is a
325:OCLC
315:ISBN
144:Life
101:and
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