Relevant bibliographies by topics / Battlefield photography

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Battlefield photography'

Author: Grafiati
Published: 4 June 2021
Last updated: 3 February 2022

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Journal articles on the topic "Battlefield photography"

1

Carville, Justin. "‘This postcard album will tell my name, when I am quite forgotten’: Cultural Memory and First World War Soldier Photograph Albums." Modernist Cultures 13, no. 3 (August 2018): 417–44. http://dx.doi.org/10.3366/mod.2018.0220.

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Since the Crimean and American Civil Wars in the nineteenth century, photography has allowed societies to experience war through the collective understanding of photographic representation as an inscription or mnemonic cue for recollections of past events. However, the First World War ushered in new vernacular cultural practices of photography which radically altered how both war was represented and experienced through photography. This shift, in turn, engendered new private and domestic forms of post-war remembrance through the photographic image. Kodak's marketing of the Vest Pocket Autographic Camera which became known as the ‘Soldier's Camera’, allowed soldiers on the battle front and their families on the home front to experience the war and the formation of post-war memory outside of the iconic images of military heroes and battlefield conflict. Vernacular photography allowed for intimate portrayals of everyday soldier life to be visually displayed in private arrangements of photographs in photo-albums compiled by soldiers and their families as forms of post-war remembrance. Discussing photograph albums compiled by Irish soldiers and nurses, this essay explores the place of vernacular photography in personal commemorative acts by soldiers and nurses in the aftermath of the First World War. By treating vernacular soldier photographs of World War I as social objects that allow relationships to be formed and maintained across time, the essay argues that the materiality of the photograph as image-object can be explored to consider how the exchange, circulation and consumption of photographs allow for the accumulating and expending of histories and memories of the First World War and its aftermath.
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Fulks, Sonny. "If You Want to Go: The Essential Guide to Battlefield Photography." Gettysburg Magazine 56, no. 1 (2017): 94–100. http://dx.doi.org/10.1353/get.2017.0006.

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Stichelbaut, Birger. "The Application of Great War Aerial Photography in Battlefield Archaeology: The Example of Flanders." Journal of Conflict Archaeology 1, no. 1 (November 2005): 235–43. http://dx.doi.org/10.1163/157407705774928944.

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de Laat, Sonya. "The camera and the Red Cross: “Lamentable pictures” and conflict photography bring into focus an international movement, 1855–1865." International Review of the Red Cross 102, no. 913 (April 2020): 417–43. http://dx.doi.org/10.1017/s1816383121000072.

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AbstractHenry Dunant's appeal for a neutral and impartial organization to provide care to wounded combatants aligned with growing criticism of mid-nineteenth-century European and North American conflicts. This article discusses the important convergence of Dunant's “lamentable pictures”, laid out in his Memory of Solferino, with spectators’ passionate responses to them and to battlefield photographs that circulated between 1855 and 1865. Through these images and reactions, there emerged a shared, expanded vision of humanity worth caring for, which brought into focus an international humanitarian movement.
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Bektas, Yakup. "The Crimean War as a technological enterprise." Notes and Records: the Royal Society Journal of the History of Science 71, no. 3 (February 2017): 233–62. http://dx.doi.org/10.1098/rsnr.2016.0007.

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Discussions of the Crimean War (1853–56) often emphasize its leaders’ military and political incompetence and logistic failures, which led to heavy losses both on the battlefield and to disease. This portrayal ignores the significant entrepreneurial and technological novelties that emerged from the war. Begun and fought for the most part along traditional lines, the Crimean War became a stage for the display of innovative technologies ranging from telegraphy to photography, railways to steamships, and ironclads to sanitary hospitals. It became a business opportunity for entrepreneurs to promote their enterprises and to gain prestige, with the sanction of patriotism. These technologies, new and untried on such a scale though they were, began to shape the way in which the war was organized, fought and reported. More importantly, they generated enormous public excitement and helped make the war a spectacle for distant audiences, presented swiftly and vividly through the new media of telegraphy and photography.
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Cheezum, Rebecca R., Matthew T. Rosso, Nick Niewolak, and Tia Cobb. "Using PhotoVoice to Understand Health Determinants of Formerly Homeless Individuals Living in Permanent Housing in Detroit." Qualitative Health Research 29, no. 7 (December 14, 2018): 1043–55. http://dx.doi.org/10.1177/1049732318816670.

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Housing First is an evidence-based approach to addressing chronic homelessness that provides permanent, low-barrier housing. Previous literature on the health of tenants of Housing First programs has primarily focused on mental health, substance use, and health care. Using the social-ecological model, we conducted a community-based participatory research (CBPR) PhotoVoice study to better understand what Housing First residents in Detroit identify as factors that impact their health. Seventeen participants were provided cameras and photography training and asked to take photos on the theme “What impacts your health and wellness?” Group sessions were held to discuss photos. Results were organized into four themes: (a) loss of jobs hurts people and communities; (b) blight, more than just abandoned buildings; (c) being pushed out by development; and (d) experiencing the “battlefield” versus feeling peaceful. The social-ecological model was used to indicate potential interventions indicated by study findings.
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Bayer, Martin. "Perceiving Chameleons." Membrana Journal of Photography, Vol. 1, no. 1 (2016): 66–69. http://dx.doi.org/10.47659/m1.066.art.

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For centuries, military uniforms had been colourful to differentiate friend from foe on the battlefield, but also as a distinguishing feature towards civil society. With technological progress and the advent of both aviation and improved photography a century ago, camouflage became a necessity. Artists and zoologists played a huge role in developing camouflage patterns. Today, most nations have a distinct national camouflage, and often, specific services or special forces have their very own uniforms as a sign of distinction. Nevertheless, many patterns can be traced back to the 1930s and 1940s. While fooling an observer is at the heart of military camouflage, it remains to be ambivalent, with its roles ranging from a desired cloak of invisibility to an indicator of power and prowess. In the past decades, camouflage has become synonymous with the military, and simultaneously, a global icon on its own, a political statement and an aspect of fashion.
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Skarlatos, D., and V. Vamvakousis. "LONG CORRIDOR SURVEY FOR HIGH VOLTAGE POWER LINES DESIGN USING UAV." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W8 (November 14, 2017): 249–55. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w8-249-2017.

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The term Unmanned Aerial Vehicle (UAV) is often directly associated with the armed forces due to their widely-criticized use of such vehicles on the modern battlefield. However, with the advancement of UAV technology, the acquisition and operational cost of small civilian UAV have reduced while their functionalities have increased. Therefore, a wide variety of new civilian applications have emerged. Mapping industry has been benefited as affordable UAV can partially replace traditional platforms, such as helicopters and small aircrafts, for low altitude photography acquisition. Although relatively new to the industry, the use of UAV is rapidly commercialized and they are expected to have a sizeable impact on the mapping industry in the coming years. The aim of this work was to test the use of a low-cost UAV for orthophoto production and Digital Surface Model (DSM) creation, to be used for the design of a new 23km high voltage line of Electricity Authority of Cyprus.
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Brandão, Cláudia Mariza Mattos. "Anotações sobre Walter Benjamin e as teias constituídas entre fotografia e imaginário/ Writings about Walter Benjamin and webs between photography and imaginary." Cadernos Benjaminianos 14, no. 2 (February 25, 2019): 35. http://dx.doi.org/10.17851/2179-8478.14.2.35-47.

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Resumo: O estabelecimento de relações entre Fotografia e Imaginário impulsionam ponderações acerca dos abundantes modos de olhar, interpretar e narrar o mundo. O artigo parte dessa ideia para discutir sobre a dinâmica das imagens e dos símbolos como propulsores de outras narrativas ou discursos, com base nas ideias de Walter Benjamin sobre narrações/narradores. Considerando que as imagens são matérias dinâmicas, derivadas da nossa participação ativa no mundo, é possível afirmar que elas expõem nosso pensar no âmbito das emoções, confrontado com nossas ações. Assim sendo, pondero sobre o fotógrafo como um narrador estranhado e entranhado, para quem o conhecimento assume a forma de expressão poética/simbólica, na compreensão da importância de ir contra qualquer interpretação dada como última ou definitiva, como quer Benjamin. A fotografia entendida como narração e vida, campo de luta entre o presente, o passado e o futuro, demarca também mais um diálogo filosófico com Walter Benjamin, que no seu clássico texto “A obra de Arte na Era da sua Reprodutibilidade Técnica” postula a relação da fotografia e do cinema como modos “modernos” de expressão, desenvolvidos e utilizados de acordo com as demandas e as possibilidades de uma modernidade desconexa, fragmentária e efêmera. Tais referências, aproximadas das teorias do imaginário, estruturam o conceito de “crônica visual narrativa”, na consideração de que fotografias derivam de atos comunicativos, através dos quais os sujeitos partilham visões de mundo. Essas ideias resultaram em tese doutoral.Palavras-chave: Walter Benjamin; Fotografia; Imaginário.Abstract: Establishing relations between photography and imaginary triggers thoughts about several ways of seeing, interpreting and narrative the world. This paper uses this idea to discuss the dynamics of images and symbols as propellers of other narratives or discourses based on Walter Benjamin’s ideas about narratives/narrators. Considering that images are dynamic matter, which derives from our active participation in the world, we may state that they expose our emotional thinking, by comparison with our actions. Therefore, I ponder on a photographer as a narrator who is estranged and entangled, whose knowledge takes the form of poetic/symbolic expression, in the source for understanding the importance of disagreeing with any interpretation that is posed as the last or definitive, as proposed by Benjamin. Photography, as narrative and life, battlefield between of present, past and future, also limits a philosophical dialogue with Walter Benjamin, who, in his classic text “The work of art in the age of mechanical reproduction”, defends the relation between photography and movies. Both are modern ways of expression which are developed and used in agreement with demands and possibilities of a disconnected, fragmented and ephemerous modernity. Such references, related to the theories of imaginary, form the concept of “narrative visual chronicle”, considering that photographies derive from communicative acts which enable subjects to share world perspectives. These ideas resulted in a doctoral dissertation.Keywords: Walter Benjamin; Photography; Imaginary.
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Chao, Jenifer. "Portraits of the enemy: Visualizing the Taliban in a photography studio." Media, War & Conflict 12, no. 1 (June 23, 2017): 30–49. http://dx.doi.org/10.1177/1750635217714015.

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This article examines studio photographs of Taliban fighters that deviate from popular media images which often confine them within the visual coordinates of terrorism, insurgency and violence. Gathered in a photographic book known simply as Taliban, these 49 photographs represent the militants in Afghanistan through a studio photography aesthetic, transplanting them from the battlefields of the global war on terror to intimate scenes of pretence and posing. Besides troubling the Taliban’s expected militant identity, these images invite an opaque and oppositional form of viewing and initiate enigmatic visual and imaginative encounters. This article argues that these alternative visualizations consist of a compassionate way of seeing informed by Judith Butler’s notions of precarity and grievability, as well as a viewing inspired by Jacques Rancière’s aesthetic dissensus that obfuscates legibility and disrupts meaning. Consequently, these photographs counter a delimited post-9/11 process of enemy identification and introduce forms of seeing that reflect terrorism’s complexity.
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Dissertations / Theses on the topic "Battlefield photography"

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Matzke, Alex. "If She Isn’t Working Miracles, What Is She Doing On The Battlefield?" VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4259.

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The images included in my thesis work reflect my experience growing up with military propaganda—pictures of cheerful white women in pearls as part of my rural middle American landscape. I do not name the oppressor because I am not here to pick at the thorns, but to get to the root of the oppression. These are some of the servicewomen I’ve met. Their stories parallel but cannot encompass the private experiences of all service women. I am grateful for their generosity; without them there would be no pictures. The battle for equality is much older than Rosie the Riveter but we still ask the same questions we asked Joan of Arc in the 15th century: if she isn’t working miracles, what is she doing on the battlefield?
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Millinor, William A. "Digital Vegetation Delineation on Scanned Orthorectified Aerial Photography of Petersburg National Battlefield." NCSU, 2000. http://www.lib.ncsu.edu/theses/available/etd-20001123-131211.

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I developed a new methodology to produce an orthorectified mosaic and a vegetation database of Petersburg National Battlefield using mostly digital methods. Both the mosaic and the database meet National Map Accuracy Standards and proved considerably faster than traditional aerial photograph interpretation methods. I classified vegetation polygons to the formation level using the Nature Conservancy?s National Vegetation Classification System. Urban areas were classified using Mitchell?s Classification Scheme for Urban Forest Mapping with Small-Scale Aerial Photographs. This method reduced the production time by 2/3, compared to traditional methods. It also reduced the chance of user error because re-tracing of the linework is not required.

My method started with scanning 75 aerial color IR photos, provided by Petersburg National Battlefield, at 600 dpi. Erdas Imagine was used to rectify the images using United States Geological Service (USGS) Digital Elevation Models (DEM) and black and white USGS Digital Orthophoto Quarter Quadrangles (DOQQ) as reference. The images were then mosaiced to create a seamless color infrared orthorectified basemap of the park. The vegetation polygons were drawn onscreen using ArcMap from Environmental Systems Research Institute, Inc. (ESRI) with the color, orthorectified mosaic as a background image. Stereo pairs of the aerial photos were referenced as needed for clarification of the vegetation. I used a minimum mapping unit (mmu) of 0.2 hectares, which exceeds guidelines defined by the United States Geological Survey ? National Park Service Vegetation Mapping Program. This methodology is easily learned quickly and has already been applied to several other studies.

The production of an orthorectified mosaic, created during the process, from the aerial photographs greatly increases the value of the photographs at little additional cost to the user. The orthorectified basemap can then be used as a backdrop for existing data layers or it can be used to create new GIS data layers. I used a minimum mapping unit (mmu) of 0.2 hectare, which exceeds guidelines defined by the United States Geological Survey-National Park Service Vegetation Mapping Program

Traditionally, vegetation polygons are delineated on acetate for each photograph. The linework on the acetates is then transferred to a basemap using a zoom transfer scope or other transfer instrument. The linework is traced again to digitize it for use in a GIS program. This process is time consuming, and the linework is drawn three times. The redundant tracing increases the chance of user error. My new methodology requires that polygons be delineated only once. I wanted to avoid using the zoom transfer scope and to avoid the redundant linework.

A total of 228 polygons were delineated over 20 separate vegetation and land cover classes with an overall thematic accuracy of 87.42% and a Kappa of .8545. Positional accuracy was very good with a RMSE of 1.62 meters in the x direction and 2.81 meters in the y direction. The Kappa and RMSE values compare favorably with accuracies obtained using traditional vegetation mapping methods.

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White, Katie Janae. "The War That Does Not Leave Us: Memory of the American Civil War and the Photographs of Alexander Gardner." BYU ScholarsArchive, 2014. https://scholarsarchive.byu.edu/etd/4114.

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In July of 1863 the photographs A Harvest of Death, Field Where General Reynolds Fell, A Sharpshooter's Last Sleep, and The Home of a Rebel Sharpshooter were taken after the battle at Gettysburg by a team of photographers led by Alexander Gardner. In the decades that followed these images of the dead of the battlefield became some of the most iconic representations of the American Civil War. Today, Gardner's Gettysburg photographs can be found in almost every contemporary history text, documentary, or collection of images from the war, yet their journey to this iconic status has been little discussed. The goal of this thesis is to expand the general understanding of these Civil War photographs and their legacy by considering their use beyond the early 1860s. Although part of a larger scope of influence, the discussion of the photographs presented here will focus particularly on the years between 1894 and 1911. Between those years they were made available to the public through large photographic histories and other history texts as well. The aim of these texts, which framed and manipulated Gardner's images, were to disseminate a propagandistic history of the war in a way that outlined it as a nationally unifying experience, rather than one of division. These texts mark the beginning of the influence the Gettysburg photographs would have on American memory of the war. Within these books the four photographs became part of a larger effort to reconnect with the past and shape the war into a source for a unified American identity.
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Lin, Yu-Shen, and 林鈺珅. "A Study on Historical Photographs of Sino-Japanese War in Ancient Battlefield of Penghu─ Case Study of the Japanese landing image after March 23, 1895." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/dj5zgy.

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碩士
國立臺北教育大學
藝術與造形設計學系教學碩士班
104
This study was aimed at using the materials of the Sino-Japanese War Battle of Penghu, discussing any meaning of battle history and transformation of war remnant space after comparison with the existing images. Researchers used images as a historical research tool to discuss past and present images with a comparative list, and recall war history by multimedia form to present narrative with war images in Penghu. In a time of six decade anniversary of the Sino-Japanese War Battle of Penghu, the study suggested meditation on the meaning of past history and legacy of monuments to establish field of view of the historical research, getting insight into the perspective to view how Penghu is positioned. The image recording of Japanese army is a view of the colonial rulers, where its selection of images and scenes is rich in conquest, domination, and cultural superiority, and it also implies intention of domination by pacification and integration. In this study, the Empire of Japan captured Penghu in 1895 were narrated by images, combing the scene and war-related history, and classify images as fort images and cultural image. Fortress images presentation of course of war in Penghu highlights the strategic importance where Penghu is located, allowing reader to understand why this war led to fortress in Penghu. The cultural images induce photos of ancient historical sites and archiving its geographical location, maintenance, refurbishment and preservation, revealing the process of ruling system change; architectural culture became the communication and persuasive tools of political belief, while cultural historical site picture is an act of the ruler. Researchers further shoot up current images of old photographs, discussing the existing function of architectural monuments and if any historical significance influencing the modern people, thereby discussing the conversion process that local Penghu people has made on the hometown implications. Indicated from the findings herein, this study presents the development of the Sino-Japanese War and images via view of Penghu locally, highlighting its strategic importance of the 19th to 20th century. The space significance from the comparison of war images and fortress war equipment in the peacetime is able to show historical narration throughout evolution of monuments, while providing new direction of tourism that tourists visit Penghu. More importantly, the research manner in narration that is established by comparing and referencing current/ancient photos may add rich elements for historic stories statically, as well as connection with how listener imagine his vision, rooting his understanding of history, indicating that comparative images and methodology of developing multimedia used in this study can be used as an effective teaching strategies of local education, a transitional justice converting from education to practical information inheritance for 120 years of lost war memories in Penghu.
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Books on the topic "Battlefield photography"

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Hogge, Dennis. Mathew Brady's FIRST MANASSAS: A biography and battlefield tour. Centreville, Virginia: Old Dominion Publishers, 2013.

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Hogge, Dennis. Mathew Brady's MANASSAS Photo Journal: Exploring the first battlefield of the American Civil War in period images. Centreville, VA: Old Dominion Publishers, 2011.

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Sarracino, Carmine. The battlefield photographer. Orchises: Washington, D.C., 2008.

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Erik, Stephan, and Kunstsammlung im Stadtmuseum Jena, eds. Deep South, Battlefields. Jena: Städtische Museen Jena, 2007.

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Campi, James. Civil War battlefields then & now. San Diego, Calif: Thunder Bay Press, 2012.

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Campi, James. Civil War battlefields then & now. San Diego, Calif: Thunder Bay Press, 2012.

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Brust, James S. Where Custer fell: Photographs of the Little Bighorn Battlefield then and now. Norman: University of Oklahoma Press, 2005.

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Institut culturel italien (Paris, France), ed. Giorgio Barrera: Champs de bataille = campi di battaglia : 1848-1867. Cinisello Balsamo: Silvana, 2011.

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Peter, Barton. The battlefields of the First World War: The unseen panoramas of the Western Front. London: Constable, 2008.

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Jeremy, Banning, Doyle Peter, and Imperial War Museum (Great Britain), eds. The battlefields of the First World War: The unseen panoramas of the Western Front. London: Constable, 2008.

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Book chapters on the topic "Battlefield photography"

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Masur, Louis P. "3. 1862." In The U.S. Civil War: A Very Short Introduction, 43–63. Oxford University Press, 2020. http://dx.doi.org/10.1093/actrade/9780197513668.003.0004.

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“1862” covers the conscription of Confederate soldiers and the emergence of Robert E. Lee, who assumed command of the Army of Northern Virginia. Lee won many significant battles against larger Union armies. Both sides experienced heavy losses, in part due to new, deadlier weapons. Soldiers fought for a variety of reasons, and photographs of the battlefield destroyed the public’s romantic notions about the war. While the war was not going well for the Union, a Republican Congress passed legislation that would have been impossible previously. Lincoln announced the Emancipation Proclamation after the battle of Antietam and, by the end of the year, was poised to deliver it.
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Vere, Bernard. "Oval balls and cubist players: French paintings of rugby." In Sport and modernism in the visual arts in Europe, c.1909-39. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781784992507.003.0004.

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The third chapter deals with the wholesale importation of a British team sport, rugby, into France. Led by Baron de Coubertin, the founder of the Olympics, who was the referee in the first French championship, its adoption by the French was a self-conscious response to defeat in the Franco–Prussian War. Choosing rugby over the more proletarian soccer, an haute-bourgeois and aristocratic elite played rugby at Paris’ most exclusive clubs, a moment reimagined by Henri Rousseau. But rugby could not be confined to these environs for long, and by the time of Delaunay’s The Cardiff Team, with its press photograph source, the sport was included alongside aeroplanes, the Eiffel Tower and advertising as a cipher of all that was modern in the Paris of 1913. Also on view at that year’s Salon des Indépendants was another picture of rugby, The Football Players, cementing the sport as a theme for salon cubism. During the First World War, rugby was celebrated by French nationalists as a sport that had trained its participants to become heroes on the battlefield. This, I surmise, is what led André Lhote to produce his cubist paintings of rugby during and after the conflict.
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