. In the mid 30s, Shiotani returned to photographs he had taken from 1923 to 1925, printing them with less detail than previously, for an abstract and dreamlike effect. A notable example is Bird's-Eye View of a Village of 1934. In 1938, the Vest Club was renamed Shakenkai (), and Shiotani continued to participate in it. (Its meetings are known to have continued until September 1942, and in October 1949 it was revived in Shiotani's house.) After the war, Shiotani opened a photo studio next to his house and also continued photographing for his own interest, remaining faithful to his earlier subject matter but making rather larger prints than before and avoiding darkroom manipulation and retouching. He participated in some local exhibitions, but also submitted his prints to the exhibitions in Tokyo of the art organization Shinkyō (). Later years The emphasis by postwar Japanese photography publishing on the documentary rendered outmoded geijutsu photography as had been practised by Shiotani (and rendered "New Photography" outmoded as well). However, a 1968 exhibition of the first hundred years of Japanese photography "effectuated a great turning point in how photography was understood [in Japan] and established a comprehensive canon of photographers, thereby rewriting the history of Japanese photography": although it included no photograph by Shiotani, it did display 56 examples of geijutsu photography of the period. Shiotani was hospitalized from December 1974 to March 1975. The following month he had a one-man exhibition, Album 1923–1973, in the Asahi Pentax Gallery in Tokyo. If the 1968 exhibition had revived public interest in pictorialist photography, then the book Album 1923–1973, published in the autumn of 1975 and the first book devoted to Shiotani, made his photography widely known again, as well as prompting its acquisition by several museums. Edited by Shiotani's great admirer Shōji Ueda and printed and published in Yonago (Tottori), this was later one of only four books of pre-1945 photography to be profiled in Ryūichi Kaneko and Ivan Vartanian's survey Japanese Photobooks of the 1960s and '70s. During a visit to Japan in 1978, Lorenzo Merlo, head of the Canon Amsterdam gallery, encountered Album 1923–1973; the book so impressed him that Shiotani was included among "Eight Masters of the Twentieth Century" in an exhibition that was first shown in Bologna in 1979 and that subsequently travelled around Europe. During a stay in Japan in 1981, , who was planning photography exhibitions for