three parts: Kiken na adabana (as explained above) Fāsutofurekkusu kara Kyanon made (i.e. "From Firstflex to Canon"; the Firstflex was a brand of twin-lens reflex camera made by Tokiwa Seiki, ) Kōfuku e no iriguchi no aru ie (i.e. "A house with an entrance to happiness") Each of these is further subdivided into short essays. The text is in the first person and often about Tokiwa herself: the (composite) cover photograph and the photograph in the frontispiece both show Tokiwa holding a Canon rangefinder camera, in a period when photography was very much a male pursuit in Japan. The text of the book is interrupted by four sections of photographs, taken between 1952 and 1957 (captions and technical data appear on pp. 242–241). There is a title on the first photograph of each; these are: Aru machi no kurai onna no iru fūkei (i.e. "The dark scenery with women of a certain Japanese town"). Mostly street scenes within this town (Yokohama) many showing girls and US servicemen. On pp. 44–45 appears Tokiwa's most famous photograph, taken in Wakaba-chō Bā-gai (, bar street), behind Isezakichō, showing a girl held down by a foreign man while another in uniform looks away. Kiken na hakimono (i.e. "Dangerous footwear"). The opening photograph shows geta and sandals discarded at the entrance to a hospital; the photographs that follow show girls waiting for or having injections and mandatory checks of freedom from venereal diseases. Fāsutofurekkusu kara Kyanon made (as explained above). A complex series: foreign visitors to Japan, ama, nude modelling, and chindon'ya. Kōfuku e no iriguchi no aru ie (as explained above). Happier scenes of young women – although the series ends with the scene shown within the lens on the cover. Kōtarō Iizawa calls the book "the strongest, most compassionate work by female photographer of that era." Television work From 1962 to 1965 Tokiwa produced the television series Hataraku Josei-tachi (, Working women). Other photography and publications Tokiwa photographed around US military bases in Yokosuka (1958) and the Ryūkyū islands (1960), the Soviet Union (1974, and Taiwan and Malaysia (1975–80). Since 1985, she worked on issues involving the elderly. No book has yet (early 2010) been devoted to the later work of Tokiwa, but from the 1950s until the 1970s her work appeared in the magazines Asahi Camera, Camera Mainichi, Nippon Camera, Sankei Camera, and . In November 2010, when she spoke (on the