Introduction | |
1 | Introduction to war photography |
Military acceptance of photography | |
2 | Ordnance Survey Building, Southampton |
3 | Photography and the British Army |
Journalists at war | |
4 | Journalists at war |
Problematic issues | |
5 | Photographs of war dead |
6 | American Civil War (1861-1865): The dead |
7 | John Reekie: Collecting Remains of the Dead |
8 | Willoughby Wallace Hooper: The scandal of delaying a firing squad |
9 | Prisoners of war |
10 | Censorship of war photography |
11 | Faking war photographs |
12 | Reuse of miltary stereoviews |
13 | Humanity in terrible times |
14 | The landscapes of war |
15 | The civilian impact of War |
16 | Issues of interpretation of building structures |
17 | Wars and the lack of photographic evidence |
18 | Amateur photography and war |
19 | Boer War (1899-1902): Fabrications |
20 | British Munitions Company Limited - Verdun (1916-1918) |
21 | National and ethnic perspectives of war |
22 | Veterans |
23 | Fractured history |
24 | War and the destruction of photohistory |
Rephotographic studies | |
25 | Rephotographic studies of conflicts and wars |
The impact of changing technologies | |
26 | The changing technologies of war photography |
27 | Fashion: Accessories: Gas masks |
28 | Night vision imagery |
29 | Iraq War (2003-2011): Abu Ghraib |
30 | William Laven: War Models |
31 | Satellite Sentinel and the Enough Project |
32 | Yuval Tebol: Land Research Project (2017 or earlier) |
33 | Balazs Gardi: Basetrack One-Eight, Afghanistan (2010-2011) |
Aftermath | |
34 | David Dare Parker: Agent Orange, Vietnam |
Thoughts | |
35 | The aesthetics of conflict |
36 | War conclusions |
Postscript | |
37 | A postscript to war - Don McCullin |
Introduction | |
1 | Introduction to war photography |
Military acceptance of photography | |
2 | Ordnance Survey Building, Southampton |
3 | Photography and the British Army |
Journalists at war | |
4 | Journalists at war |
Problematic issues | |
5 | Photographs of war dead |
6 | American Civil War (1861-1865): The dead |
7 | John Reekie: Collecting Remains of the Dead |
8 | Willoughby Wallace Hooper: The scandal of delaying a firing squad |
9 | Prisoners of war |
10 | Censorship of war photography |
11 | Faking war photographs |
12 | Reuse of miltary stereoviews |
13 | Humanity in terrible times |
14 | The landscapes of war |
15 | The civilian impact of War |
16 | Issues of interpretation of building structures |
17 | Wars and the lack of photographic evidence |
18 | Amateur photography and war |
19 | Boer War (1899-1902): Fabrications |
20 | British Munitions Company Limited - Verdun (1916-1918) |
21 | National and ethnic perspectives of war |
22 | Veterans |
23 | Fractured history |
24 | War and the destruction of photohistory |
Rephotographic studies | |
25 | Rephotographic studies of conflicts and wars |
The impact of changing technologies | |
26 | The changing technologies of war photography |
27 | Fashion: Accessories: Gas masks |
28 | Night vision imagery |
29 | Iraq War (2003-2011): Abu Ghraib |
30 | William Laven: War Models |
31 | Satellite Sentinel and the Enough Project |
32 | Yuval Tebol: Land Research Project (2017 or earlier) |
33 | Balazs Gardi: Basetrack One-Eight, Afghanistan (2010-2011) |
Aftermath | |
34 | David Dare Parker: Agent Orange, Vietnam |
Thoughts | |
35 | The aesthetics of conflict |
36 | War conclusions |
Postscript | |
37 | A postscript to war - Don McCullin |