A reprint of Masahisa Fukase's masterpiece, first published in 1978 as Asahi Sonorama photo selection no. 8 and long out of print. Made with the full cooperation of the model, Yoko Miyoshi, and supervised by Tomo Kosuga, director of the Masahisa Fukase Archives, it reproduces all the photographs and text of the original and adds the period texts it refers to, a new essay by Masako Toda and words from Yoko Miyoshi on the reissue. The original foreword called it the record of a man photographing a woman over some ten years: Fukase and Yoko met in 1963 and married in 1964. They lived as newlyweds in the Soka Matsubara housing complex, and in the 1970s he photographed her in Hokkaido, his home, in Kanazawa, her birthplace, and in Izu and Kyoto; in 1973 a series made with a telephoto lens from their fourth-floor window followed her as she left for work, and the pictures appeared in Camera Mainichi between 1964 and 1976. In 1974 his work was shown in the New Japanese Photography exhibition at MoMA and their trip to New York was photographed too. By the logic of an art that brings private life in, a paradox arose of being together in order to photograph, and the couple divorced in 1976; the book was completed two years later, its original cover showing Yoko in a kimono under radially cracked glass. This reprint enlarges the format and quietly places pages of crows that seem to foretell their future. As Toda writes, deep collaboration with another, whether we call it love or a mirror, is probably the same thing.