Cover image for Hiro : photographs
Hiro : photographs
Personal Author:
First U.S. edition.
Publication Information:
Boston : Little, Brown and Co., [1999]

Physical Description:
1 volume (unpaged) : illustrations (some color) ; 34 cm
General Note:
"A Bulfinch Press book."
Personal Subject:
Subject Term:
Format :


Call Number
Material Type
Home Location
Item Holds
TR654 .H56 1999 Adult Non-Fiction Central Closed Stacks-Oversize Non-Circ

On Order



Hiro has been a revered name in the world of fashion and editorial photography for more than forty years. A master of precision, elegance, and startling graphic imagery, the extraordinary brilliance and range of Hiros photography is presented for the first time in this book.

Reviews 1

Booklist Review

Now in their seventies, Hiro and Ishimoto are Japanese, though Hiro grew up in China, and Ishimoto was born in the U.S. Each later lived in Japan but honed his photographic skills in the 1950s with an American, Hiro with Richard Avedon and Ishimoto with Harry Callahan. Their choices of mentor indicate their artistic differences. Like Avedon, Hiro creates calculatedly elegant fashion, portrait, and still-life photos. Even his black-and-white images of commuters pressed against the doors of Tokyo subway cars, though necessarily informal, appear carefully managed, attesting to an eye sharpened by his practice technique of striving to render a single subject with total freshness in every exposure. The fashion work here is mostly in color, the portraiture mostly in black and white, and the most personal work in both. His manipulation of focus requires close attention to the sharper and softer areas within the frame to fully apprehend, but his exploitation of photography's surrealist possibilities is immediately noticeable. Hiro's surrealism stresses wit and humanism, as in his parody of Michelangelo's vision of the Creation in which a robot's hand stands in for Adam's, a screaming chimp's for God's. Ishimoto is a street photographer like Callahan, gifted with the patience to wait for an effective composition to present itself, as in the image of newspaper pages blowing through Chicago's Grant Park that is the cover illustration and frontispiece of this companion to a summer 1999 exhibition, or to move about a stationary subject until he finds the right view, as in the pictures of historic Japanese buildings that portray them as premonitory of modern architecture. Most of Ishimoto's work is black and white, and he prints very carefully to educe the precise visual textures of, say, footprints in snow or a leaf glued to the ground by moisture. He has a lively concern for society's underdogs, and many of his Chicago pictures from 1949^-51 and 1959^-61 sympathetically present poor people, sometimes juxtaposed with cold-appearing, well-dressed persons. Those who love the photos of other great street masters, such as Henri Cartier-Bresson, Roy DeCarava, and Helen Leavitt, will respond to Ishimoto's with similar warmth. --Ray Olson