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Daily routines in the camps often included communal meals, education in poorly equipped schools, and attempts to maintain a sense of normalcy. Many internees also worked within the camps for minimal wages.

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Executive Order 9066, signed by President Franklin D. Roosevelt on February 19, 1942, authorized the internment of Japanese Americans. This order led to the forced relocation and incarceration of around 120,000 Japanese Americans.

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Before the internment, Japanese American communities thrived in states like California, Oregon, and Washington. Many were farmers, business owners, and community leaders.

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In 'Farewell to Manzanar', the author describes the harsh living conditions in the camps. Families lived in cramped, makeshift barracks with little privacy and insufficient facilities.

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Jeanne Wakatsuki Houston reflects on her complex emotions and identity struggles in 'Farewell to Manzanar'. An excerpt from the book: 'It is true that I displayed bad qualities during internment. But it is also true that I learned bitter things from the experience. I learned how vulnerable a minority is, how an entire people can be targeted and uprooted without just cause.'

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Despite the harsh conditions, the Japanese American community demonstrated incredible resilience and solidarity. Cultural events, sports, and social gatherings were organized to maintain a sense of community.

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In 1988, the U.S. government formally apologized with the Civil Liberties Act, granting reparations to surviving Japanese American internees. This act acknowledged the injustices and suffering endured by the community.

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The internment of Japanese Americans during WW2 is a significant chapter in U.S. history. It serves as a reminder of the fragility of civil liberties in times of crisis and the importance of vigilance in protecting the rights of all citizens.

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Photographer Toyo Miyatake
Ansel Adams

The photographic record of Manzanar is one of the most comprehensive of any of the War Relocation Authority centers. The WRA hired Dorothea Lange, Clem Albers, and Francis Stewart to photograph the camps. Ansel Adams volunteered to photograph Manzanar at the request of his friend, Ralph Merritt, who was the director of the Manzanar War Relocation Center.

And, significantly, Manzanar had its own in house photographer, Toyo Miyatake, although this was not immediately known to the authorities. Miyatake had been a successful commercial photographer in Los Angeles before the war. When the war broke out, Japanese Americans were banned from having cameras. Miyatake smuggled a lens into camp and constructed a makeshift camera. Eventually Director Merritt discovered that Miyatake was photographing the camp. He was allowed to continue, and in his more than three years in camp produced about 1500 images.

The Adams collection and the WRA photographs are in the public domain and available for use. We have included some of our favorites in the galleries here. Links to the complete collections and information about the artists are also included.

The Toyo Miyatake collection is not in the public domain and therefore his photographs are not included in our website. We have, however, used many of his images - by permission - in our exhibits and publications. Many books featuring his work are in print. We suggest you contact Toyo Miyatake Studios in Los Angeles for more information on his work and his continuing legacy.

What all of the photographers had in common was a desire to show some kind of truth, and an inability to avoid restrictions from the authorities in the pursuit of that truth. What we are left with is a valuable resource to help us understand the camp experience. Although these artists were censored and manipulated, they provide for us today a concrete record of a time when American citizens were held behind barbed wire without due process of law. For that we are grateful.

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Photo Gallery - Manzanar National Historic Site (U.S. National Park Service)

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The photographic record of Manzanar is one of the most comprehensive of any of the War Relocation Authority centers. The WRA hired Dorothea Lange, Clem Albers, and Francis Stewart to photograph the camps. Ansel Adams volunteered to photograph Manzanar at the request of his friend, Ralph Merritt, who was the director of the Manzanar War Relocation Center.