Things and things that bring richness to everyday life.

I feel like I'm drawn to honest adults who don't follow trends, but have a strong determination to do this.

Brooklyn Museum features people of interest.

This is a serial project that introduces people who are having fun, struggling, and envisioning their own futures.

Photographer Kiyohide Hori

This time's Hamaribito is photographer Kiyohide Hori. Studied at ICP (International Center of Photography) in New York in the early 1990s, and then worked in New York. After returning to Japan, based on his own work, he began photographing magazines, advertisements, and artists. We asked Mr. Hori, who has the rare experience of photographing legendary artists such as poet Allen Ginsberg during his lifetime, about his photography experiences and his outlook on life.

━What made you decide to become a photographer?

Mr. Hori (hereinafter referred to as Hori): Originally, I had no intention of becoming a photographer. I became interested in photography when I was 19 years old, but at that time I had no intention of doing photography for magazines or advertisements. At that time, I used to hang out in Harajuku a lot, and because of the location, there were a lot of people doing creative work, and it was a time when I was helping them out.

I was working as a draftsman for a graphic designer, and at that time I came across photo books and photo magazines such as LIFE, which led me to go buy a camera on my day off.

At that time, there were several photographers that I liked that left an impression on me, and one that has always stuck in my mind is the photograph of Canadian photographer Yousaf Karsh.
There were pictures of Churchill and Hemingway in the photo book, and I remember wondering how they were able to take photos of the great people of the past.
At that time, I suddenly felt an urge to get a photo of this person out of curiosity. Seven years later, I ended up asking him to take my photo.

━That's amazing. How did you decide to have your favorite photographer take your photos?

Hori: I thought, ``How can I seriously pursue photography in Japan?'' but I didn't really know how. I suddenly thought that if I had someone I respect take a picture of me, I would understand better. So, I was wondering if I could get some photos taken, and a Japanese-American friend who lives in Los Angeles contacted me and said, ``I know. I'll ask the gallery that Karsh has a contract with.'' Then, two weeks later, on a Saturday, I was asked, ``Please come to New York,'' and I said, ``What? Already?''

So I came up with conditions like how much would I pay for the shooting and how much for each extra photo, which was a very high amount for me, who was in my 20s at the time. But I remember thinking, ``It's worth it!'' Without thinking twice, I got a ticket to America and hopped on a plane.

When I went to New York and called the contact number I had heard about, I heard an old man with a different accent from America, so I guess that's it? Maybe I made a mistake? Then I realized that he was about 80 years old at the time.

So when I got to the studio, I was more nervous than I expected.
After all, right in front of me is a photographer who has worked with people who appear in fairy tales, such as Churchill in World War II. Then, when I suddenly looked at myself in front of the mirror, I suddenly said, ``Oh, I've grown a beard...''
Then he asked me, ``Why don't you shave?'' and lent me his razor (lol).

For the shoot, there was an assistant who set up the set, the lighting was decided, and the shooting began, but the actor was comforted and hugged while protecting his legs.

Interestingly, Karsh was talking throughout the filming. There was a moment of silence, and I put my index finger close to my mouth and snapped a photo. The story then resumes immediately, but the tempo becomes faster and faster.
Things like, ``What are you professionally?'' or ``I photographed Helen Keller around the same time in March 1948.''

I was 26 years old at the time and was nervous, sweating, and nervous, but I gradually gained courage as I realized that this is what the filming process is all about.
The filming continued as we were told many other legends, such as that after filming Helen Keller, Ms. Thompson called Martha Graham and visited the studio the next day. Although he was elderly, he used a large camera and stood for two hours while covering his legs to take the pictures. I was very impressed with the way it was shot.

I had read an article about Churchill and him before, and the story was about Kirsch breaking Churchill's cigar and making him angry.
After the shoot, we all ate chicken pot pie at a local restaurant and decided to ask, ``Is that true?''
Kirsch said, ``The shoot took place in a room in the Parliament Buildings in Ottawa, and the shooting time was 15 minutes. Churchill came in with a cigar in his mouth. So I grabbed the cigar, went back to the camera, and pressed the shutter. As Churchill was leaving, he said, ``Kirsch, you're going to be the man who can silence a roaring lion.'' This episode was true.

━His power of action is amazing. What happened after that?

Hori: After moving to New York, I went to photography school and then started working as a budding photographer in New York. Friends I used to hang out with and girls who edited fashion magazines started to have their own pages as they gained experience and became a little more important, and they started giving me jobs. However, I couldn't make much money, so I made a living by selling the many photo books and old books I had.
I've been looking at photo books and magazines since I was a teenager, and when I look at VOGUE, I remember most of the photographers, and I think Harper's BAZAAR is a magazine that does interesting things.

However, even though I gained more knowledge by watching them, I couldn't tell what was good or bad when I took pictures myself, and I kept asking myself, "What?"
That's when I realized that it would be more interesting for me to focus on ideas rather than technology.

━I see. I heard that you photographed the poet Allen Ginsberg in New York. How did that happen?

Hori: I fell in love with Allen Ginsberg when I was in high school.
A used bookstore had a collection of his poems, and even used books were expensive for high school students, so I went there several times and browsed through them. So when I thought, ``I'm going to buy something today,'' the bookstore staff talked to me and introduced me to books by various other poets.

My family had a policy of not reading Yukio Mishima and other books, so when I was told that, I was even more encouraged, and it was fun to read quietly, so I indulged in reading even more. At school, people treat me like a ``dangerous person,'' but I think it's good to be like that. I read it quietly during class. (lol)

So, when I read Ginsburg, I thought it was interesting even though I didn't understand it. At that time, there were no stereotypes such as adult slang that got in the way of judgment, so I was able to get into it easily. After I came to Tokyo from Nagoya, I learned that there was going to be a reading of Ginsberg's poetry, and I thought, ``I have to go.'' At the venue, there were many famous people sitting nearby who everyone knew.
After the reading was over, I was only about 50 meters away from Ginsburg, but it was an unforgettable experience of being able to see the real Ginsburg right in front of me.

So, as I mentioned earlier, I think it was within a week of moving to New York, and at that time there was a newspaper that had information on the Sunday edition of the New York Times, and I found the words ``Allen Ginsberg/Poetry Reading.'' I didn't know that such an activity was going on, but I timidly went to the church where the event was held and quietly approached and took about 4 photos. That was the first.

━At first, you secretly clicked at the reading session?

Hori: At that time, I didn't even have the brain to ask for permission. I was able to take some good photos, but even if I did take them, I didn't have any intention or place to show them anywhere. After that, it's basically a chase. I would go to several readings, take pictures, and then go home.

One day, I learned that Ginsberg was going to hold a two-day meditation session with a Tibetan monk, and I wondered if I could spend the entire two days with him. The capacity is about 20 people, and you will have the opportunity to talk with the person himself.

I joined the group, and during my break, I was having lunch at a nearby restaurant, and he started talking to me. Did I mention that I moved from Japan a while ago? Strangely, I didn't feel nervous even when I was in front of him.

After that, there was another session in the afternoon, and I dared to present a poem in Japanese with the person I went with, and it was well received.
The atmosphere suddenly became more peaceful, and I was happy to think that we had become closer to each other. On the way home, I bought a book and had it autographed, and when I asked him, ``Where's the next reading?'' he said, ``Why don't you find out for yourself?'' (laughs)

━Of course, did you do some research next time?

Hori: Yes. The one I remember best was the presentation of the 2-CD set at Tower Records, and there was also an autograph session, so I went there. There were a lot of security guards, so I thought they'd probably warn me if I took pictures, but Ginsberg turned to me and said, "He is all right." He remembered me.
And the person himself gave permission for the photo. This is where I got the chance to photograph him.

There was a long line for the autograph session, but the atmosphere was such that anyone was welcome to take pictures until the end. Normally, the manager would come out and say things like, ``You have 15 minutes left,'' or ``You can't sign autographs unless you buy the book,'' but he just kept signing autographs regardless.

Another interesting thing was that when there was a Bob Dylan concert, he was in the line for regular customers, but the staff noticed him and led him to the VIP seats. Usually, invited guests come in easily, right? That was the moment I felt his great personality.

━Even though she's famous, I'm also attracted to her natural appearance.

Hori: That's right. The place I lived was close to his home, and when we met at a Japanese restaurant, he would wave at me. I've seen his readings live many times, and I've always found them interesting. I think that by experiencing it many times, it has become a component of who I am. You could say that these experiences have an influence on my photography, but it wasn't until much later that I realized that the experience I had when I wasn't taking pictures was a part of photography.

I think people can be manipulated by words just by listening to ideological talk. I think I may be a little sensitive about it sometimes. I think sometimes your perspective changes after a while.

━I see. After that, I heard that you worked as a photographer in New York, taking photos of various artists such as Dennis Hopper and the Beastie Boys.

Hori: Even though I took many pictures, I was really lucky. When I'm trying to keep my antenna up and trying it out, sometimes I get lucky.
I think everyone is like that too, right? There are times when I feel strongly about trying to get lucky, and other times when I run away. So, I don't have anything in particular in mind.

━Finally, you have now returned to Japan and are working as a photographer in various areas such as advertising and magazines.When do you feel that your work is rewarding?

Hori: That's the case with all filming. I'm the type of person who enjoys it when I get a photo shoot request, but then I get scared and wonder what I should do. Isn't that what happened when you were a child? You don't feel any pain until you are bitten by an insect. Before you can remember, for example, you wouldn't know that if you broke a cup, you'd get yelled at, right? I think the filming set is waiting for something like that. So it's fun, even scary.

FAVORITE1
IVY shirt

Hori: I have favorite types of shirts that I've been buying ever since I was in high school and college, and some of them are already falling apart but I can't throw them away.
There was a clothing store that I used to work at when I was in high school, and they told me about a book called ``TAKE IVY,'' which I thought was really cool.
There was a lot of ivy fashion from the 1960s, and I often bought used clothes and dead stock.
There's a part of me that can't escape from this, and I can't change the base. I was diligently reading Toshiyuki Kurosu's ``Trad Saijiki,'' which he often wrote about in the magazine ``Men's CLUB,'' and later on I decided to meet him.

I wore this 60's paisley button-down shirt with slim tapered slacks. Then the teacher said, ``This isn't real.'' I feel lucky to have met someone I've admired for so long, and I was happy that my teacher said it was genuine. It's been my style for a long time, and there are years when people think it's uncool according to trends, and other years when people say it's cool. My stance is to always wear clothes because I like them, regardless of social trends.
Since then, I have no desire to graduate from this style, and it feels like I've been repeating a grade.

FAVORITE2
The notebook I received

Hori: The notebook I received originally had an embossed logo on it, but I erased it with black nail polish. Many of the things I use were given to me through good fortune, and the clothes I'm wearing today are all the result of good fortune.

FAVORITE3
disassemble the machine

Hori: When I was a child, I was often called a destructionist at home (lol), but I like disassembling machines and it gives me pleasure. This might be my favorite thing right now. In his mid-30s, he remembered this thrill and became a subversive again. Isn't it exciting to take it apart and see what's inside?

I've tried disassembling various things, but I've also disassembled Bang & Olufsen. There were quite a few things that I couldn't put back together after disassembling them, but once I took them apart and found out what was inside, I wanted to move on to the next thing. That kind of nature makes me feel a lot of different ways.

What's interesting is that unlike humans, machines are honest. If we can find the problem, we can quickly resolve it. If people use it, it becomes something, and if it breaks and is left alone, it becomes garbage. The same goes for photographs; if you keep them around, they're just paper. I kind of like that kind of thing.

Hori: I've been using it for about two years. My friends also said to me, ``The white wallet looks cool.'' When I ordered it, I had no hesitation in choosing the design.
It's the same feeling as taking a photo, it looks like it wants to move, and I want it to look like this.

If I make the base of the wallet white, I want the thread to be gray. Then I thought I should change the color of the inside.

It's similar to the feeling of "listening to the movement" of the subject when you look into the camera.
Listening is very important. I don't know where I'm listening to it, whether I'm listening to it in the afterlife or what.
I feel like this feeling is still connected to my work.

Hori: When you come to the Brooklyn Museum, the moment you hand over your wallet, they will take care of it for you, even though you didn't even ask. (lol)
It's a white wallet, so it gets dirty, but he quietly pulls out various tools and does the job. When I see something like this, I find it funny and think, ``This person is weird (lol).'' Aren't you happy about something like this?
This is what I like about Brooklyn.

I also like watching Mr. Kusagaya, the leather craftsman, maintain the leather, and it's interesting to see how well he uses the tools. By touching the wallet with your hands, you can tell things like ``I haven't used it here.'' In a sense, it's also a doctor for your wallet.