In “Camp Life”, Howard reads an ironic liberation in the tragedy of Japanese internment camps in 1940s America. The Japanese American family was torn apart, at times even physically separated, which disturbed the normal patriarchal structure that had dominated family life. Women were allotted paid positions just like their male counterparts, allowing for the much-needed possibility of female and Japanese American role models. Unexpectedly, these internment camps also provided a space for queer Japanese Americans, people who would be otherwise shut out of a white (and male)-dominated LGBTQ community. However, one is still left with the problem of reading – more specifically reading the imprisoned Japanese American body passed down to us through photography, one of our most valuable resources from this time. Both Wendy Kozol and Elena Creef tackle the complex visibility/invisibility games of the camera lens and the de/construction of race, gender, and sexuality in the search for authenticity in these photographs. Creef discusses the white gaze upon the Asian body, and the manipulation of the Asian body based on the bias of the photographer and/or the presumed audience. Internment constituted a “visual and psychic colonization of the Japanese American body”, states Creef, a colonization made immortal in the photographs of Adams, Lange, and Miyatake. Similarly, Kozol claims that the gaze of the camera is inseparable from notions of authenticity and a certain “realism” that dominates these multiple discourses: what is the “real” story? who can attest to the “authentic” experience of the dehumanization of the interment camps? Under the constant threat of romanticism; citizenship, race, gender, and sexuality are questioned and constructed at once through the lens.