White, blacks, demonstrate, suits, young people, draft, city, black and white, hiroji kubato

Magnum Photographer Hiroji Kubota

 Every time we read, or gaze at a scene we create a story about it, a photo is no different. The best images ask more questions than they provide answers in my humble opinion. Then our imagination often kicks in. Then it leads us down a twisty, winding path that’s often takes as much further than actually reality.

This is my first blog post on my favourite subject of all and that is photo books. I hope for goodness sake you don’t think I mean how-to-do-photography books. But before I get into this deep wonderful world of photos I need to mention the following:

All interpretations of the images contained within the book are my own, and based on my own limited experience of being a traveller, of living in this world for several decades and of my time spent being a very mediocre travel/street photographer. I hope you “the reader” will think kindly of me if I get places names, dates and locations mixed up or outright wrong. All opinions in this post are strictly my own and not of the photographer or the publisher. All rights to these images belong to Aperture Books and Hiroji Kubato.  

What makes this book special?

I shouldn’t blibber, blabber but it’s my blog so I will. On a day about 5 years ago, pre-Covid, in a time where people weren’t afraid to sneeze. I walked into this incredible small book shop, in Hong Kong. 

Honestly I wasn’t looking to buy such a pricey book, my wallet was still stinging from the last purchase of an expensive photo book ( I will write about that another time). In fact Hiroji’s book was just my second photo book of all time. The little shop which was actually a good size for Hong Kong, fell victim to the Covid and like many a business the closed. That’s another reason why this book is so important to me.

The moment my eyes met the cover of this book I was under its spell. Slowly but inevitably I was sucked into the captivating work of Hiroji Kubato. Without knowing very much about him or his work at that moment, he soon became my favourite photographer. Hiroji who is o course a magnum photographer, has both inspired me to pick up a camera and travel, while at the same time, his great work has left me feeling completely inadequate as a photographer and as a creative.

Great photos aside this book is so wonderfully edited, designed and put together it blows my mind. It’s a work of art in and of itself.

(See above)

Besides the glorious images, the magnificent text, in the form of the forewords, and interview are cleverly sprinkled between images, throughout the length of the book. This provides a commentary of sorts, and gives us a direct line to the mind and personal history of this great photographer himself and maps his journey from boy to the photographer and philosopher that he is today. That alone is worth the price of entry alone.

Hiroji Kubato

.Hiroji was born in 1939, Tokoyo just before WW2. He is the son of a successful seafood merchant and his life was good by all accounts. This all changed in 1944 when war raged in the pacific. War of course came to the outer islands of Japan, and the rest we all know.

His father moved his family to the coast, in attempt to keep them safe from ravages of this war. However It was there that as a boy he had one defining experience, that I should imagine had both a huge impact and a big hand in shaping him as person.

One day a young Hiroji was beside the sea watching fishermen on their boats. It was then he spotted US war planes approaching from the land, on their way back to their aircraft carriers.

Rather than than simply flying over, the planes opened fire on the men in their boats.  A terrible experience for anyone, let alone a kid, on that I think we can all agree. 

His father later evacuated them in the heart of the countryside. A similar thing happened with my own family during the blitz, on London by the Germans in WW2. Which is the back drop for C.S.Lewis’  The Lion The Witch And The Wardrobe, and the Narnia serious.

It likely saved their lives. Between the 9th and 10th of March, 1945, US planes fire bombed Tokyo, much of the structures were made of wood. The firestorm that followed killed as many as 100,000 civilians, flattened 16 square miles of the city and many more were hurt and made homeless. More civilians died in this event than both of the atomic bombs that were dropped on Hiroshima and Nagasaki combined. Japan formally surrendered not long after. Politics aside, it’s still considered by many as a war crime in and of its self.

Years Later

In a peaceful chapter of Hiroji’s life around 1960 Hiroji attended University to study politics and to cut a long story short, the hand of fate meant he crossed paths with some other famous photographers, chief among them Elliott Erwitt where you could say he began his career by assisting them. He was presented with a copy of Cartier Bression’s Decesive moment, as well as an old beaten up Leica (that’s nice).

He became fascinated with photography and travelled to the USA, which wasn’t an easy feat at the time. That’s where this book begins. 

He began his career as photography career freelancing for various publications, including Life magazine, where he gained recognition for his striking portrait of America. Until he eventually joined Magnum and became a magnum photographer himself. 

Kubato’s work is characterized by its intimacy and authenticity. His portraits reveal a deep understanding and respect for his subjects, many of whom were marginalized or overlooked by mainstream society. From African American civil rights activists to working-class families in rural communities, Kubato sought to capture the diversity and complexity of American life.

Despite facing discrimination himself as a Japanese-American during a time when anti-Japanese sentiment ran high, Kubato remained committed to using his camera as a tool for social change. As you can see from his work in this book he Travelled extensively to Vietnam, China, South Korea, North Korea and around Southeast Asia. His work spans decades until his return to Japan later in his career and life as a veteran magnum photographer himself.

The Images

I would love to go through many of the images with you, but obviously I can’t, so I have chosen just a handful, but believe me there are many more great photos in this book. 

The book is separated into two half’s, monochrome and colour. These images provoke, delight and inspire in equal measures. 

Here we go….

Page 37 

This image was taken in the 1960’s, USA and its a stunning black and white photo, that is full a gorgeous contrast between light and dark.  It was part of 

Description of the scene

My eyes are drawn to the brightest part of the photo, which is the window and the cabinet just below. I love the contrast of scene, and I can’t help thinking the cabinet might be of the kind that sometimes housed a record player inside, because there are records strewn around the sofa. The youths in the image and twirling and dancing to music. Or perhaps there’s no music at all, but I’d to imagine there was. 

The image is slightly blurred, as the motion and the dark scene tests the limits  camera. Another person peers in through the window I imagine to see what all the commotion is about, while. Another young man stands in the door way and gazes.

Young people, children, black, living room, black and white photo, records, window, USA, hiroji kubato

My thoughts

For me this photo has nothing to do with race or even a time particular time. Yes there are references to the period, records, decor and the like, but I also feel it’s a timeless one. It reaches out to us from the past. It is a beautiful innocent presented to us, it reminds me (and maybe you) of my own young life. Long days of irresponsibility.

The framing off this image is amazing, I often wonder about the width of that wide angle lens but at the same time I am happy to be left guessing. I kind of wonder what music they were listening to as well.

Page 40

This is a very intelligent photo, that’s not to say the other’s are not. Perhaps it matches with my own street photographer roots. There are multiple layers to peel back here, and is as close to street photography I’ve seen Hiroji do in his in this book. And if it were, should we be surprised? Remember that it was Cartier-Bresson’s book after all, which by his own admission started him on his photographic journey. 

Man, man with glasses, sandwich board, street, city, bottle floor, black men, smiling, down and out, skokie

Description of the scene

The backdrop is obviously a street, perhaps in a working class area of the city, or perhaps that’s how things just looked everywhere back then. Certainly working class cities around the UK didn’t look much different. We see two guys on a street, one is sitting and looks pretty down on his luck, and drunk. There’s an empty bottle of booze at his feet. I can fully sympathise with the fella, been there got that t-shirt a few times. 

It’s an interesting juxtaposition, the second figure in the photo stands a short distance behind him and is well dressed, He has a cool pair of shades on, and a smile on his lips though its not clear, if that is for the camera or for himself. The second man holds a sign, he looks very upbeat, his clothes are nicer, he’s looks sober. The fist man, is shabbily dressed, doesn’t look happy and far less sober. 

My thoughts

Now we get to the best part of the photo which I think is ingenious. The second man holds an advertisement and it reads.

“Your manhood is in a bottle your money is in Skokie A Skokie, I think is a kind of Bourbon.”

Maybe someone of my USA readers (if I have any) will know more than I. The bourbons I know are “Buffalo Trace” and “Maker’s Mark.” But either way it’s the wording on the sign which intrigues me. “Manhood.” Is it meant as a call to action? or meant to provoke? Of course “Manhood” has a double meaning, was that intentional? 

Once again I have so many questions about this image. Was it just chance that the two figures were standing there? Was the man with the sign, advertising his product or poking fun at the other fella. I have no idea. It’s a simply fantastic image anyway. The way Hiroji manages just to inject himself into the scene is masterful. The image contains so humour and humanity, which is well demonstrated throughout his work

Page 70 & 71

This is a very famous from Hiroji, it’s very striking and contains so many layers of meaning.

Trainyard, New York, black Panathers. USA, trains, city scape, snow, hiroji kubato

Description of the scene

Three tiny figures stand in a wide expansive train yard, against the back drop of a towering city skyline. The image of course is black and white again, and the medium illustrates the power of black and white photography, because the images are so well contrasted against the back drop of snow. The figures are isolated and clearly visible despite the distance they are captured from.

As stated by Hiroji himself being Japanese worked out really well for him doing this period of USA. Being Asian granted Hiroji much access. It might not be obvious from the images I have chosen to reference, but If you see the book in its entirety then that become more obvious. And in photography, access is everything.

My thoughts

We pull our own interpretations from a poem, book or photo. I’m from a different time and place, For me the image speaks of futility and defiance and frustration and off us being so small in the grand scheme of things. Especially when you consider the vast city scape behind them.

I enjoy the immersive experience to look at such a large 2 page prints like this one Its like you have a giant low tech screen TV screen. 

Page 146 (bottom)

I might be wrong by this photo was taken in the 1960s Shanghai. Taking photos at this time would must have been especially challenging but once again being the magician that he is, managed to get permission to wander with his camera, and without impacting on the scene.

Shanghai jewelry shop, people, woman, Chinese workers, onlookers, ring, bag, happy woman, black and white, hiroji kubato

Description of the scene

There are a lot of local, or possibly migrant workers (just as many large Chinese cities have today) people gathered in jewellery shop. Almost all the people framed within the image are men. With exception of one women. The lady is young, in the prime of her life, and she has an intense expression on her face as she gazes at the something on the top of the glass counter. She is obviously bedazzled by the object, which is likely a ring, that lies on a white cloth. Men peer in from all sides, the man next to holds on tightly to what might be cash. 

My thoughts

Talk about the decisive moment – this is crazy good. We can only imagine how pivotal moment in her young life this is. Politics of the time aside, she and the man to her right, are on the precipice of marriage and depending of whether he will buy this ring or not, their young lives will change and the adventure off marriage which many of us never completely recover from will begin. Every time I look at this image I see something different. It’s an old photo now but it still reaches out and grabs my heart. I can almost hear the bustle and the chatter that must be going on in that shop.,

Or that’s my interpretation of the scene, yours might be a little different. It’s one of my favourite images of China of all time.

Page 220-221

War photography is compelling, there is little doubt about that and it’s no accident that many of us find conflict photography so compelling. I know I do.

Soldier, stare, helmet, piercing gaze, war, black and white, hiroji kubato

Description of the scene

The image is once again black and white and it fits the situation so beautifully. The man who stares back at us from the image, are they eyes of a soldier. His eyes have a haunting intensity, and are the eyes of a man that have seen so much. His helmet is scratched, and scarred, The black and white medium extenuates the blemishes of skin and helmet. If you look close enough you can even see Hiroji’s reflection in those eyes.

My thoughts

The image demands our attention, in the way so many other images don’t. The soldier’s expression is certainly an enigmatic, soulful one. Perhaps we see what we want to see in an image, but for me there is also humour, kindness and even a ghost of a smile in expression.

As always the photographer shows a great deal of sensitivity. Once again Hiroji as captured the humanity, and the photo shows a great deal of humanity in it. It’s a sublime, raw image and profound.

Page 260 color

We are now in the colour section of the book. I love busy street scenes and its to imagine something better than this. 

Celebration, parade, festival, religious, color, phillopinos, crowds, street, city, busy,hiroji kubato

Description of the scene

It is good Friday San Pedro, Philippines, 1994. This is of course an important for festival for Christians in this part of the country. 

My eyes are drawn to the faces which are closet and nearest, but also to all that wonderful signage. The banks the pawnshops, people, the lines of the street just sucks you in. Everything in this image fascinates me, even the distant backdrop of the church or cathedral in the background is compelling.

My thoughts

If you have ever tried to take a photo of a crowded street scene then you will know how difficult it is. To stand in front of any crowd intimidates the hell out of you, and that’s just the least of your problems because you have to frame and catch that key moment that will make the photo work. Do these these scenes even exist anymore? In the time of social media, instagram, facebook to people really turn up in such great numbers anymore?

Page 308 

This scene is I think is now gone. As part of the three gorges dam and surely under water.

River, three gorges damn, city, bustling, boats, riverbank, old buildings, porter,tourists, travellers, river, color photo, hiroji kubato, china

Description of the scene 

It shows the city of…. In its prime. It a bustling port, where merchant boats, industrial even river cruises used to be able to sail all the way up the Yangtze. The city lies on the steep banks, due to the terrain. The framing is perfect here, I can almost imagine, the porters straining has they carry their heavy loads up river, boats calling to shore, people travelling up and down the river to sell their goods or see their families. I even wonder how he got this angle, was it from a mountain? Or from the construction of the dam?

My thoughts

The image also invokes as well as reminds me of another famous photo, and that was of the 73 year old Chairman Mao swimming in this famous river. This is truly a wonderful photo. Its truly document for history and great example why photography is so important for cultural and historical reasons. I always dreamed to travel up this immense river. The photo is fantastic documentary image that gives us a glimpse into how others lived up until a few decades ago. Hiroji was very fortune to travel and access around China before the damn came.

Pages 392 – 393 

The last image I think is perhaps the best in the book, and without doubt the best images I’ve seen of North Korea. The once again speaks to masterful skill as a photographer and to is talent of getting great access.

North Korea, subway, North Koreans, commuters, men wome, reflection of hiroji kubato, color North Korea, flowers, nicely dressed people

Description of the scene 

Today apparently there are at least 2 lines and has been suggested up to 700,000 people use them each day. Back when Hiroji took this image, it must have been very different. 

The subway car is new, and super clean (probably still is today). Everyone in the image is looking incredibly tense, on the left and right there are women, and a few kids here in there. The Pyongyang commuters are stiff and serious at first glance. Everyone is well dressed, and looking healthy. Some of the commuters look straight at the camera, other straight ahead or off in one direction. The only living male has flowers, who with an expression I can’t quite place, he looks off to one side.The rest of the commuters apart from the kids wear expressions that are somewhere between fear and mock indifference.

For me the hero of the image is the lady in blue who is the only one standing in the frame. She looks clearly uncomfortable. The whites of her knuckles are clearly visible as she grips her bunch of flowers, looking scared she stands under an images of Kim Jong el, who looks down on all like an image of the Pope or the Mother Mary.

My thoughts

The tension in this photo is palpable. Its a certainty he has minders and security with him, how else could foreign photographer operate and move around in North Korea otherwise. How natural is the photo? The regime wouldn’t have taken any chances on such a rare public photo? Would the regime allow anything less?

There’s much more

I hope you have enjoyed this rather long article, it started life a script or a video I was going to make on it. I wrote this whole thing from the heart with only a tiny bit of analysis and many, many edits. 

I believe that the best way to read a great photo book like this, is to consume it in bites! Large or tiny bites is up to you, but treated it like a delicious visual cake. Pour over the language of words, which are  scattered so sparingly throughout.

What I recommend this book? What do you think.

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