Isozaki provided substantial input and contributed an essay, featured images that were far more expansive in their framing, embraced ornamentation and chromatic diversity, and considered design details within their architectural contexts rather than highlighting them through isolation. Isozaki described Ishimoto's new approach to Katsura as a "de-modernist" vision, presenting the centuries-old villa in an altogether transformed field of vision that embraces the coexistence of varied, heterodox elements sharing the same environment. Architecture Following the publication of Katsura: Tradition and Creation in Japanese Architecture, Ishimoto would continue to photograph architectural buildings across the world, maintaining his keen interest in the atmospheric qualities of space and the intimations of structural detail. He received a commission to retrace the spread of Islam beginning in Córdoba, Spain, and traversed across Asia to Fatehpur Sikri, India, and Xi'an, China. The results of the journey were published as Islam: Space and Continent in 1980.Ishimoto maintained close relations with many modern architects, including Kenzo Tange, Arata Isozaki, and Hiroshi Naito, and photographed many of their buildings. In 1974, he photographed the work of early 20th-century architects Charles Sumner Greene and Henry Mather Greene of Greene and Greene in California for the Japanese design magazine Approach. In 1993, Ishimoto was invited to photograph Ise Grand Shrine during the 61st iteration of the ceremonial dismantling and rebuilding process, which takes place every twenty years. Ishimoto took cues from the series of architectural details photographed by Yoshio Watanabe in 1953, accentuating the lucid forms of the eaves and posts. In contrast to Watanabe, who captured his images at late afternoon to create a more dramatic aura using stark contrasts of light and shadow, Ishimoto opted to work under even midday lighting, infusing the setting with a softer and more brooding air. Chicago and street photography Early postwar work in Chicago Ishimoto's arrival in Chicago following the war took place alongside the second great migration of African Americans to the north. Chicago was only second to New York City in the number of new residents received in both migrations. As Jasmine Alinder suggests, Ishimoto's photographs of newly settled African Americans in Chicago from the rural south to the urban north mirror his own patterns of relocation first from rural Japan, to the west coast, and eventually to the shared ground of the urban north. Ishimoto's own experiences of facing anti-Japanese discrimination, both in the camps and Chicago, may also be read