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Dear Smokers, Please get a plastic bag and cover yourself whenever you want to start smoking to enable you to enjoy the smoke 100% by yourself. Get free updates from us and also learn how you can help to encourage smokers to stop smoking. Get non-smokers to come in to encourage smokers to quit smoking; and get smokers to come in to feel and learn how to quit smoking.
Start playing the Smoke Slayer Flash shooting game to vent your angry and release stress instead of taking a puff! Photos may be used for FREE as web banners and website backgrounds providing a link back to my site is included on your site, preferably as a credit in the footer.
T-Enami.org - A Welcome, all who like old Photos of Japan !YOU ARE ONE OF OVER 100,000 VISITORS TO THIS SITE.
You may not use them commercially or redistribute them on other websites, or use them as backgrounds or banners on web sites. No photograph may be reproduced, copied, stored, manipulated or used whole or in part of a derivative work without the written permission of the author. OTHERWISE, BEGIN SCROLLING DOWN FOR A TREASURE-TROVE OF RARE AND BEAUTIFUL PHOTOS OF OLD JAPAN. ENAMI WEARING SAMURAI ARMOR, TAKING A REST BETWEEN POSES IN HIS YOKOHAMA STUDIO, CA.1898-1900.
ENAMI, OTHER WELL-KNOWN JAPANESE PHOTOGRAPHERS WHO OPERATED DURING THE MEIJI-ERA (1868-1912) ARE MENTIONED THROUGHOUT THE COMMENTS.I HOPE YOU FIND THE STORY AND DATA BOTH INTERESTING AND HELPFUL.


FOR THOSE WHO ARE HERE PRIMARILY TO LOOK AT THE IMAGES, I HOPE THAT YOU EXPERIENCE SOME ENJOYMENT IN GAZING AT A FEW OF ENAMI'S"LOST PICTURES" OF OLD JAPAN. THOSE THAT LIVE FOR DISCOVERING NEW DATA AND CONNECTING THE DOTS WILL NO DOUBT FIND SOME EYE-OPENING REVELATIONS HERE.A OF COURSE, WE ALL LOVE KIMBEI KUSAKABE AND THE REST OF THOSE ILLUSTRIOUS JAPANESE PIONEERS OF PHOTOGRAPHY WHO GOT THEIR START LONG BEFORE ENAMI OPENED HIS OWN MEIJI-ERA STUDIO.
THEIR BEST WORK IS ENOUGH TO TAKE YOUR BREATH AWAY.HOWEVER, ENAMI ALSO HAD HIS FANS AND FRIENDS, BOTH AS A PERSON AND AS A PHOTOGRAPHER. AS YOU SCROLL DOWN THESE PAGES, FOR A FEW MOMENTS YOU MAY STEP INTO ENAMI'S SHOES, AND TAKE A PEAK THROUGH HIS LENS.A LIKE SO MANY OTHERS --- SOME NOW FAMOUS, BUT MOST BEING FORGOTTEN --- ENAMI DEDICATED HIS LIFE TO CAPTURING, AS BOTH ART AND DOCUMENT,A WORLD THAT WAS QUICKLY VANISHING BEFORE HIS EYES. AS THIS SITE IS A PERSONAL HOMAGE TO ENAMI, YOU WILL FIND SOME AMATEUR ELEMENTS, AND THE OCCASIONAL PITFALL. AT ALL TIMES, PLEASE "EAT THE MEAT, AND SPIT OUT THE BONES" WHILE DIGGING FOR VISUAL TREASURE.DISCOVERING THE OCCASIONAL GEM OF A PICTURE, OR ODD BIT OF INFORMATION, WILL HOPEFULLY MAKE THE SCROLLING WELL WORTH IT. The general wording seen above was fairly common to all photographic self-promotion during the Meiji-era, and actually contains less specifics than some of his studio ads which he placed in various guide books of the time. OGAWA, who was actually a year younger than Enami, was still his "elder" in terms of experience. It was photographed by Enami's friendly competitor and neighbor Kozaburo Tamamura, whose studio was located at No.2 Benten Street.
It would be built in 1894 just down the street on the right hand side, and appear in endless views and postcards as the most recognizable landmark of Benten Street. Other images of Enami's studio -- both interior and exterior views -- are shown farther down on this page.A  While offering many of the same services and productions as his contemporaries, he also engaged in other activities that made him unique. Further, while no photographer did "everything", Enami worked and published in more processes and formats than any other Japanese photographer of his time.


A He was one of only a few photographers born during Japan's old Edo-Bakumatsu period, who went on to photograph right through to the Showa period of Emperor Hirohito.Enami was also one of the few to experience, and then successfully outgrow his roots as a traditional maker of the classic, large-format "Yokohama Shashin" albums. While successfully embracing the smaller stereoview and lantern slide formats, he added to that a portfolio of Taisho-era "street photography" that maintained his own unique and artistic content. Enami and Kimbei Kusakabe are now the only two Japanese photographers known to have a surviving list of their commercial 2-D images. While Enami's 2-D portfolio contained a sprinkling of older, public domain images, his 3-D images and slides made from them were wholly his own.A THE 3-D CATALOG "S 26. Girls Looking at Pictures" A Maiko and two Geisha Looking at Stereoviews in Enami's Yokohama Studio. One of over 1000 cataloged 3-D images of old Japan.A THE "CATALOG OF COLORED LANTERN SLIDES AND STEREOSCOPIC VIEWS"A  Not surprisingly, Enami matched his older Catalog of Meiji-era Prints with a separately published catalog of his classic STEREOVIEWS. In the case of the 3-D Catalog, the lantern-slides were all made directly from one half of the stereoview negatives. The Cover and two sample pages of the Stereoview Catalog are shown just below in the Enami Activity List numbers (6) and (9). ENAMI'S ACTIVITIES and CONTRIBUTIONS TO THE WORLD OF JAPANESE PHOTOGRAPHYA A  For the moment, based on a wide range of primary sources, it is now clear that T.



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