Age, Biography and Wiki

Masahisa Fukase was born on 25 February, 1934 in Japan, is a Japanese photographer. Discover Masahisa Fukase's Biography, Age, Height, Physical Stats, Dating/Affairs, Family and career updates. Learn How rich is he in this year and how he spends money? Also learn how he earned most of networth at the age of 78 years old?

Popular As N/A
Occupation N/A
Age 78 years old
Zodiac Sign Pisces
Born 25 February 1934
Birthday 25 February
Birthplace N/A
Date of death 2012
Died Place N/A
Nationality Japan

We recommend you to check the complete list of Famous People born on 25 February. He is a member of famous photographer with the age 78 years old group.

Masahisa Fukase Height, Weight & Measurements

At 78 years old, Masahisa Fukase height not available right now. We will update Masahisa Fukase's Height, weight, Body Measurements, Eye Color, Hair Color, Shoe & Dress size soon as possible.

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Dating & Relationship status

He is currently single. He is not dating anyone. We don't have much information about He's past relationship and any previous engaged. According to our Database, He has no children.

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Masahisa Fukase Net Worth

His net worth has been growing significantly in 2023-2024. So, how much is Masahisa Fukase worth at the age of 78 years old? Masahisa Fukase’s income source is mostly from being a successful photographer. He is from Japan. We have estimated Masahisa Fukase's net worth, money, salary, income, and assets.

Net Worth in 2024 $1 Million - $5 Million
Salary in 2024 Under Review
Net Worth in 2023 Pending
Salary in 2023 Under Review
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Source of Income photographer

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Timeline

Masahisa Fukase (深瀬 昌久) was a Japanese photographer, celebrated for his work depicting his domestic life with his wife Yōko Wanibe and his regular visits to his parents' small-town photo studio in Hokkaido.

1934

Masahisa Fukase was born on 25 February 1934 in Bifuka, Hokkaido.

His family ran a successful photo studio in the small northern town.

1950

Despite permanently moving to Tokyo in the 1950s to pursue his education and then career, Fukase retained strong emotional ties to his birthplace and family.

1961

Among Fukase's earliest bodies of artistic work is Kill the Pigs of 1961, consisting of dark and often gruesome photographs made over the course of repeated visits to the Shibaura slaughterhouse in Tokyo mixed with photographs of two intertwined naked bodies (the photographer and his wife) Subsequently, he experimented with various journalistic and artistic styles, contributing dozens of photo essays to such magazines as Camera Mainichi, Asahi Camera, and Asahi Journal.

The heavily autobiographical approach of Karasu has its origins in Fukase's foundational photo essay, "Hyōten" [Freezing Point], of 1961, but it pushes the central themes of isolation and tragedy to new levels of depth and abstraction.

Technically, the photographs of ravens were very difficult to achieve, with Fukase having to focus his camera on the small, moving black subjects in almost total darkness.

Setting correct exposures was equally challenging.

According to Fukase's former assistant, photographer Masato Seto, printing some of the Karasu photographs required complicated burning and dodging.

1970

Throughout the 1970s and 1980s he returned regularly to Bifuka to make large-format family portraits, a project that was eventually published in the book Kazoku (Family) in 1991.

This is the rarest of Fukase's photobooks.

1971

His first photobook, Yūgi, was published in 1971 and includes numerous photographs of his first wife, Yukiyo Kawakami, and his second wife, Yōko Wanibe.

Although the book was described at the time as a work of "self-representation", it contains no discernible photographs of Fukase himself.

Accordingly, it can be considered the photographer's first attempt to describe his own passionate, self-indulgent, and sometimes violent life by indirect means.

1972

It extends his experimentation with oblique and metaphorical self-expression in the A Play photo essays of the early '70s – especially Natsu no nikki [Summer Journal] of December 1972 and Fuyu no nikki [Winter Journal] of June 1973.

Indeed, Fukase's original title for the series was Tonpokuki or "Winter Journal".

The photographs of ravens and other rather bleak subjects that constitute Karasu were taken in Hokkaido, Kanazawa, and Tokyo.

1976

Fukase's Karasu (Ravens) was shot between 1976 and 1982 in the wake of his divorce from Yōko Wanibe, and during the early period of his marriage to the writer Rika Mikanagi.

The project originated as an eight-part series for the magazine Camera Mainichi (1976–82), and these photo essays reveal that Fukase experimented with colour film, multiple exposure printing, and narrative text as part of the development of the Karasu concept.

Beginning in 1976, exhibitions based on this new body of work brought Fukase widespread recognition in Japan, and subsequently in Europe and the United States.

In 1976, at the outset of the project, Fukase stated in Camera Mainichi: "I'm wishing that I could stop this world. This act [of photography] may represent my own revenge play against life, and perhaps that is what I enjoy most."

1978

Fukase's next book, Yōko (1978), is a successor to the first in that it is another attempt to "show" his life through representations of a female 'other'.

1982

By the project's end in 1982, Fukase wrote enigmatically that he had "become a raven".

1986

He is best known for his 1986 book Karasu (Ravens or The Solitude of Ravens), which in 2010 was selected by the British Journal of Photography as the best photobook published between 1986 and 2009.

The book was published in 1986 (by Sōkyūsha) and this original edition of Ravens soon became one of the most respected and sought-after Japanese photobooks of the post-war era.

1991

Subsequent editions were published in 1991 (Bedford Arts), 2008 (Rat Hole Gallery), and 2017 (Mack).

1992

In 1992 Fukase suffered traumatic brain injury from a fall down the steep steps of his favourite bar--'Nami'--in the "Golden Gai" area of Shinjuku, Tokyo, and this left him incapacitated.

Fukase's complete set of 30 Bukubuku prints was exhibited for the first time since 1992 at the 2016 Tate Modern show Performing for the Camera.

1995

Earlier that year Miyako Ishiuchi had photographed Fukase nude for her book Chromosome XY (1995).

Some of the images from that session were published in the magazine Brutus in January 1995.

Ishiuchi has said that Fukase was almost alone among Japanese male photographers in agreeing to pose nude for her camera.

2004

In 2004 the Masahisa Fukase Trust edited and had published two photobooks Hysteric Twelve and Bukubuku, based on bodies of work Fukase had completed before his debilitating fall.

The photographs contained in Bukubuku, made in a bathtub with an underwater camera, have come to be regarded as Fukase's last great work, a whimsical if somewhat morbid game of solitaire that charts new territory for the photographic self-portrait.

2010

In 2010, a panel of five experts (Gerry Badger, Ute Eskilden, Chris Killip, Jeffrey Ladd, and Yōko Sawada) convened by the British Journal of Photography selected Karasu as the best photobook of 1986–2009.

2012

Since his death in 2012 there has been a revival of interest in Fukase's photography, with new books and exhibitions appearing that emphasize the breadth and originality of his art.

Fukase died on 9 June 2012.

2015

In 2015 two exhibitions designed to highlight some of his lesser-known work were co-ordinated by the Masahisa Fukase Archives.

These were From Window which formed part of the Another Language: 8 Japanese Photographers exhibition at Rencontres d’Arles, France, and The Incurable Egoist at Diesel Art Gallery, Tokyo.