Just a few doors away from him was the studio of the already well-known Tamamura Kozaburō. He and Enami would work together on at least three related projects over the years. Enami was the only photographer of that period known to work in all popular formats, including the production of large-format photographs compiled into what are commonly called “Yokohama Albums.” Enami went on to become Japan’s most prolific photographer of small-format images such as the stereoview and glass lantern-slides.