アサヒカメラ
Tōmatsu's artistic output and renown grew significantly during the 1960s, exemplified by his prolific engagements with many prominent Japanese photography magazines. He began the decade by publishing his images of U.S. bases in the magazines "Asahi Camera" and "Camera Mainichi" and his series "Home" in "Photo Art". In contrast to his earlier style which resembled traditional photojournalism, Tōmatsu was beginning to develop a highly expressionistic form of image taking that emphasized the photographer's own subjectivity. In response to this emergence, a dispute arose when Iwanami Shashin Bunko founder Yonosuke Natori wrote that Tōmatsu had betrayed his foundations as a photojournalist by neglecting the responsibility to present reality in a truthful and legible manner. He rejected the claim that he was ever a photojournalist, and admonished journalistic thinking as an impediment to photography. Both essays were published in "Asahi Camera". In addition to "Asahi Camera" and "Photo Art", Tōmatsu worked for magazines "Gendai no me" and "Camera Mainichi". For "Gendai no me", he edited a monthly series titled "I am King" (1964); for "Camera Mainichi", he printed multiple collaborations made with Yasuhiro Ishimoto and Shigeichi Nagano in 1965 and his own series, "The Sea Around Us" in 1966.