'Our Mr. Matsura': Director Beth Harrington discusses her new documentary about a historic Japanese-American photographer * Oregon ArtsWatch

"Most are posed portraits, but instead of the typical (literally) statuesque dullness of that genre, the subjects in these photographs evince the humanity and spontaneity of an Instamatic snapshot. Whoever took these photos was able to elicit a remarkable degree of comfort and trust from their subjects, who included members of local Native tribes and ordinary townsfolk, as well as, often inventively, himself."

"Matsura emigrated from Japan to Seattle in 1901 at the age of 27 and two years later moved to tiny Conconully, Washington, arriving with a camera he had somehow acquired along the way. He set up shop and quickly became a popular figure, socializing with the area's elites while capturing intimate images of a wide variety of locals. He later moved to Okanogan, the nearby county seat, and remained there for the rest of life."

"Harrington first encountered Matsura's work almost 25 years ago in an exhibit of Edward Curtis photos at the Washington State History Museum in Tacoma. Curtis has been renowned as the most prolific visual chronicler of Native American people and culture. He "made beautiful images," Harrington says, "but they're somewhat controversial. He was trying to capture the mythological vanishing Indian as the government tried to suppress Native culture.""

The photographs date from the early decades of the 20th century and originate far from major cultural centers. Most images are posed portraits that nonetheless display the humanity and spontaneity of casual snapshots. The photographer elicited remarkable comfort and trust from subjects, including members of local Native tribes, ordinary townsfolk, and frequently himself in inventive self-portraits. Frank Matsura emigrated from Japan to Seattle in 1901 at age 27 and moved to Conconully with a camera two years later. He established a studio, became a popular local figure, later moved to Okanogan, and experienced a brief unexplained departure followed by a festive return. Edward Curtis produced celebrated but controversial images that aimed to capture a mythologized "vanishing Indian," creating a contrast with Matsura's more intimate portrayals.

Read at Oregon ArtsWatch * Arts & Culture News