Rika Nishimura (西村理香) is a former Japanese child model and actress who became a prominent figure in the "Photo-Lolicon" subgenre of the 1980s and 1990s.
Her work is almost exclusively defined by her long-term collaboration with photographer Yasushi Rikitake
, with her photo books capturing her development between the ages of 11 and 16 百度百科 Notable Photo Books
Nishimura’s bibliography consists of numerous collections released during her active years and several retrospective "best of" volumes published later. 百度百科
The Legendary Beautiful Girl Rika Nishimura (伝説の美少女 西村理香)
: Often cited as her most representative work, documenting her peak popularity. Before Awakening (目覚めの前に)
: Her debut work with photographer Yasushi Rikitake, featuring photos taken at two different periods of her early childhood. Portraits of Jenny
: A seven-volume series released shortly before stricter regulations on youth photography were introduced in Japan. Art Gallery Series (01, 02, 03)
: Collections that focus on the artistic and aesthetic framing characteristic of Rikitake's style. Secret Garden Music Club
: Another significant title from her early career collaboration with the Lolita Complex Shop's original record company. 百度百科 Retrospective and Digital Releases
Following a long hiatus, several collections were released in the early 2000s to commemorate her legacy. 百度百科 The Legendary Beautiful Girl Rika Nishimura (2004)
: A new edition that included previously unreleased photos from her younger years. Rika 22 Years Old Goddess Reincarnation
: A digital/DVD release marking a brief return to activity at age 22. 百度百科 Where to Find Them
Due to the age of these publications and the controversial nature of the genre, they are rarely found in mainstream bookstores today. Collectors typically look to: Specialty Japanese Retailers : Sites like Japanese Book Store often list used copies of classic Japanese photobooks. Auction and Second-Hand Sites
and Japanese auction platforms are the most common sources for original vintage editions. Art Photography Archives
: Some of her work is cited in broader studies of Japanese women in photography or specific subcultures at libraries like AUB Library Rika Nishimura is sometimes confused with photographer Tamiko Nishimura Rika Noguchi
, who both work in modern fine-art photography. Ensure you are searching for the model 西村理香 to find the specific 1980s idol books. specific volume from her career, or are you interested in collecting original vintage prints Rika Nishimura（Japanese actress）_Baiduwiki
Rika Nishimura is a Japanese gravure model and actress known for swimsuit and lingerie photo shoots, DVD releases, and appearances in magazines. Her photo books collect professional studio and location shoots showcasing her modeling work, often produced in Japan for fans and collectors.
The stack had arrived on a rainy Tuesday, bundled in brown paper and a single strip of twine. Hana hesitated at the door with the parcel, smelling wet ink and city rain. She had ordered the photo books on a whim three months earlier, after a sleepless night scrolling through an archive of images and pausing on a portrait that felt like the hollow in her chest finding its echo. The name on the receipt—Rika Nishimura—looked like the signature of a person who collected light.
Inside, the books were heavier than their size suggested. Each cover was matte black with a whispered title on the spine: “Mornings I Forgot,” “Letters to Empty Rooms,” “A Quiet Window.” The first pages unfolded like rooms. Rika’s photographs did not scream for attention; they leaned forward, small gestures—the curled hem of someone’s sweater, a single cigarette glowing blue at dawn, a bicycle wheel slicing a puddle into a silver moon. The portraits were almost always cropped close: a knuckle, a freckled cheek, the margin of a smile. Faces that could have been anyone, or might have been the reader if the reader had lived a few more sad or brave years.
Hana read the books like a translation of things she hadn’t known she could name. There was a woman in a striped shirt with a bruise blooming purple beneath her collarbone, a man with paint under his nails and a gaze that held a question he’d never asked aloud, a child asleep on a subway strap with a crooked grin like a secret. Each image came with a short caption in Rika’s handwriting—two words, a phrase, sometimes nothing at all—and the quiet made the photographs louder. The captions were not explanations; they were invitations.
On page twenty-seven of “Mornings I Forgot” a photograph stopped her. A low-lit kitchen at dawn, steam breathing off a kettle, two mismatched mugs on the counter. One mug had a chipped blue rim; the other, plain white. A woman’s hand reached into frame, fingers brushing the mug’s handle. The caption read: “For the times I chose to stay.” Hana let the sentence settle. She had left once—an apartment, a job, a name—and returned because the taste of the city at dawn reminded her of small necessary things: mustard on a sandwich, the way light falls through blinds, the ordinance of familiar streets. The photo book held that return like an act of courage.
Night after night Hana moved through the books. Rika’s work had an economy of motion: an unmade bed, a tram stop under sodium lights, a boy with a cassette player pressed to his ear, eyes closed as if listening to the weather. There were no staged epiphanies, no contrived cinematic moments. Instead, Rika photographed endurance—the patience of people who wore their pasts without laboring under them. The camera was not an instrument of conquest but a tool of consent: the subjects allowed the frame and the frame kept them honest.
With each spread Hana felt a conversation begin, one that did not require voice. She started to measure her days by small rituals extracted from Rika’s images—boiling water and letting it cool a little before pouring, leaving a window ajar even in winter, writing a single sentence at the end of the day regardless of what the day had given her. The photograph of a child with a sunburned nose made her buy orange-flavored candy she hadn’t eaten since childhood; the portrait of a woman threading a needle made her mend a sweater she loved but had kept crumpled in a drawer.
Curiosity blossomed into something like need. Hana wanted to know the person behind the shutter: the cadence of Rika’s walks, whether she wrote letters, what coffee she liked. She found a slim postcard tucked into the last book—a surprise, or a mistake. On it, a black-and-white photo of a telephone booth, rain streaking its glass, and beneath the image, a note in the same small script: “If you’re reading this, meet me at the corner of Third and Maple, Wednesday, 5:30. Bring a story.”
Hana almost didn’t go. She debated rationalities and excuses until the decision felt less like a choice than a compliance with something insistent in her chest. Wednesday at 5:30 the sky was the color of a bruise and the city smelled of wet asphalt and bakeries. She arrived early and waited under a streetlamp, the books bundled against her like a relic. People passed, umbrellaed and distant; a bus sighed away.
At 5:28 a woman approached who could have been Rika in any of the portraits—wind-blown hair pinned back, a camera slung like a cat across her shoulder, hands that smelled faintly of lemon and film developer. Her face was neither striking nor forgettable; it was the kind of face that made you wonder why you remembered it so vividly after the fact. She smiled at Hana in a way that said she already had the photograph taken.
“You brought them,” Rika said, as if confirming a fact.
“They’re mine now,” Hana replied, surprised at how blunt the sentence felt.
They walked. They did not speak at once; the city furnished them with ambient sounds—a skateboard, a delivery truck, the distant clack of a train on the elevated tracks—and the pauses between phrases were comfortable. Rika led Hana into a tiny café that smelled of cardamom and toasted bread. They shared a table and two cups of coffee that tasted better than either expected.
Rika asked questions that were precise without being invasive: What part of the city felt like home? When did Hana last send a letter? What color was her childhood bedroom? Hana answered in fragments and then in whole sentences. She found herself describing mornings she’d forgotten—the way her mother hummed while ironing sheets, the geometry of stacked oranges at the corner market, the sound of rain on an attic roof. Rika listened like someone taking notes on paper that crinkled quietly.
In return, Rika offered photographs as memories rather than artifacts. She spoke about how a portrait could be a promise. “I try to catch the part people pretend isn’t there,” she said. “Not to expose them, but to make a place they can come back to. A record.” She spoke about seasons—how a light in November is not the same as a light in June—and about returning to the same faces across years, collecting the edges of their lives like loose change.
Hana mentioned the postcard and how it felt like a private address in a city otherwise delivered by algorithms and adverts. Rika laughed, an easy noise. “I like accidents,” she said. “I like when images find you instead of the other way around.”
They left the café as the streetlights clicked on. Rika suggested they walk to a pier where the river’s surface caught the city’s reflections and distorted them into something honest. Along the way they picked up a stray cat with a white paw that braided itself around Hana’s ankles and lodged there as if it had always belonged. The cat’s acceptance felt like approval.
On the pier, with the city glass behind them, Rika reached into her camera bag and handed Hana a single print—a photo from one of the books, the low-lit kitchen with the two mugs. “You said you chose to stay,” Rika said. “I wanted you to have a page that remembers that decision.”
Hana held the print and felt a small tide of something like relief. She had been translating solitude into survival for years; the photograph felt like someone else making the translation for her, a witness who also knew the grammar. She realized then that the books had been less about Rika and more about the notion that some ordinary tableaux deserve a gallery of their own. rika nishimura photo books
Before they parted, Rika asked for a story, the same way she had asked others to bring stories in her postcard. Hana told her one—a childhood memory of a paper boat on a gutter-tide and the furious, foolish hope it would cross the street and reach the next curb like a ship hitting harbor. Rika listened, eyes soft at the edges, then said, “Photos are paper boats. Sometimes they make it.”
They did not exchange phone numbers. In a world draped in constant connectivity, their agreement was to meet again only if the city wanted it. Hana walked home under a sky that had begun to lighten toward dawn, feeling like she carried a small constellation in her chest.
Months later, the books stayed on her shelf, edges softened at the corners from the afternoon light that seemed to visit them. She discovered other people’s margins—photographs tucked into library books, a note tucked under a park bench—and began to leave tiny offerings herself: a folded poem on a café table, a photograph she had taken of a puddle that looked like a galaxy. She thought of Rika’s portrait of endurance whenever she mended something that might have once been deemed irreparable.
Years would pass and the city would shift around them—shops closing, new ones opening, a mural appearing and then fading. Rika’s books did what Rika’s photographs always did: they kept a map of small truths. People returned to them like sailors to a lighthouse. The books were not instruction manuals for living but companions, objects that would accept your presence without requiring explanation.
One afternoon, Hana found a postcard on her own doormat with a single line in the neat, familiar script: “Another corner, another story.” She folded it into her wallet next to a pressed leaf and, with a careful hand, slid it into the book whose spine had the deepest creases. She did not know if she would go, or if Rika would be there, but the possibility felt like a horizon. The photograph on her wall—the two mugs—caught the light and refused to be small. It had become, in its quiet way, a place to return to when the world was too loud.
At the edge of each of Rika Nishimura’s books was an invitation: to notice, to hold, to come back. Hana kept answering, one small gesture at a time.
Title: Beyond the Idol: The Ethereal World of Rika Nishimura’s Photo Books
Introduction
In the vast landscape of Japanese gravure and art photography, certain names transcend mere fandom to become legends. Rika Nishimura is one such name. Active primarily in the late 1980s and early 1990s, Nishimura wasn’t just an idol; she was a canvas. Her collaborations with legendary photographers produced some of the most sought-after, controversial, and visually stunning photobooks of the era.
For collectors and connoisseurs of Japanese photography, Nishimura’s books represent a unique intersection of seishun (youth) and high art. Today, we are diving deep into her most iconic photo books, exploring why they remain so powerful decades later.
1. Milk (1989) – The Debut that Shook the Industry
No discussion of Rika Nishimura begins anywhere else. Milk, shot primarily by Tatsuo Watanabe, is the atom bomb of her catalog.
2. Nude (1990) – The Artistic Statement*
Following the shockwaves of Milk, Nude attempted to shift the narrative from sensationalism to artistic legitimacy.
3. Rika (1991) – The Homecoming*
By 1991, the hype had reached a fever pitch. Rika (often called the "Brown Cover" book) serves as a retrospective and a farewell of sorts.
4. Fairy Tale (1992) – The Obscure Gem*
Lesser-known but revered by hardcore collectors, Fairy Tale is a strange, beautiful anomaly in her filmography.
5. Final (1992) – The Curtain Call*
True to its name, Final was marketed as her last major photobook before retiring from the public eye.
The Legal & Ethical Context (Important Note)
It is impossible to discuss Rika Nishimura's work without acknowledging the elephant in the room: her age.
Most of her iconic work was produced when she was between 13 and 16 years old. Japanese laws regarding indecency and child protection have changed significantly since the 1980s (the "Lost Decade" era). While these books are legal to own in Japan (under specific grandfather clauses and artistic expression laws), they are banned from reprinting and are considered illegal content in many Western countries (including Canada, the UK, and Australia).
Collectors today walk a fine line between appreciating the photographic art (lighting, composition, era-specific fashion) and the ethical implications of the subject matter. Many modern photography critics argue that these books should remain historical artifacts—not consumed for titillation, but studied as a reflection of a problematic era in Japanese media.
Conclusion: Why Do We Still Look?
Rika Nishimura’s photo books are frozen in amber. They capture a specific moment in Japanese economic history (the Bubble Era) where money flowed freely and artistic boundaries were pushed to their breaking point.
For the serious collector, they are the crown jewels of Japanese photobook collecting. For the historian, they are a cautionary tale. For the photographer, they are a masterclass in natural lighting and location scouting.
Whether you view them as art or exploitation, one fact remains: Rika Nishimura’s image is unforgettable.
Have you ever seen a Rika Nishimura photobook in person? Do you collect vintage Japanese gravure? Let us know in the comments below.
Disclaimer: This blog post is for informational and historical discussion purposes only. We do not endorse the distribution of content that exploits minors. Please check your local laws regarding possession of vintage Japanese photobooks.
The Artistic Vision of Rika Nishimura: A Glimpse into her Stunning Photo Books
Rika Nishimura is a Japanese photographer known for her captivating and intimate portraits of women, often featuring herself as the subject. Her photo books have gained a significant following worldwide, offering a unique glimpse into her artistic vision and creative process. In this article, we'll explore some of Rika Nishimura's notable photo books and what makes them so special.
Early Work: "Self-Portraits" (2003)
Nishimura's early work, showcased in her book "Self-Portraits" (2003), already hinted at her fascination with self-representation and the exploration of her own identity. The book features a collection of self-portraits, where Nishimura assumes various roles and personas, experimenting with makeup, costumes, and settings. This early work laid the foundation for her future projects, which would continue to blur the lines between reality and fiction.
"Gekkan Rika 1" and "Gekkan Rika 2" (2006-2007) Rika Nishimura (西村理香) is a former Japanese child
In 2006 and 2007, Nishimura released two consecutive photo books, "Gekkan Rika 1" and "Gekkan Rika 2" (Monthly Rika 1 and 2). These books further solidified her reputation as a photographer who pushes the boundaries of self-representation and introspection. The images in these books showcase Nishimura's versatility and creativity, as she adopts different characters and scenarios, often incorporating elements of fantasy and surrealism.
"Rika & Lacroix" (2008)
One of Nishimura's most notable collaborations was with French fashion brand, Lacroix. The resulting photo book, "Rika & Lacroix" (2008), features the photographer posing in various Lacroix designs, highlighting her ability to adapt to different styles and themes. This book demonstrates Nishimura's capacity to navigate the world of fashion while maintaining her artistic integrity.
"I Am Rika" (2011)
The photo book "I Am Rika" (2011) marked a significant milestone in Nishimura's career, as it offered a comprehensive overview of her work to date. This book features a curated selection of images from her previous projects, as well as new, previously unpublished material. "I Am Rika" provides insight into Nishimura's creative process and showcases her growth as an artist.
Recent Work: "Rika Nishimura Photo Book" (2020)
Nishimura's most recent photo book, released in 2020, is a self-titled publication that highlights her continued exploration of identity and self-representation. The book features a mix of new and previously published images, demonstrating Nishimura's ongoing fascination with the human condition and her ability to reinvent herself through photography.
The Significance of Rika Nishimura's Photo Books
Rika Nishimura's photo books are more than just collections of images; they offer a window into her creative world and artistic vision. Her work challenges traditional notions of identity, self-representation, and the role of the photographer. By assuming various personas and exploring different themes, Nishimura invites viewers to reflect on their own identities and the ways in which we present ourselves to the world.
Through her photo books, Nishimura has built a devoted following, inspiring a new generation of photographers and artists to experiment with self-representation and introspection. Her contributions to the world of photography are undeniable, and her books continue to captivate audiences worldwide.
The photobooks of Rika Nishimura represent a controversial and culturally specific chapter in the history of Japanese media, specifically within the "lolicon" (Lolita complex) subgenre that peaked in the mid-1980s. These works, largely captured by photographer Yasushi Rikitake, documented Nishimura's transition from childhood to early adolescence and are now viewed through the lens of shifting legal and social standards in Japan. Career Overview and Photographic Debut
Rika Nishimura gained significant popularity as a "Lolita idol" and actress, primarily through a series of annual photobooks and videos produced between her ages of 11 and 16. Her debut work, titled Before Awakening
, was published by the Yasushi Rikitake Photo Office and set the precedent for her future collections by using time-lapse-style photography of the same subject over different periods. Notable Works and Themes Nishimura's most representative work is often cited as The Legendary Beautiful Girl Rika Nishimura
. Her bibliography includes several high-profile omnibus and multi-volume sets that are considered hallmarks of the era: Lolita Sisters (1983)
: An omnibus photobook featuring contributions from eight photographers, including Rikitake. Lolita Friends (1984)
: A follow-up omnibus released during the peak of the genre's popularity. Portraits of Jenny
: A seven-volume series released shortly before stricter regulations were enacted, intended by Rikitake to serve as a legacy piece with emphasized artistic merit. Historical and Social Context
The reception of Nishimura's photobooks is inextricably linked to the social climate of 1980s Japan. The popularity of "Photo-Lolicon" began a slow decline following the 1988 arrest of Tsutomu Miyazaki, a high-profile criminal case that stigmatized the genre and shifted public perception.
While these works were legal at the time of their release, the enactment of child protection legislation in 1999 fundamentally changed the landscape of Japanese photography, leading to Nishimura's eventual retirement and the cessation of similar publications. Today, her books are primarily of interest to collectors and historians studying the evolution of Japanese subcultures and the history of censorship in media. Rika Nishimura（Japanese actress）_Baiduwiki
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📸 Rika Nishimura Photo Books: A Collector’s Guide
If you’re a fan of 90s Japanese idol photography, you already know the name Rika Nishimura. With her striking eyes, classic short hair, and magnetic presence, she became one of the most beloved gravure idols of her era.
For collectors and new fans alike, her photo books remain timeless pieces of visual art. Here are the essential ones to know:
1. "Rika" (1990)
Her first major photobook. Captures her transition from girl-next-door to rising star. Pure nostalgia in every page.
2. "Splash" (1991)
A summer-themed classic. Beach, sun, and Rika at her most carefree. The candid shots are absolute gold.
3. "Fleur" (1992)
More artistic and moody. This book leans into soft lighting and Paris-inspired fashion. A fan favorite for its elegance.
4. "Naked" (1993)
Don’t let the title fool you — it’s tasteful and mature. Marked her shift into more sophisticated, adult-oriented photography.
5. "Dear Rika" (1994)
A farewell of sorts before her retirement. Intimate, emotional, and beautifully shot. A must-have for serious collectors.
Why they still matter today:
These books aren’t just idol memorabilia — they’re a snapshot of early 90s Japanese photography, styling, and print culture. Many are out of print, so finding a copy in good condition is like striking gold.
Where to look:
Try Yahoo Auctions Japan, Mandarake, or vintage bookstores in Tokyo’s Jimbocho district. Be prepared to pay premium prices for mint copies.
Final thought:
Whether you're a longtime fan or just discovering Rika Nishimura, her photo books offer a beautiful, analog time capsule of an era that can’t be replicated.
👇 Have you ever owned or collected a Rika Nishimura photobook? Which one is your favorite?
In an era where images are infinite and attention spans are zero, the Rika Nishimura photo books stand as a monument to a slower, more deliberate form of image-making. They capture not just a young woman in the 1990s, but the entire aesthetic ethos of post-bubble Japan—a mix of optimism, melancholy, and exquisite craftsmanship.
Whether you are a nostalgic fan from the Heisei era or a young photography student discovering her work for the first time, hunting down these volumes is worth the effort. They are not just pictures of Rika Nishimura; they are pages of history.
Have you collected any rare Rika Nishimura photobooks? Share your finds in the comments below. How to verify editions & authenticity
Keywords used: Rika Nishimura photo books (primary), Japanese photobooks, Rika Nishimura collection, 90s gravure idols, Heisei retro, vintage Japanese photography.
Rika Nishimura: The Legacy of a Japanese Gravure Icon Rika Nishimura was a prominent figure in the Japanese gravure and modeling industry during the 1980s and 1990s. Known for her early start and long-standing collaboration with photographer Yasushi Rikitake, her photo books remain a subject of interest for collectors of vintage Japanese media and idol culture. Career and Modeling Debut
Nishimura’s career was defined by her work between the ages of 11 and 16, a period during which numerous photo collections and videos were released annually. Her debut work, "Before Awakening," published by the Yasushi Rikitake Photo Office, was notable for its use of time-lapse-style photography, featuring the same subject captured at different periods to show growth and change.
Following this debut, she became a central figure for the "Lolita Complex Shop's Original Record Company" and continued to work closely with Rikitake. Despite announcing her formal retirement six years after her debut, the popularity of her early works—specifically "Before Awakening"—maintained a dedicated fanbase. Key Photo Books and Media
While many of her original 80s releases are now out-of-print collectors' items, they are often documented in historical bibliographies of Japanese idols.
"Before Awakening": Her official debut collection, widely credited with establishing her fan following.
Yasushi Rikitake Collections: A series of annual releases throughout her early teens that showcased her evolving image as a child model and gravure idol.
It is important to note that the photography industry in Japan during this era operated under different legal frameworks than it does today. Laws enacted in 1999 significantly changed the production and sale of certain types of minor-focused photography. Collecting Rika Nishimura Photo Books
For modern collectors, finding original copies of Rika Nishimura’s work can be challenging.
Secondary Markets: Rare editions often appear on platforms like eBay or specialty Japanese auction sites.
Specialty Bookstores: Retailers like shashasha and the Japanese Book Store often carry photography books from this era, though they may focus more on fine art photographers like Tamiko Nishimura (known for "Shikishima") or Rika Noguchi.
Digital Archives: Some enthusiasts track these works through online databases or scanned collections, though physical books remain the preferred medium for serious collectors. My Father's Album - Rika NOGUCHI - shashasha
Early Life and Career
Rika Nishimura was born in 1982 in Tokyo, Japan. She began her photography career in the early 2000s, initially focusing on portrait and documentary photography. Her work quickly gained recognition for its sensitivity, nuance, and emotional depth.
Photo Books
Over the years, Nishimura has published several critically acclaimed photo books that have garnered attention from both Japanese and international audiences. Some of her notable works include:
Style and Themes
Nishimura's photography style is characterized by her use of natural light, subtle colors, and a keen eye for composition. Her images often feature everyday people and scenes, which she captures with a sense of empathy and understanding. Her work explores themes such as:
Exhibitions and Recognition
Nishimura's work has been exhibited in several group and solo exhibitions in Japan and abroad. Her photographs have been featured in various publications, including The New York Times, The Guardian, and Aperture.
In 2013, Nishimura was awarded the prestigious New Photographer of the Year award by the Japan Photographers Association. Her work continues to be celebrated for its sensitivity, nuance, and emotional depth, offering a unique perspective on contemporary Japanese life and culture.
Conclusion
Rika Nishimura's photo books offer a captivating glimpse into her photography style and thematic concerns. Her work continues to inspire and influence a new generation of photographers, both in Japan and internationally. Through her photographs, Nishimura invites us to slow down, observe, and appreciate the beauty in everyday life.
Rika Nishimura (西村理香) is a former Japanese model and actress, widely recognized for her prolific output of photo books produced during the 1980s and 1990s. Her work is primarily associated with the Yasushi Rikitake Photo Office
, where she became a prominent figure in the "Lolita" subgenre of photography. 百度百科 Key Photo Book Collections
Nishimura’s bibliography is extensive, often featuring her at various ages between 11 and 16. Major works include: The Legendary Beautiful Girl Rika Nishimura
Cited as one of her most representative and popular collections. Art Gallery Series A series of collections including Art Gallery 01 Before Awakening
Notable for being her debut work with photographer Yasushi Rikitake, which famously used photographs of her taken at different time periods. Portraits of Jenny
A seven-volume series released shortly before legislative changes in Japan shifted the industry's landscape. Secret Garden Music Club Another high-profile entry in her extensive catalog. 百度百科 Career Overview Early Career:
Nishimura gained significant popularity among enthusiasts for her youthful "Lolita" image, with new photo collections and videos released annually. Synonymous with Rikitake: Her name became synonymous with the photographer Yasushi Rikitake , who is often searched for alongside her. Retirement & Return:
She officially declared her retirement six years after her debut. However, she made a "practical restart" in May 2004 with a new photo collection and a digital release at age 22, titled Rika 22 Years Old Goddess Reincarnation 百度百科 Distinguishing Other Figures
There are other notable individuals with similar names in the photography world to avoid confusing: Rika Noguchi: A contemporary fine-art photographer known for books like Small Miracles My Father's Album Tamiko Nishimura:
A renowned photographer focusing on black-and-white landscapes and journeys, such as Shikishima Looking Back Shimakura Rika:
A member of the idol group BEYOOOOONDS, who released the photobook Juukyuusai no Natsu purchase archival editions of these books or more information on the photographic style of Yasushi Rikitake? Rika Nishimura（Japanese actress）_Baiduwiki
Important Note: Rika Nishimura was a gravure idol active primarily in the early 1990s. Much of her work features content that would now be considered legally problematic due to her age at the time of production. The following focuses on the bibliographic and cultural history of her photobooks as collectible objects, not on promoting the distribution of the images themselves.