Using a medium-format camera, Hara takes photographs of people she encounters outside, in the train, and so forth. She said "My shooting style is so-called snapshot, so I can say all of my photographs were taken by a mere accident, . . . They are the photographs of somewhere yet nowhere."[5]
Comparing her photography with that of Rinko Kawauchi, Ferdinand Brueggeman writes
Mikiko Hara's photography is poetic as well, but she has a different topic. She talks about distance and isolation of people in public spaces – especially of women.[6]
Exhibitions
Solo exhibitions
Is as It. Gallery le Deco (Shibuya, Tokyo), 1996.[1][2]
Puraibētorūmu 2: Shin sekai no shashin hyōgen (プライベートルーム2 新世代の写真表現) = Private Room II: Photographs by a New Generation of Women in Japan. Contemporary Art Center, Art Tower Mito (Mito, Ibaraki), April–June 1999.[1][2][14]
Japan: Keramik und Fotografie: Tradition und Gegenwart. Deichtorhallen (Hamburg), January–May 2003.[15]
Pingyao International Photography Festival (Pingyao, China), 2004.[1][2]
Nichijō kara no tabi (日常からの旅). Shinjuku Epsite (Shinjuku, Tokyo), November–December 2005. (in Japanese)[1][2][16]
Change. New York: Gould Collection, 2016. ISBN978-0-9973596-0-2. With a short story by Stephen Dixon, "Change." Edition of 500 copies plus 26 copies with a print.[n 2]
Notes
^The publisher's page about These Are Days is here.
^飯田克志, 産業都市・川崎の100年の変遷紹介 岡本太郎の作品やポスター、写真など240点, Tokyo Shinbun, 2 September 2007. (in Japanese) Reproduced hereArchived 2014-03-03 at the Wayback Machine (Japan Press Network). Accessed 1 March 2013.