Shinoyama began his career as a successful advertising photographer beginning in the mid-1960s and gained further notice in 1966 with infamous photos of writer Yukio Mishima, some of which were displayed in huge format to outraged shoppers in a Tokyo department store. He remains one of Japan’s most successful commercial photographers. Hareta Hi is essentially a series of impeccably sequenced, allusive photo-essays whose subject matter ranges from close-ups of politicians in mid-speech to a typhoon striking an offshore archipelago, to a defeated boxer, and brooding landscapes subjected to extreme environmental conditions. The full and double page bleeds are printed in deep color that flirts with saturation; the pages contain no text whatsoever. Appended at the book’s end is single page of brief annotations for each twenty-three series. We read at the very bottom of this page that all of the pictures were taken in 1974; a closer reading of the annotations reveals that they span just seven months of that year. So, this is, in some wonderfully abstruse way, a work of history, a highly subjective yearbook or photo-almanac. At times Shinoyama’s sequencing is cinematic, demonstrating the photobook’s ability to depict temporal flow; while at others it is precisely anti-cinematic, arresting both time and space. The book covers so much ground stylistically that it can be seen as an extended treatise on the myriad of possibilities inherent in photographic seeing.