child abuse cases are not admitted unless the person who said them is there to be cross-examined. >> host: he's taking the words of the constitution saying that is a right of the defendant and by gosh i'm going to take my original was some where it takes me. ..

>> this book hough focus on

the political and social culture of the depression, world war ii, and life would be a mere illustration. that was not to be. dorothy lang is the start of the story with her forceful personality, she soon moved into the driver's seat and in a sense took charge although i spend a lot of time arguing with her back and forth over a number of years for of course, she did not write the book a biography of always has to be one life seen through another life, in this case, mine. i had written a great deal

about this engender this forced me to examine more closely how gender works in the life of an individual. this lecture for which i am really grateful allows me to look back and spell-out what i was doing to tell you what i've about to say is not in the book at all. this is kind of a meditation after the fact about the book. thinking about the gender and it was pretty clearly complex because i was reading about an artist and a artist work lives after hurt and produced in one context that takes on new meanings. matter how hard we try to exclude contemporary meetings -- meanings they intrude. so thinking about this i had

to try to retain a global fairness of the past of which dorothy lang lived and also the president. to make these observations against her will she was not a feminist and did not want to have her work in a category she wanted to be a great photographer not a great woman photographer. but historians should not as a surly -- try to please their subjects so i do it anyway. and there are certain bubbles to what i will talk about. personal, social/"politico" comment and talk about what is in the photographs as we see them today. a middle-class child a german immigrant parents born in hoboken a very middle-class life until two

traumas hit. is she was seven she got polio and 12 per parents separated. polio was terrifying and she emerged with a permanent but small disability and she was deeply upset by her father's departure from the household. but the biggest blow was how they were assimilated and understood by the young dorothy and in this regard her mother's influence was key. her mother was embarrassed by her disfigured if what and lake and always and urged her to disguise her limp as much as possible to every rumor polio experience was engendered because our mother had such anxiety about what her body will look like. linda skirts got shorter dorothy began to wear slacks which was unusual and not unfashionable of the time

machine never again wore a skirt that was less than four legs. as an adult photographer photographer, laying made then the many images of feet and legs and with typical mint -- magic could take pictures of the two nervously expressive then her mother also presented the veritable -- smear told separation as the abandonment of the father although i learned it was more mutual and ambiguous. i will not going to that story. it is in the book. but dorothy felt abandoned. she developed such a rage against her father that when she arrived in san francisco and 1918 where she was to spend the rest of her life, she adopted her mother's maiden name, lang and never mentioned her father or his name to anyone including her two

husbands, her children or her best friends. so these blows developed along with her gender identity but did not maker responded in the way this predictable. she was born with an assertive temperament record a third girl might use the experiences difficulty-- different a. at age 12 she would wander along the streets of new york where she attended high school then ultimately the entire island of manhattan. she was extraordinarily strong. also an autodidact and self-taught. a mediocre student and did not attend university but discover earned on her on the modernist art to blossoming in new york. she taught herself the target three retaking jobs. her first job was a person

in one of those purchasing studios where she made cold calls to sell portraits. and she worked at eight receptionists as photography studios and gained come on her own, photographic skills. one of the person that she worked for was a german-american and he thought she was very talented and gave her a camera. excuse me. [inaudible] i fishery between eight years old and 10 years old of the picture. she opened a photography studio in the upscale location and within two

years she had become the portrait photographer for san francisco wealthy patrons. this is high velocity success from hurt charismatic personality and the modernist visual sophistication. at first as you see here, i the romantic the editorialist style dominating from the 1920's but she soon began to modernize the pictorial conventions. for anybody who knows anything about san francisco the man at the bottom is one of the most powerful men of his time. she attracted clients with herbal he be an elegance and her persona and photographs and ambiance pressure never used the painted backgrounds at the time or used props

she discouraged formal poses coming she did not even ask her subjects to smile. she is dramatic shadows and angles and created a motion is sometimes hide her subjects. her success derived from her sensitivity to the class taste of what the clients wanted. it showed individualism in portraiture. she used what she had learned to suggest or to reveal individuality and in doubter subjects -- in doubt her subjects and they believe she had the power to capture their assets. they felt that education, culture, sensitiv ity shown no from the images that she made. as she had begun to do in

new york and san francisco joshi integrator herself into the bohemian arts crowd and made her place into a meeting place of artist and the liberal wing of the city arts district. by 1920 a year-and-a-half after she arrived, she married one of the city's most desirable bachelor artist. and dixon was much more famous than he is. he is called the western painter it has many fans and his pictures sell for of about $1 million. dixon dressed in black with cowboy boots and hats and dashing and magnetic figure at the center of artists. this small photograph being businesswoman had hoped the sexiest man in san francisco bohemia. during this marriage lang

subordinated herself to maynard dixon but perhaps not so unusual women married to artists, she was not only the exclusive housekeeper and parent, she not only put up with maynard's womanizing and a month long absence on 18 trips but also the main breadwinner of the family. and $0.1 it forced lang out of the studio and on to the streets and she had extra time on her hands. but also within the confines of her studio in marriage and they started to abuse in her my did she felt compelled to take your camera to the streets. she was accustomed only to work for hire and a first she felt worried about invading the privacy of the street people or those near her facility. she was gratified when she found often they did not

notice her. later should understand that she had invested for people not to notice her. she said about her early work in the streets i can only say i knew i was looking at something. sometimes you have a sense that you are not taking anything away from anyone, their privacy, indignity your their hold less. on such self reassurance her whole photographic future rested. then she was connected a man that became her second husband paul taylor a progressive agricultural economists who educative her about class and race exploitation and brought her into the extraordinary photographic project at the farm security administration

and nothing like it since. for six years a small and amazingly hardworking group of one dozen photographers made several hundred thousand photographs of american rural life. of the project was initiated through propaganda for roosevelt's new deal but expanded to create a democratic picture of the royal united states that of the size those who did the work of farming rather than the voters of the great plantations of mississippi and california. their air several paradox in her life including the fact that this quintessential city girl ended up working for the department of agriculture. never even had envisioned a far when she was hired. of my favor of a paradox is the way it to turn around a typical story of women's

emancipation. the usual story start with a woman who is dependent on her husband who gradually works are way into her profess fined -- profession getting a job and getting a job of her own but lang did it in reverse. she had the opportunity to become a great photographer when she read a second husband back its support her on his salary from the and persevere california and relieve tour of the responsibility of the large family and it was large. when we put the two families together she had two children of her own and four stepchildren for keira. first is that our talk about personal this social but of course, it is impossible to separate the personal from the social and historical but some episodes are more constrained than others.

i want to illustrate by sketching out one account of one aspect of her life, her mother. when she married maynard dixon she inherited a 10 year-old stepdaughter. the girl was furious at dorothea from the start. she had lost her mentally ill alcoholic mother and then she was her father's only love. maynard come instead of providing reassert -- reassurance he immediately turned over to her sold charge and rather quickly after the marriage resumed his old pattern of taking long long trips into the desert to paint. dorothea was flying high with their state your practice and did not want to be stuck at home while maynard and his friends

socialized and restaurants so she hatter own first edition of her dependent who was thrust upon her. for whatever the reasons she was unable to mother this unhappy girl and they had a terribly a angry and violent relationship. lang's worked hard but when they had two sons together. i am sorry. that comes later. maynard turned over the two boys entirely and took no responsibility for them. by 1932 when the marriage began to erode and the boys were seven and four years old dorothy and maynard made decisions to put their children into foster care. her divorce confirmed the practice between 1932 and

1940 all of these children, all six of them were and it paid foster care placements for a couple of way eight -- weeks to months at a time. the oldest son recalled his feelings to me when i interviewed him about how he felt when his mother and father would come to visit too. >> remember standing outside the place where we lived waiting and waiting for that black model eighth to appear and when the day was over i would watch it go we being as the red taillights reseeded. in riding about lang i had to reckon with this pain. i discussed it with many, many friends and not a single one can imagine doing such a thing. but as a historian i am

obliged to put her recollected sadness into the context of the thirties and the standards of mother child bonding. employed mothers salt child care problems by turning to foster parents and institutions and parents. mother's place their children in orphanages temporarily or in foster homes if they could afford to pay. the rich send their children to boarding school and did this at very young ages or they had a full-time live-in nanny. although day nurseries were becoming more common they were rare and full-time day care at that time carry the stigma of a charity. and was characterized it over crowding and poor hygiene. the child development experts at the time held of foster care was the superior choice. at a day care center as an

orphanage they would be cared for by strangers who were responsible for groups of children in foster care they would have a mother and a family and possibly even a father. ironically the child development was some of the time assume day contradictory premise that shifting caretakers were not inevitably traumatic for children so long as the fundamental physical needs were met. although many experts today considered children's and emotional need for bonding exclusively with wonder to parents to be a timeless and irreversible fact of human nature which is not childhood experts thought in the 1930's. lange felt the nervous english about this decision and first develop the symptoms of her ulcers that would cause her so much pain

and ultimately lead to her death but let's look at this a little more closely. maynard did not share any of his feelings of guilt spurt after the divorce he visited very rarely in did not take any responsibility for them even financial responsibility. they were clearly cared for by taylor and he also turned his children over to her and thought it was okay to put them in foster care of it yet none of these children blame their fathers at all. but this is entirely understandable. in 1935 few people thought father's had caretaking responsibilities for children. but i want to say that lange's killed the from placing out the children derives not only not only feeling like a bad mother

but something from even more unspeakable to her which was ambition that most on womanly of the drives. issues offered said job with our security she did not hesitate although she knew it would mean not seeing her children four months at a time. she knew she was a bad mother but her ambition hit itself not only from others but from her to a variety of identities and consciousness through which she disguised it. until well after world war ii, she never readmitted to a desire to be an artist. she considered herself a tradesmen. studio photography was a camouflage for ambition because a lot of women to work at home and to realize the significance of their work. lange's chief defense to

recognizer on ambition and took the form of experiencing heard drive as if it came from somewhere else as a force beyond her control. she spoke of herself in the passive and called herself a channel, a person that can be used for a lot of things. these are all quotes from dorothy a. her -- she extended to the way she placed of her children as if she had no responsibility from making it happen if the of the boys had not been taken from the by circumstances. yet while she faced the gender norms of her time in not only gave herself a second marriage with a has been from heaven. paul taylor the professor exhibited only pride and encouragement for her ambition never for a moment thought she should stay home and mind of the children and

of so we thought she was a genius and adored her for it. another unique been on women's emancipation is find the right has been. now with the politics of gender and the federal government in her government job and the struggles of the point*. these are images of two new deal barrels. they're typical. that is why i chose them if they reflect visually what i am about to say about policy which is virtually every new deal program rested on conservative assumptions of gender. even the emergency relief program either excluded women wore excluded them from public jobs and had tiny relief payments or they

limited the end to selling mattresses and federal sweatshops. social security, wagner labor relations act it excluded from coverage almost all men of color and women of all races. lange's employer was one of the most discriminatory agencies the biggest operation of the federal government bigger than the defense department. its definition of its constituency rested on gender and racial and class. there were not farmers but former wives. within the department of our culture this farm security agency that lange worked for constituted the enclave of progress of and radicals who

sought help to ruin small family farmers and the groups that had been most devastated by the depression and not surprisingly, the farm security was under constant attack on the way from congress but also the more powerful man in the department of agriculture. ast the only female photographer until walcott was hired by the project in the very last year's kumbaya lange's salary was lower than that of her for less experienced men. on the job she was treated discriminatory but also is expected to work like a man who had a wife. for example,, all of the other photographers who were on the road for months at a time took their wives and occasionally their girlfriends a long as an unpaid assistant lange who

needed the help most higher the son of a friend who became a great photographer himself a and paid him out of her own pocket and her own $3 her day her diem allotment. she bought meals for him to. paul taylor priorate to him she was influenced by the san francisco strike of 1934 but also of the great agricultural strikes of california's central and imperial ballets, scenes of extreme violence parker i think a lot of people who may remember from our own lifetimes come with a struggle but ended with the creation of the former we may not realize that there were many failed struggles in the 20s and 30s of microform workers to unionize. the big growers arrange to get hundreds of their men

deputized by county sheriff's to be up the strikers come agitators' it lowered journalist or federal mediators. there were killings and growers both places where they're locked up their opponents without charges. lange several times tried to photograph the strikes but always failed brokerage's ability meant she could not move quickly especially when burdened with heavy cameras. i want to remind you what the cameras look like. they never -- she never use a 35 mm but a very large camera and whenever possible also a tripod parker she had a lot to low of around for gulf one it photojournalist said famously come if your pitchers are not enough what you are not close enough. lange could not get close enough and none of her

pictures of the strikes and other similar conflicts turned out well. think this failure had to do a lot with the gender as well as disability. the violence terrified lange and she with trooper of labor movements often assumed of tactics, discourse and even in strategy. not interested in organizing with mint the organizing committee insulated themselves from the alternative strategies that women sometimes brought to the floor. while class violence was almost exclusively employer generated become it it nevertheless have the effect of excluding women. however tended she may happen physically coming in mind and spirit comment lange was extraordinarily brave. she defied natalee gender

but it influenced from her san francisco-- one if strawberry photographer and of course, by paul taylor who was in the 1920's cover virtually the only anglo scholar studying mexican americans have. lange race consciousness grew from traveling through the san joaquin valley and learned about how migrant farm workers were treated. her development group further from her work and the southern states north carolina through mississippi photograph being in sharecropper's parker she made more photographs of people of color, approximately one-third of her total output to than any other photographer until gordon parks joined the staff at the very end of the project.

this fact is not well known because she did not own or control any of the photography but there was all property of the federal government and she was supposed to send roth, undeveloped film to washington. they distributed free of charge to media but they decided what to distribute and what they considered acceptable to the mainstream. a few years later, when she tried it once again to do something that she controlled she defied not only the u.s. government and unanimous public opinion but the organized left two which many friends be launched in the art risque opposition to the internment of japanese-americans, which i

don't have time to go into now but i will let you know, , if you are interested, that is a few years back. with norton i also put out date of photography book of a collection called impounded and it is about impounded people also that her photographs were it impounded by the west's army. now i want to turn to the photography itself. at the outset photographer's assignment are to illustrate american agriculture to make pictures of falling apart barnes, a soil erosion, the dust bowl of the new and old farming methods. lange would influence the hold legacies through portraiture which is what she did. and in a certain sense all of her photography was

portrait photography. in part she took the same camera and the same i she had turned on the rich and directed it toward the poor producing portraits that individualized her subjects and made them interesting and memorable even as she illustrated the depression predicament. instead of the blank background she used in the studio she now produced individuals in their social context and this was the secret of the popularity of the images they showed not massive but individuals but to particular stories. and in doing this, lange was feminizing the field. just to show a couple of examples of early document terrie photography, the tended to show either

context or face is part rarely both. baton like that was cool and indirect compared to the heat and the seductiveness of blank. people are usually photographed in front and mobile and sometimes dignified but never flirtatious or expressive. evans cool this was an entirely gendered matter. he had a favorite phrase that he referred to photograph in babies as a synonym for selling out artistic integrity lange wanted personality activity in the motion in her photographs there are no lange photographs of people

she made her subjects lovely and if you have time in the questions i can talk about how she did that. the understanding of portraiture she took from the studio, which was a portrait of a collaboration between a photographer and a subject and that therefore as a result the subjects had a perfect right to expect flattering images of themselves and she applied the principle to the people she's photographed four former security and her late hurt documentary work. of his departure of objectivity very much contested concept and photography could also re-read as engendered and derived from the stereotypical female approach to portrait photography as a personal service to the client, not so distant at the time it

was considered closely related to interior decoration or fashion and make up consultation and photography. by placing the documentary at the service was a male as well as female practice and paralleled her husband paul taylor's social science. taylor strong sense of responsibility not just to document but also correct the injustices and sufferings had been characteristic of the field of social science and the progressive era and was now reinvigorated during the depression. now i have said their ways in which lange's style was feminine but we have to be on our guard against that analyses of her work as feminine. critics have deployed some of the worst gender cliches

prepare reading of the strong emotional content as intuitive come of such a way to be characteristic of women. dorothea lange went instinctively and photographed spontaneously. lange the making of a great perfect anonymous image is a trick of grace about which she can do little besides making herself available for that track of grace. another described her as a piece of white photosensitive paper or like the unexposed film onto which light and shadow market prescience. -- make impressions broke my idea is to challenge and categorized as instinctive and she was the assertive but intellectual and

disciplined and self-conscious working systematically to develop a photography that could be communicative and reviewed. her years in the studio gave for the finest controls of lightning, positioning come a camera angles and speed and aperture and timing. i just want to give you one napolitano example. -- one little example the famous migrant mother was the product of her taking either six or seven photographs of that same group of people and working your way gradually and carefully to the ones she liked best and that does that count the exposures she would have thrown away. should carefully planned every photograph and often

made one doesn't exposures of the single cdn those who observed her in the field unanimously remarked at how slow issue was and her tempo was over determined by her disability and her barge cameras and the need to calculate like there were no way to leaders yet in the 1930's. many experts photographers can appear to work instinctively because they operate quickly as a result of years of practice. lange have the speed and hurt by but not in her body. shoe roach extensively of economics and sociology and listened to his explanations before picking up a camera parker her every exposure in the darkroom was a result of steady and practice. is this true he can characterize her work as a distinctive but wrong. many look at their perceptions this way.

but in performing and exaggerated intuitive nests she was not putting her own fear of ambitions and mastery. more important than what she said is what the photographs show. as the formidable lange expert sally stone has shown, her for target three repeatedly shows a trance aggressiveness toward the gender norm although it seems logical that lange might not have recognized it. while the popular culture of the new deal, long a to family wage and what all but icons the stereotyped women as helpmates and birth mothers, lange visualized

women as independent and often conflicted. this is a photograph from a study she did from the defense plan to prepare her work is then and delicate and always tough. her work shows one minute hard labor in the field as often as men. her subject matter was responsible because the division of labor was less common a month farm people it was very common for women to work in the fields. within our farmers. quintessential they lange did not show world women s wyss but proletarian spread of this the take applies not

only two women working in the field but also domestic labor and her searing photographs of the living conditions of farm workers workers, she showed how women struggled even while camped in the fields to create a semblance of order. this is one of my favorite of a shaun drug that she did a lot of although not well known and it is still life. it is a still life of the makeshift of a migrant farm worker and this was created where she lives and is literally nothing but a canvas lean-tos supported by a couple of steaks. it is an extraordinary photograph because if you look at it closely, there's a tremendous amount of information about what the people eighth, what they owned, and how they manage.

>> women tried to create kitchens and bedrooms and how they wash cars while leaving in sharecropper houses without the door furniture or the into spurt of there doing nothing less than creating civilization. and her words a very conventional gender ideas she talked about how women had unique functions for which they were destined in unique ways of seeing. but why did through her maternal photographs there's always a subversive to mention. she made many madonna. this is one of them but obviously not a typical madonna park but interestingly, she almost never photographed hold nuclear family units. they were mostly fatherless. mother and child are the central couple.

a common refrain during the depression calling a madonna -- madonna or motif and the vernacular of chris gin culture. but the toughness does not disappear they're like her royal benin they can do everything no matter how hard the conditions they will survive and defend their children. fragile and soft as this a nursing mother may be coming there is no mistaking the steely determination. also it was represented as a burden and seemed to acquire constant vigilance against a danger and would be easy to trace this back to lange's own guilt to beating her own children but i am not convinced. the assistant strength and

anxiety is a mood to recognize some o 1/3 -- mothering is hard labor and being recognized as workers her car even the quintessential madonna, the photograph that i showed first known as migrant mother it actually shows hurt turned away from her children rather than toward the. curve photographs of pregnancy are striking. these are still in the white in the 1930's prepare you maybe aware for example, that no credit woman was allowed to hold a job that had her appearing in public if she were pregnant. it would be several decades before point* -- pregnancy became acceptable pressure required a few portraits and

they are not cliches so it is not surprising at all in the persian, but still a big step away from the images of motherhood. like many female photographers she made far more pictures that what they can but some children are to run lively and subject of the appeal of the and also come been among pitchers of people of color that were sold to the whites. but many of them also not so happy. i find her pitchers exclusively sensitive to the complex emotional lives of children taking even children and seriously as

individuals. this a striking correlation come with a growth of the top but the girl at the bottom taken two decades later is a palestinian girl from attire chirac is traveling around the world. these children typically not with their parents cover perhaps neglected but there would be beyond circumstances beyond their control. her view was in no doubt charge with emotion but her identification as both the neglected and a collector it adds to the visual outrage embedded in the mini images that she made of child labor

and exploitation. but my hunch is many of these children's hard lives actually functioned for her in the contradictory direction. on the one hand, making the deprivation she saw, it made her own children's pain less intense and heard guilt less keen. on either hand to have the sick and hungry children captor from escaping. perhaps most unconventional unconventional, r lange's images of fathers with children. we may call them padonna. they are so unusual for the time they are often exceptionally tender and maybe more so than the

mother child images prepare her sensitivity to fathers may be another product of her travels cents close relations are the aspect of when they are not as separated as they are. what is interesting, they are not on the tender that quite a number of pictures like the one on my right to that show moves so much a joyride. of the one of the right is my favorite as a picture of a migrant former just reserved days returned from a hard day's work to the field and is complete the divided by being treated so effusively by two children and a purple dots her acra the presence of a child care is to give the and therefore

gains authority but when they appear state are often found in a weekend positions for our do not have a picture to show you of that but in fact, dejected been is paid depressions specialties sometimes they slump on street corners or set on stoops or bend over park benches but they are no means abject or objective. they are soft spoken as if they are finding a soft side. she showed either unemployed and then always attentive to mask the ways to handle humiliation in the photograph from the japanese internment she was

particularly sensitive to the teen-age boys. and i quote something that she wrote. >> they're the bonds that her to be the most part of the teenage boys who did not know what they were. what she meant is that they thought they were american been no the american government is saying they are not. of the older people have more of a way of being dignified in such a situation and not asking questions but these boys were allowed and rowdy and frightened. she repeated the subtle some version in her extraordinary photography and racial liberals at the time to. cleave perceived subordinated non-whites as persecuted innocence, racist -- saw them as lazy and stupid but both groups saw them as somehow depleted. if you want an example of what i am talking about,

look at caldwell's book, you have seen their faces. it is quite upsetting with the races umbro lange's images standout for the lack of objectification and exoticism purchase does with her white subjects she shoes from below in order to heighten the dignity of her subjects. she prolongs poverty and social subordination even though it did not obscure the complexity. fe are restrained, and even cerebral. the photographs of the non-white women are even more charming than those of men. they are less depressed but never simple.

perhaps what makes a lange portrait most revealing is the subjects retain a zone of research. those who look down on the subjects as many photographers did believe that they knew their subjects entirely and new who they were and what they were like. lange's photographs suggest that the photographer does not understand everything about her subjects and remains a mystery and this may be the most respectful and challenging message. she was no feminist. i often wondered what her thoughts would have been had she lived just a few years longer to experience the second women's movement parker she died in 1965 but her photography when considered with the questions we ask today almost seems to suggest a questioning and awareness of

contradictions that is only barely subterranean prospect this consciousness or possibly unconsciousness was not unique to lange but could be found among many women whose lives and work in the 1930's in part because of the depression and simply could not fit the gender structures that the new deal era were trying to reaffirm. it is possible that artists were in touch with the spots created by the lack of a fit. i want despite the absence of them and then activism initially the roots could be found. that is separate of thank you so much. [applause]>> i would be delighto

have questions or comments or arguments. >> [inaudible] one of the questions you had is that she had a process for not being seen or notice to allow her to get a more spontaneous and natural reaction from them. the second, how she made them beautiful. >> the answer to both of them is the same. she had a lot of mr. kohl mr. kohl -- mystical and she said i can put on a face and no one will see me. but if you read our look at how she works or read what the critics say you would

understand. first of all, she exaggerated her slowness. she knows from her portrait work and everybody would stiffen before the camera and she has to get them not to do that. one way is to have them forget about her. sometimes she would be very slow or tried this tripod over here and then preferred to have three cameras fully loaded so she could change. she found a shechem doing that people got tired of watching for her and wait for her to be ready. another technique, in relation to the farmers she learned right away you do not ask that kind of questions like how much do get paid for what is your boss like?

that since union messages that if you say how you get to the next town? or she would ask for a drink of water. she would drink it very, very slowly. another one was that she knew that kids were interested in they would cover around and actually she forced herself to let the children who and examine the cameras. and she would have a whole gaggle of kids and the parents would come over to make sure they're not bothering her and her purpose in all this and her words was to get people to relax into their natural body language. she believed although i said she thought their faces commission is actually much more interested in how their bodies reveal things.

i did not show you these but some of her most extraordinary photographs are portraits fed do not show the face at all. but you can see through her position of a great sense of the emotional state of that person. >> i have a question when she went and sander photographs of the government had issued get them back? >> it is a constant struggle a photographer wants to immediately see the product of their work so that they can criticize it and it just may be the lightning is not right or the speed is wrong so you want to see them right away. theoretically there were to make work brands from the negatives and ship of those back.

but there were times when it would be one month there six weeks longer and toshiba got to see them. that was a constant argument. but one thing that she did is they cheated and kept back certain photographs because they would not know what they were not doing but they could not allow someone to publish them because they did not own these photographs but it was really a constant struggle. . .