Yasuomi Hashimura has built a long-spanning career around commercial advertising photography. He is known for his elegant, well composed still lives in addition to his liquid photography. He received great acclaim in the advertising world, no small feat in a competitive, fast-paced industry. His images have been shown world-wide in magazines and advertisements. This work represents Hashimura's overarching philosophy - to always bring something innovative to the photography world. It is a testament to his ability to bring his fine art sensibilites into the commercial world.
After establishing Hashi Studio in 1974 in New York City, he has worked with over 500 of the world’s top corporations. He has been sought after for his signature style - “Action Still Life”. By using flash at 100,000 of a second he managed to capture the abstract fluidity of liquids. His advertising still lives excite the viewer, showing them a moment not seen by the human eye.
Hashimura followed the mantra “let the product be the star” and used the framing and composition in addition to his expert knowledge of the camera to showcase the natural beauty of the object. Hashimura favored used spot lighting and dark backgrounds, giving inanimate objects mood and emotion. These images were shot in a large commercial studio with multiple assistants and an 8x10 film camera. Something that is evident in all of Hashimura's work is the idea of the importance of timing.
As he states ““From the perspective of the history of the earth which is said to be 4.6 billion years, a human life is as short as the moments that the super high-speed strobes used to take Action Still Life flashes for. The length of time is very much relative. Regardless of how finely it is captured, each moment is packed with countless dramas and incidents.” It is this dedication to innovation and the beauty in fine details that has propelled Hashimura's work forward.
Belinda Rathbone, a photography historian, writes about Hashimura in a critical essay, "To begin with he must have an active imagination. No less essential, he must possess a flawless technique to match it. The game he plays in not unlike the magician’s: his result must be fantastic, his technique invisible.... The portfolio that follows might be viewed as Hashi’s personal bag of tricks, a collection of fantasies that he has successfully made real. It is into this wonderful bag that it is high client’s privilege to dip for ideas."