This paper focuses on the social meaning of old photos as physical objects from the perspective of the history of photos in material cultures and emphasizes the need to consider interactions between individuals or events and old photos as physical objects from a social historical perspective. The paper proposes to reconsider the conventional view in historical studies of photos as well as the possibility of expanding the range of historical descriptions. In this paper, the authors conduct a case study on Teijiro Ueda, a photo collector who lived in Osaka before World War II and contributed to archiving old photos as physical objects and to the social sharing of photos. Through this case study, the authors show how his collection of old photos was formed, along with the social role of his collection (known as the Ueda Collection) as a private archive of old photos. The aim of this study is to examine the significance of the private archiving space in Osaka during the pre-war period, which was formed as a result of the photo collection by Ueda and his management of the archive through collaboration with the scholars of Kyoto Imperial University. The Ueda Collection, which is an archive of old photos, and the activities of photo collectors around Ueda contributed to the formation of photo data based on object surveys, helped to create semi-public photo archives on the periphery of the academic world through collaboration with the Kyoto school of economic history, and also provided a basis for the development of new studies on the history of photos. In this respect, the activities of these photo collectors served as nodes in the archiving space that formed an academic community in the private sector during the pre-war period.

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1913（大正２）年に、結核予防対策を担うために設立された日本結核予防協会は、結核の予防法や治療についての正しい知識を普及させるため、様々な啓発事業を展開した。中でも、協会の理事であった遠山椿吉を中心として、当時新しい娯楽媒体として注目され始めた映画の活用に乗り出し、1918（大正７）年に『悪魔の活躍』と『一陽来復』という劇映画の要素も含んだ結核予防映画を製作した。これは教育映画全体で見ても極めて初期の作品であり、製作を担ったのは写真家の平野守信である。昭和期に入ると、徐々に増加し始めた教育映画を手がける製作会社と連携して、協会がその役割を終える1939（昭和14）年までに合計15本の映画を製作した。多くの作品は、結核に関する教訓を『不如帰』などの物語にのせて伝えようと試みられており、教育映画の草創期において、教育的効果と映画の持つ娯楽的要素との融合を図ったことが評価できる。

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日本カメラ博物館が2012年に寄贈を受けた『寫眞雜誌（脱影夜話）』は，以前から「日本最古の写真雑誌」として認識されているが，本寄贈品を内容調査した結果，再考すべき点が複数見出された．これについて検証と考察を行った．また後継誌との関連や，発行年と誌名の変遷，装丁などについても考察を行った．

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 This article examined "AICHIKEN NO BU" "GIHUKEN NO BU" "AIGI SINSAI SYASIN" "SINSAI SYASIN" photographed by Kin MIYASITA recorded the Nobi earthquake and "AIGI SETUMEISYO" "MEIJI 24 NEN 10 GATU 28 NITI SINSAI SYASIN SETUMEISYO", following points become clear.
 1) After the Nobi earthquake, Kin MIYASITA took pictures of the stricken area by the requests of the Aichi Police and the railroad agency. In the collection of photographs settled these, there are "AICHIKEN NO BU" "GIHUKEN NO BU" possessed at Architectural Institute of Japan, "SINSAI SYASIN" at Gifu region meteorological observatory, "SINSAI SYASIN" at Nagoya University, "AIGI SINSAI SYASIN" at Aichi Prefectural library.
 2) "AIGI SINSAI SYASIN" was made to explain the photograph of the photo album gathered up particularly, and this may be able to reach "AICHIKEN NO BU" "GIHUKEN NO BU" are equal very well. In other words, it may be said that ２ books are the definitive edition of the Nobi earthquake stricken area photographed by Kin Miyashita.
 3) Only the number was written on the photograph mount of "AIGI SINSAI SYASIN" of the Aichi Prefectural library with a writing brush. This number applies to the explanation number in "AIGI SETUMEISYO". Therefore it is thought that "AIGI SINSAI SYASIN" of the Aichi Prefectural library was produced after the establishment of "AIGI SETUMEISYO".
 4) From the wrong kanji included in the afterword, "AIGI SINSAISYASIN" of Nippon University was proved to be the earliest establishment as the Nobi earthquake photo album of Miyashita. In addition, "AICHIKEN NO BU" "GIHUKEN NO BU" and "AIGI SINSAI SYASIN" of Aichi Prefectural library where the sequence of the photograph obeyed "AIGI SETUMEISYO" were produced latest, it is thought that these were produced after January, 1892 when "AIGI SETUMEISYO" was edited.
 5) Miyashita was concerned with editing of "MEIJI 24 NEN SEYUMEISYO" in the beginning of December, 1891, in the next month, he revised ibidem, and he gathered up "AIGI RYOKEN SETUMEISYO". In addition, the photograph album corresponding to "MEIJI 24 NENSETUMEISYO" has been never seen, but contents are equivalent to "MEIJI 24 NEN SYASINTYO" published in 1931.

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