多萝西娅·兰格
Dorothea Lange

　　多萝西娅·兰格的网页是出现在这样的栏目下的——第二次世界大战前线中的新闻记者、摄影家和播音员。网页上是这样介绍多萝西娅·兰格的：多萝西娅·兰格(1895—1965)主要纪实的是战争中的无家可归者，尤其是那些民族和工人的状况。在珍珠港事件的三个月后，美国“战争安置局”雇用兰格去拍摄日本以及一些周边的状况，使她有机会接触到了更为广泛的人世间的故事。兰格的早期作品是纪实美国农场家庭的转移，以及在大萧条时期工人的迁移。网页上展出了许多兰格的分类照片和介绍，主
要有：大萧条时期的土地报告原稿，兰格在工作，日本贵族的居住者，慈
悲的眼睛、天真无邪的问候、日本人大批离去的前奏，慈善生活的纪实，
兰格照片的宣传海报，以及其他相关的链接。多萝西娅·兰格还是F64
团体的直接摄影派的成员。

　　Like Esther Bubley, Dorothea Lange (1895-1965) documented the change on the homefront, especially among ethnic groups and workers uprooted by the war. Three months after Pearl Harbor, President Franklin Roosevelt ordered the relocation of Japanese-Americans into armed camps in the West. Soon after, the War Relocation Authority hired Lange to photograph Japanese neighborhoods, processing centers, and camp facilities.

　　Lange's earlier work documenting displaced farm families and migrant workers during the Great Depression did not prepare her for the disturbing racial and civil rights issues raised by the Japanese internment. Lange quickly found herself at odds with her employer and her subjects' persecutors, the United States government.

　　To capture the spirit of the camps, Lange created images that frequently juxtapose signs of human courage and dignity with physical evidence of the indignities of incarceration. Not surprisingly, many of Lange's photographs were censored by the federal government, itself conflicted by the existence of the camps.

　　The true impact of Lange's work was not felt until 1972, when the Whitney Museum incorporated twenty-seven of her photographs into Executive Order 9066, an exhibit about the Japanese internment. New York Times critic A.D. Coleman called Lange's photographs "documents of such a high order that they convey the feelings of the victims as well as the facts of the crime."