Tsuda no Kami Sukehiro, the second generation, was born in 'ei 14 (1637) in Uchide village, Settsu Province (present-day Ashiya City). His common name was Jinnojo. He studied under the first-generation "Soboro" Sukehiro, a smith of Ishido lineage who had trained under the first-generation Kawachi no Kami Kunisuke, and after his master's death in Meireki 1 (1655) he succeeded as the second generation. Around Meireki 3 (1657) he received the court title of no Kami, and in 7 (1667) he entered the service of Aoyama Inaba no Kami Munetoshi, the Osaka Castle governor. He died in Tenna 2 (1682) at the age of only forty-six. In his early period he tempered in the manner of Ishido; he then shifted to ; and ultimately he originated the distinctive temper known as toran-, which "took the age by storm" and exerted a powerful influence not only on contemporary Osaka smiths but also on many makers of the later era. His is also "extremely skillful," and the regards it as standing alongside the of Inoue Shinkai of Osaka "as twin peaks."
In forging, Sukehiro produces a tightly packed upon which extremely fine adheres thickly and fine enter well, yielding steel that is consistently described as "bright and clear." His signature toran- begins with a straight , then develops into large mixed with small and angular elements in a "billowing-wave" manner; the is deep, adheres thickly and evenly, and fine and run throughout. Bead-like appear in places, likened to "spray from crashing waves," with faint intermixed. The is invariably "bright and clear." In mode, a hallmark is the shallow "five-fold" undulation; the particles are finer than Shinkai's and display minute activities along the edge described as resembling "the fine tearing seen in hosho-gami paper." The is tempered somewhat deeply, proceeding in a straight manner or shallow and turning back with a long , often showing . A further point of appreciation is the characteristic widening of the tempered width from around just below the into the . His are finished in with file marks bearing , and the signature transitions from the earlier "" gyosho style (through Enpo 2) to the "" sosho style in his mature period.
The consistently identify both and as "bright and clear" across his oeuvre, and his finest works are praised as pieces "in which the full strengths of the second-generation Sukehiro are amply brought to expression." The depth of , the uniformly thick adherence of , and the brilliance suffusing both ground and temper are repeatedly cited as "precisely his true forte." His toran- pieces are commended for a "markedly lively presentation" full of "spirited vigor," while his works earn recognition for their "full, rounded impression" and elegant refinement. His collaborative work with Inoue Shinkai, in which Sukehiro held the leading role, is termed "extremely rare" and "indispensable for research into the relationship between the two great masters of Osaka ." His are noted as "extremely valuable as documentary material," with only two known surviving examples. Across all modes of expression, the characterizes Sukehiro as a smith whose forging is "of excellent quality and stands out as superior," placing him at the very summit of the Osaka tradition.