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Here you see the tar paper siding.

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A caucasian man and his Japanese American wife watch a documentary in the visitors center.

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Edited by Likaleica
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Josh and his wife Angel, neither of whom had any connection to the camp, visit the site several times a year.  They brought their children to teach them about the true meaning of liberty, and what can go wrong in a society dedicated to that liberty when fear and hatred take over.

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The camps were surrounded by barbed wire and had guard towers with armed soldiers whose weapons pointed into the camps, not outward to protect them as we were told.  The Japanese ethic of Gaman - enduring extreme adversity with grace and resolve - got them through.  So did small acts of defiance against their captors.  At Minidoka they created Zen rock gardens from the volcanic boulders found in the area.

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Edited by Likaleica
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Hunt Road, which was and remains the only approach to the camp.

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After the war the people were released, but many had nowhere to go.  The government auctioned the surrounding land that the incarcerated had cultivated to war veterans, but not to the people who had lived there.  Del Romer's father homesteaded the area and Del still lives on that property.  He keeps about 50 dogs for hunting.

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Edited by Likaleica
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A shed from a converted barracks that has been clad with corrugated steel.

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Edited by Likaleica
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Freedom.  So easy for the birds to fly away.

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@Tim,

This is a haunting and beautiful series of photographs and a significant body of work.  It brings to mind faded memories of a dark chapter in our nation's history.

Your use of a pinhole lens was spot on - this was an excellent choice. 

Thank you for sharing these images with us.  I hope you will publish them in book form sometime soon.

H/B

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Very, very, very well-done, Tim!

An evocative handling of a disturbing chapter in our history. Should be published - but from your background I'd guess that 1) you already know that and 2) know how to get it done.

Eight years ago, after the newspaper folded and I was working at a suburban Denver camera store, one of the customers was a Japanese-American woman in her late 70s. She had brought in some family snapshots from the 1940s for restoration. They showed her as a child, and her family, and I realized from the background buildings that  she had been in such a camp. 

I asked her if it was Manzanar (the most famous camp, thanks to Ansel Adams and Dorothea Lange), and she told me, No, that it was right here in Colorado. The Granada Relocation Center (a.k.a Camp Amache) on the Great Plains.

Since 2012 was the 70th anniversary of the creation of these concentration camps, I immediately tracked it down for an essay in ColoradoSeen. It proved to be a different challenge that required a slightly different "symbolic" approach, since there were virtually no remaining buildings, and I never saw any other visitors - it is very remote.

It is the closing story (pp. 36-53) of this 2012 issue. Just an additional take on this too-often-forgotten story.

M9 B&W conversions, 75 Summilux and 21 Elmarit.

https://issuu.com/coloradoseen/docs/cs_02_2012

 

Edited by adan
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I really enjoyed this series as well as the associated stories. Excellent work and thanks for sharing. Love the look to the images as well, not just the editing but the other techniques employed. 

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Inspired by Tim's amazing images and having seen the rest of them that will make up his book I decided to try out a pinhole on my M10-M this morning, simply taping a 4x5 lens board with a pinhole to the M...........Thanks Tim!

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Edited by petermullett
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39 minutes ago, petermullett said:

Inspired by Tim's amazing images and having seen the rest of them that will make up his book I decided to try out a pinhole on my M10-M this morning, simply taping a 4x5 lens board with a pinhole to the M...........Thanks Tim!

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Cheers, Peter.  Looks like 1920, not 2020.  Very cool.

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On 6/11/2020 at 9:52 PM, Likaleica said:

Administrators:  I just realized that maybe I should have posted this topic in the Photo Forum, rather than here.  Please feel free to move it if you agree.

I'll ask a technical question then so you won't get your wrist slapped. What pinhole are you using, home made or something like a Skink?

I've got a Skink adapter with various aperture pinholes to use with 35mm or large format and I don't really like the effect as much as a home made pinhole, perhaps because being laser cut they are too perfect. You've got some beautiful flare and glow so I just wondered?

Edited by 250swb
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7 hours ago, 250swb said:

I'll ask a technical question then so you won't get your wrist slapped. What pinhole are you using, home made or something like a Skink?

I've got a Skink adapter with various aperture pinholes to use with 35mm or large format and I don't really like the effect as much as a home made pinhole, perhaps because being laser cut they are too perfect. You've got some beautiful flare and glow so I just wondered?

Thanks for saving my bacon!

I got a Rising pinhole for the R (they make one for the M) and put it on the R-M adapter to make the field of view less narrow. 

The photo of the man with the halo was a surprise.  I don't chimp much and when I looked at it later I was amazed at the effect.

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Thanks, the Rising R adapter got me thinking about something I'd never questioned, the pinhole on the Rising M pinhole is set very much recessed compared with the R version, and you use the R version with the R-M adapter to further increase the distance to the sensor. As my Skink pinhole can be adjusted closer or further away from the sensor maybe that's what I should be experimenting with to increase the accidental effects? I'll experiment.

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