By Zdeněk Martínek; Jaroslav Řehoř; Rudi Koch
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241 x 285mm, albumen print. 35 36 K o r e a 21. Korean prisoners on board an American ship, June 1871. Felice Beato. 192 x 240mm, albumen print. Right 22. The captured Korean standard taken from the main fort, June 1871. Felice Beato. 228 x 276mm, albumen print. Contact and Conflict 37 38 K o r e a 23. The British Garrison at Port Hamilton on Ko˘mundo island, c. 1885–7. Photographer unknown. 115 x 178mm, albumen print. The occupation of this Korean island was thought necessary to neutralize Russian activity in the area.
Unfortunately, nothing is known of who took the first photographs on Japanese soil Honda; his name does not appear in any of the (or at least the first that have been authenticated standard Japanese sources, and both his back- and dated). Between then and 1859, when the ground as a photographer and the extent of his country was formally opened for trade, some co-operation with Kim remain a mystery. Con- photographs were taken but only a handful is extant. sidering that anti-Japanese sentiment was a major The first Japanese professional photographers were aspect of the popular suspicion with which the operating in Nagasaki and Yokohama from 1862, first photographers in Korea were generally re- probably at least 20 years before their Korean garded, their relationship must have been placed counterparts.
Temple under construction, c. 1900. K. Murakami. 208 x 266mm, albumen print. It is not immediately clear what kind of temple this is, and there appear to be both Korean and Japanese officials at some kind of inauguration ceremony. since he was attached solely to the Japanese P’yo˘ngyang, which had fallen to the Japanese First Second Army in Manchuria, he does not appear Army earlier that year. His work was published in to have followed the conflict as it unfolded in an album entitled Nisshin Senso Jikkyo Shashincho Korea.