Chamblee54

The United States is spoiled by the acceptance of our international frontiers. The Rio Grande, and the oceans, are obvious. While the Canadian border was a matter of contention at one time, it has been accepted for many years. In many parts of the world, where one country ends and another begins is casus belli, or reason to start a war.
In 1893, what is now Pakistan was known as India, a part of the British empire. The Foreign Secretary of this government was a gentleman named Mortimer Durand. In 1893 a border was drawn between Afghanistan and India, which became known as the Durand Line. There are stories of British dirty deeds. Much of what is today Pakistan arguably belongs to Afghanistan, or an independent Balochistan. This is a repost, with photographs from The Library of Congress.

The facebook feed has recently had links to a story, Dorothea Lange’s Censored Photographs of FDR’s Japanese Concentration Camps. Miss Lange was the photographer of the iconic Migrant Mother. After Pearl Harbor, Miss Lange took a job with the War Relocation Authority, documenting the “relocation” of Japanese-Americans to interment camps. The photographs did not please the authorities. They were censored, and only appeared recently. This is a repost.
Ansel Adams also took photographs at the Manzanar, California, camp. In the current stories, he is literally a footnote: quotes were used from a book about his photography. Why is Dorothea Lange receiving attention, while Ansel Adams is ignored?
One answer is that Miss Lange was hired early on, and shows the harsh reality of relocation. “On July 30, 1942, the WRA laid her off “without prejudice,” adding that the cause was “completion of work…. the WRA impounded the majority of her photographs of Manzanar and the forced detentions, and later deposited 800 image from the series in the National Archives without announcement.”
“After Lange’s departure, Manzanar’s director Ralph Merritt visited renowned environmentalist and landscape photographer Ansel Adams and suggested he document the camp — Merritt and Adams were friends from the Sierra Club. Lange, also friends with Adams, encouraged him to take the job. (Coincidentally Adams printed “Migrant Mother” for her ) …Ansel Adams made several trips to Manzanar between October 1943 and July 1944 for this new personal project, and, as Alinder writes, he was primed to try the kind of documentary photography regularly practiced by Dorothea Lange and the Farm Security Administration that he had earlier shunned. Unlike Lange, a white woman who had been viewed with suspicion by her subjects, Adams was welcomed by the incarcerees, even greeted as a celebrity in a cultural community that had a deep appreciation of nature — many incarcerees at Manzanar literally opened their doors to him dressed in their finest clothes. … By 1943, Manzanar’s incarcarees had had time to settle in and enjoy the fruits of their collective work. In less than ideal surroundings, they had collectively built their own post office, town hall, library, auditorium, co-op store system, police station, jail, cemetery with memorial, published their own newspaper (the ironically named the Manzanar Free Press, which was regularly censored by the military), and even their own YMCA.”
“As for Lange, looking at the historical record, it appears that she was treated differently from the other WRA photographers. She was discouraged from talking to the incarcerees, was constantly followed by a censor, and faced harassment. She was refused access to areas after being given clearance, and she was often hounded over phone charges and receipts. … After being discharged, Lange expressed in letters her dismay that her work was ineffective in helping the people she documented. Her assistant Christina Clausen later noted the ferocity of this body of work also marked the beginning of the photographer’s bleeding gastric ulcers. Lange was unable to work for a number of years after her harrowing experience at Manzanar. She died from esophageal cancer in 1965.”
“In 1944, Adams’s photographs were published as a book, “Born Free and Equal: The Story of Loyal Japanese Americans,” and shown at New York’s Museum of Modern Art. Nativists took offense. They saw Adams’s work as a slur on the war effort. He was a “Jap lover.” This quote is from a 2016 article, Let’s be honest, Ansel Adams’s images of a WWII internment camp are propaganda
“Adams visited Manzanar to take photos in 1943 at the request of camp director Ralph Merritt, who was a personal friend. “They don’t look quite as dusty and quite as forbidding as Dorothea Lange’s photos … Indeed, the place that looks barren and depressing in Lange’s pictures manages to look beautiful in Adams’. You get little sense that it was even a detention center, in part because Adams, like other photographers, was not allowed to shoot the guard towers or barbed wire…
There are scenes from a baseball game, kids walking to school, a gathering outside a chapel. Lots of smiles, too, and portraits of camp residents cropped so close, you can see every blemish and stray hair. In Adams’ vision, Manzanar comes off as a place where Japanese-Americans, dignified, resilient and optimistic in spite of their circumstances, built a temporary community in the desert.
(Skirball Cultural Center director Robert) Kirschner said that if Adams’ photos appear to sugarcoat the indignities of life in an internment camp, it is because he did not see himself as a social activist the way Lange did. Still, Kirscher says, Adams was challenging internment in his own way, by depicting its victims as patriotic, law-abiding Americans. Unlike Lange, Adams was given permission to publish his photos. Before the war ended, he did so in a book called “Born Free and Equal: The Story of Loyal Japanese Americans,” in which he warned about the dangers of letting wartime hysteria justify depriving U.S. citizens of their freedom.”
The NPR article mentions a third Manzanar photographer. “Before World War II, Toyo Miyatake had a photo studio in Los Angeles’ Little Tokyo. When he learned he would be interned at Manzanar, he asked a carpenter to build him a wooden box with a hole carved out at one end to accommodate a lens. He turned this box into a makeshift camera that he snuck around the camp, as his grandson Alan Miyatake explains in the video below, which is featured in the exhibit.
Fearful of being discovered, Miyatake at first only took pictures at dusk or dawn, usually without people in them. Camp director Merritt eventually caught Miyatake, but instead of punishing him, allowed him to take pictures openly. Miyatake later became the camp’s official photographer.”
Pictures for today’s feature are from The Library of Congress. These are pictures that Ansel Adams took at Manzanar. They have been posted at chamblee54 before. The ladies in the bridge game are Aiko Hamaguchi, Chiye Yamanaki, Catherine Yamaguchi, and Kazoko Nagahama.