Yōichi Midorikawa

, birth name Satoshi Yokoyama (横山 知), was a Japanese photographer from Okayama prefecture, Japan, who became one of postwar Japan's leading figures in color landscape photography. He first took up the camera after graduating middle school in Okayama, but his father forced him into studying Dentistry. He returned to photography as a hobby around the same time he opened his own dentil clinic in 1937. Throughout his life, he maintained his base in Okayama. He later joined the Chūgoku Photographers Group, alongside figures such as Shoji Ueda, and Ginryūsha with Tadahiko Hayashi and Shōtarō Akiyama.

HIs first work appear in monthly photo competitions in the 1930s. His early work, produced during the Pacific war, focused on photojournalism, followed by documentary photography depicting fishing villages, salt fields, rural communities around the Seto Inland Sea, and Osaka Merchant districts. From the 1950s onward, however, he turned to experimental forms of expression, employing techniques such as multiple exposure, long exposure, photomontage, filter works, and special film processing to create his dreamlike landscapes. He began using color film in the early 1960s, before it had come into widespread use.

His breakthrough came with the1962 photobook Seto Inland Sea / Setonaikai, which won several awards from the Japan Photo Critics Association and the Photographic Society of Japan Award. Thereafter, he continued his exploration of landscape photography, taking photos of Japanese national parks and other natural sites throughout Japan. He is often described as a “magician of color.” Over the course of his career, he published more than seventy photobooks.

The exhibition Midorikawa Yoichi and his Circle: The Early Years, 1938-59, held at the Okayama Prefectural Museum of Art in 2005, sought to reexamine Midorikawa's early works in order to trace the process through which he developed the richly saturated colors, multiple exposures, and other experimental techniques that culminated in the landscape photographs of the 1960s, earning him the epithet the “magician of color.” Curator Naruhisa Hirose surveys Midorikawa ‘s first appearances in the photography magazine Shashin Salon to his various photo series from the 1950s, and his relationships to contemporaneous photographers including Shoji Ueda, Shōtarō Akiyama, Tadahiko Hayashi, and Takeji Iwamiya.

Early Career His first published photograph, Still Life, appeared in the December 1939 issue of Shashin Salon after being selected for the magazine's monthly competition. His early works largely followed conventions of pictorial “art photography,” but he also produced works depicting young women working in factories, revealing an early interest in contemporary social life.

Midorikawa’s activities should be understood as within this broader context. After joining the Chūgoku Photographs Group in 1940, which included photographers such as Shoji Ueda and Kunio Masaoka, Midorikawa was advised by fellow members to photograph the landscapes, people, festivals of his home region. What began as a practical response to wartime circumstances would become a defining characteristic of his career.