Kenji Morita 1886 Fujita Japanese When Japan opened its ports to the West in the 1850s, photography—called shashin, literally, a copy of truth—soon became widely available. High-end professional salons and open-air studios operated by itinerant practitioners offered portraits at every price range. While the popularity of ambrotypes, a positive photograph on glass, was short-lived in the United States, Japanese ambrotypes were in demand from the early 1870s until the end of the nineteenth century. These two ambrotype portraits depict a dreamy-eyed, fourteen-year-old student and a barefoot geish

Kenji Morita 1886 Fujita Japanese When Japan opened its ports to the West in the 1850s, photography—called shashin, literally, a copy of truth—soon became widely available. High-end professional salons and open-air studios operated by itinerant practitioners offered portraits at every price range. While the popularity of ambrotypes, a positive photograph on glass, was short-lived in the United States, Japanese ambrotypes were in demand from the early 1870s until the end of the nineteenth century. These two ambrotype portraits depict a dreamy-eyed, fourteen-year-old student and a barefoot geisha with her attendant. Housed in poetry-inscribed kiri-wood boxes, they provide an intimate and rare glimpse of how modern Japanese society represented Kenji Morita 285442

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