During World War II, Miyatake made surreptitious photographs of Japanese Americans incarcerated by the US government. He saw little need to glorify, humanize, or even individualize the prisoners—because he was one of them.
The complex, finely calibrated messages of the FotoFest Biennial provoke difficult questions about what art can actually do for society beyond illustration.
Aperture’s issue on craft features photographers who make pictures the slow way—building camera obscuras, creating photograms, and laboring in traditional darkrooms to make handmade, unrepeatable forms.