The aim of this graduation thesis Female Japanese Photographers in the 1990s and the onnanoko shashin is to analyse the ’girls’ photograpy’ or ’girlie photography’ phenomenon. My argument is that these terms are incorrect and simplistic as they are applied to many different approaches and topics. The major objective of this thesis is to present the oeuvre of the three most well-known ‘girl photographers’, namely Yurie Nagashima, Mika Ninagawa and Hiromix – the latter is associated with starting the trend. The different cultural backgrounds demand to look deeper into the peculiar nature of the Japanese society and culture, highlighting the differences between western and eastern societies. That will help to interpret this seemingly weird period of Japanese photography. The works of the selected photographers are interpreted by their photobooks, in relation to their own cultural background. The feminist point of view is also applied in the analysis.