at the Sekiya Industries booth at the Japan International Trade Fair in Tokyo in 1957. Teaching, publishing, and writing: 1960s–1970s Ōtsuji began to spend more time teaching in the 1960s. From 1960 to 1970, Ōtsuji was a lecturer at the Tokyo College of Photography. This was his first teaching position. He also lectured at the Musashino Art University in the 1960s, and was appointed a professor at Tokyo Zōkei University from 1967 to 1976. Ōtsuji became a professor at University of Tsukuba in 1976, where he taught until 1987. Around 1965, Ōtsuji began to frequently contribute essays and articles to photography magazines such as Camera Mainichi, Camera Jidai, S D: Space Design, and Shashin Hihyō, among others. Throughout the 1960s and 1970s, he also continued to experiment with his individual works and publish them, often alongside his texts. In the 1970s, his published works became increasingly theoretical. A series of photographs for Asahi Camera, "Ōtsuji Kiyoji Experimental Workshop of Photography" (1975), featured both essays and photographs that considered the theoretical issues surrounding photography as a process and discipline. His series Hitohako no kako ("Past of One Tin Can") was created for his first solo exhibition in 1977, and featured a 23-photograph sequence showing a can of memories being unpacked and individual elements examined by the camera – including old photographs. The series can be seen as a prolonged meditation on the object, which had interested him since his early career. Although no longer working on the staff of Geijutsu Shinchō, Ōtsuji continued to take on contract work for the magazine and others, including S D and Bijutsu Techō. He also began photographing artwork for books and exhibition catalogues, and continued to do so until late in his career. In 1968, he famously coined the term konpora, derived from kontenporarī fotogurafī (contemporary photography), which he used to describe a certain type of documentary photography newly present in Japan that had affinities with the work of Western documentary photographers Robert Frank and Garry Winogrand. Exemplified by two photo books published in 1971 – Hibi (Day to Day) by Ōtsuji’s student Shigeo Gochō, and A Sentimental Journey by Araki Nobuyoshi – konpora photography’s clear, steady images were a contrasting response to the 'are-bure-boke' ( 'grainy/rough, blurry, out-of-focus') style of documentary photography published in Provoke. Instead of Provoke’s negative, anti-establishment attitude, konpora photographers attempted to capture the world dispassionately, with simple, straightforward snapshots of