Harry’s recollection of his missionary journey in Korea never leaves him, and manifests itself with occasional flashbacks, though he does his best to keep his PTSD hidden. Photography allows Harry, often an outsider, to mingle and hide in plain sight, invisible to blacks and whites – “seen, but not seen, his face often hidden by the camera in front of it.” He especially prefers to photograph stable hands, domestic workers, workers, the “never seen” as he is.
