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It’s also a waterproof square-ish twin-lens camera, but it’s one that should be far better and simpler to use.

And with a Rolleiflex twin-lens camera that he was rarely without, he began to build a body of work that took him to state fairs, coal fields, political conventions, homes for the blind, poverty-stricken Indian reservations and a slaughterhouse in South St. Paul, where he went, he later wrote, to capture “the most heroic moments in the process: the slaughter, the symbolic relationship between workers and animals.”