HIRO, Content Projects
Content Consultant, 2004 - 2020, NYC
Hiro’s images span over 60 years of still life, portraiture, and fashion.
I worked with Hiro between 2004 - 2020 to achieve the curation goals of museum and gallery projects. In doing this I managed the production of new fine art prints, existing print selections, shipping logistics, and accompanying publications. The following are a few highlights.
• Hamiltons Gallery Shows: Printmaking, Logistics, 2020, 2018, 2016
• MFA Boston, Exhibition: Printmaking, Logistics, 2015 - 2016
• Pace/MacGill Show: Printmaking, Logistics, 2016
• J. Paul Getty Print Acquisition: Printmaking, Logistics, 2012
• Rights Managed Licensing Requests, Print Sales
• Production for Exhibitions, Books, Magazines, Printmaking
• Production for Elsa Peretti Advertising and Many Editorial Image Assignments
Peita Carnevale, Hiro Studio, Studio Manager, August 2021
Hi Cameron,
I’ve spent much of this week writing notes to people who needed to be told about Hiro’s passing with the hope of notifying them prior to press comments breaking the news.
The first of my notes was the hurried text to the four of you. Those folks that had spent the most time with and knew the most about the situation that Hiro found himself in. Speaking directly to all of you about Hiro over the last several weeks is not really an excuse to have forgone the more customary and necessary condolences that make all of this slightly more bearable. I have been at pains to offer people less important to him a kind word or anecdote to comfort them with the knowledge of the regard in which Hiro held them. I can do no less for each of you, although I am tardy in getting to it.
We know of course of Hiro’s absolute affection for you. I just wanted to remind you in these dark days of the humor, and light that you offered to Hiro on a daily basis for so long. He relied on your steadfast hand, your ready smile and your immense technical skill. I relied on your impeccable manners, kind heart and dedication to Hiro and your impeccable technical skills.
I’ve worked there a long time. I’ve seen the way Hiro has responded or not to many people. You offered a comfort beyond most. I’m sure that something more professional sounding would be a better comment to make but the fact is that Hiro was fragile for some of these last years and you did a great service to him beyond your skills. You offered him unconditional attention, affection and respect. That is not something in a handbook or a job description. Your contribution to Hiro is beyond measure. I don’t think that I know anyone who could have a done a better job of guiding Hiro thru a digital experience or offering him the humanity of trying to understand it.
People have sent the most lovely letters to me. Almost all of them have remarked upon the studio vibe. The “family” of the studio. The way we all of us have tried to be supporting and protective of him. Almost all have remarked on that with envy and awe. Just goes to show that those “hiro rules” work.
So I’m sorry that it has taken me the week to write. I hope that you can take small comfort in recognizing your vast contributions Hiro and his work. The further we get from those last shooting days the more I value the true gift of Hiro, his friendship. His talent was tremendous but I will always miss the man.
www.hirostudioinc.com
Richard Singh, Styling, Photography, Creative Direction, 2018
I first met Cameron when he began working with Hiro in 2004 after his tenure with Richard Avedon. During the past 14 years we have worked together on a continuing series of iconic advertising images for Elsa Peretti / Tiffany & Co., and on editorials for the American edition of Harpers’ Bazaar. Cameron’s contributions however, extend far beyond these projects.
I have always been impressed by his positive attitude, and having seen first-hand the high quality of his work and his dedication to those he works with, it’s easy to understand how he came to play such a vital role with one of the most important photographers of our time.
Hiro, Photographer, 2007
When Cameron stops smiling then I know we’re in trouble.
www.hirostudioinc.com
Peita Carnevale, Hiro Studio, Studio Manager, 2005
Cameron Sterling began working here as a full time photography assistant at Hiro Studio in early December 2004. He came to us highly recommended from his previous position at Richard Avedon Studio.
In the short time that Cameron has been with us he has adjusted well to his new environment, carrying out his responsibilities easily and is clearly a welcome addition to this studio.
In the field of photography, it is unusual for someone to have the opportunity to work for two masters such as Avedon and Hiro. The fact that Cameron has managed both should be quite telling to you. he is clever, competent, charming, well-mannered and I am extraordinary pleased to have Cameron as part of our busy and exacting team.
I look forward to his continued contributions to the studio.
www.hirostudioinc.com
Cameron Sterling, August 2021
About Hiro
Two weeks ago on a misty wet Sunday morning in rural Pennsylvania I visited Hiro. As I drove past the August farm stands we stopped at over the years I knew this would be the last time I saw him. A week later he passed on.
I began working with Hiro in December 2004 a few months after my work with Richard Avedon ended when he died. I had no idea my professional relationship with Hiro would span the next 17 years.
Hiro was a Japanese-American photographer. He was born Yasuhiro Wakabayashi in Shanghai on November 3, 1930 to Japanese parents. The events of the Second Sino-Japanese War (1937-1945) surrounded his youth. When World War Two concluded Hiro returned to Japan from China with his family as a teenager.
In 1954, inspired by western publications circulating in Japan, Hiro gathered a student visa, a host family, funds, and the courage to pursue his goals. His modest means and knowledge of the English language did not deter him. He took a boat to California, a bus to New York, and began to study at the School of Modern Photography. Hiro's determination and clear goal to be an image maker fueled his lifelong journey.
Two years later in 1956 after working for a few photographers Hiro began working for photographer Richard Avedon. Avedon introduced Hiro to the Harper's Bazaar art director Alexey Brodovitch who invited Hiro to his “Design Laboratory” program at the New School.
Hiro soon launched his photography career in a building he would share with Avedon over the next 10 years. March 1958 saw Hiro's first still life images of drinking glasses in Harper’s Bazaar followed by women’s shoes in the April issue. Almost every issue for the next two decades featured his work. Photography and print publications were at the pinnacle of modern culture in those times.
Seven decades later Hiro’s reach had expanded to international publications, commercial clients, and art spaces. Hiro pushed the limits of technology and the visual language of his day through portraiture, fashion, still life, and reportage. There is so much to be said about Hiro as a creative visionary and a remarkable person. His role as the owner and manager of his creative business and brand is equally notable.
From my own experience, as a manager he allowed me to grow within his business, gradually leave, and return in new capacities. Like a traditional mentor he taught by example in return for my work.
I learned more than I could ever hope for as I worked side-by-side him through the creative process and as he conducted client business with self awareness and grace. Hiro balanced demanding creative goals with a clear mission to enjoy life. He would sometimes say, "Why am I doing this?" as a way to investigate ones motives and alignment with the task, job, or endeavor.
We worked through the day, but we always stopped for an unhurried lunch and rarely worked past normal hours. His client boundaries and expectations were clear. His personal life was as important to him as his commercial work. Hiro, like Avedon, lived with a passion for work and life with intention.
www.hirostudioinc.com
