Board_Advisors_etc 3..5

lence, International Editorial Design Competition, 1982;

Photographer Award, Photographic Society of Japan,

1989; Art Directors Club 70th Annual Exhibition Merit

Award, 1991. Living in New York City.

Individual Exhibitions

2000 Hiro/2000; Maison Europe ́enne de la Photographie;
Paris, France

Selected Group Exhibitions

1959 Photography in the Fine Arts; Metropolitan Museum
of Art; New York, New York
1968 One Hundred Years of Harper’s Bazaar; Hallmark
Gallery; New York, New York
1977 Fashion Photography; George Eastman House; Roche-
ster, New York, and traveling
1985 Shots of Style; Victoria and Albert Museum; London,
England, and traveling
1990 Photographie: de la re ́clame a ́ la publicite ́; Centre
Georges Pompidou, Paris, France
1990 The Indomitable Spirit; International Center of Photo-
graphy; New York, New York
1991 Appearances; Victoria and Albert Museum; London,
England

1994 Fashion Photography: Avedon, Hiro, Penn; Art Basel

25 ‘94 Galerie Zur Stockeregg, Zurich, Switzerland

Selected Works

Shinjuku Station 27, Tokyo, Japan, 1962

Harry Winston Necklace, New York City, 1963

Donna Mitchell, Craters of the Moon, Idaho, 1968

Popping Pills, New York City, 1972

Apollo Spaceflight Training Suits, Houston, Texas, 1978

Foot Series 6, New York City, 1982

Fighting Birds 35-39, Baltimore, Maryland, 1988

Child 26, New York City, 1991

Further Reading

Avedon, Richard, ed.Hiro: Photographs. Boston: Little,

Brown and Company, 1999.

Edwards, Owen. ‘‘Is This Man America’s Greatest Photo-

grapher?’’ American Photographer, vol. 8 (January

1982).

Hiro.Fighting Fish/Fighting Birds: Photographs. Essay by

Susanna Moore. New York: Harry N. Abrams, 1990.

Woodward, Richard B. ‘‘Hiro.’’Graphis, vol. 48 (March/

April 1992).

HISTORY OF PHOTOGRAPHY:

NINETEENTH-CENTURY

FOUNDATIONS

To fully understand the twentieth-century history
of photography, it is necessary to return to photo-
graphy’s beginnings, to the contextual environment
of its ‘‘invention’’ in France and England and to
important precedents. Although historians docu-
ment through texts as early as the fifth century BC
the phenomenon of light projected through a small
opening (aperture), creating variable patterns on a
surface, photography’s ‘‘pre-history’’ really began
in the Renaissance with two basic photographic
concepts: the ideas of the ‘‘frame’’ and of the ‘‘box.’’
The ‘‘frame’’ is an important editing device allow-
ing two-dimensional representation of three-di-
mensional space (a drawing, a painting, later a
photograph) and depends largely on principles of
linear perspective developed in 1435 by the Italian

painter Leone Alberti inOn Painting. The ‘‘box’’

combines the light source, aperture, and surface

into one entity, the ‘‘camera obscura.’’ This Renais-

sance drawing device conceived by Leonardo da

Vinci (about 1500) and described by Giovanni della

Porta in Natural Magic (1553), is literally a ‘‘dark

room’’ with one wall (opposite a tiny opening)

becoming the vertical section of a cone of light: the

frame (called ‘‘Alberti’s window’’). The camera

obscura improved through time becoming smaller

and more portable; optics were added (the idea

attributed to Daniello Barbaro in 1568), and mirrors

to ‘‘right the image.’’

Thus, a cumulative effort of many centuries of

ideas and innovations allowed the inventors of

photography, Joseph-Nice ́phore Nie ́pce, Louis

HISTORY OF PHOTOGRAPHY: NINETEENTH-CENTURY FOUNDATIONS