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Books on the topic 'War photography Photography'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Erickson, Lucy. War photography. London: LCP, 2000.

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2

Reitzel, Mette. Post-war Japanese photography. London: LCP, 2002.

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3

Hodgson, P. J. Developments in war photography. London: LCP, 1985.

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4

Reitzel, Mette. Post-war Japanese photography. London: LCP, 2002.

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5

Stille, Darlene R. The Civil War through photography. Chicago, Ill: Heinemann Library, 2012.

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6

Zarzycka, Marta. Gendered Tropes in War Photography. New York : Routledge, 2016. | Series: Routledge: Routledge, 2016. http://dx.doi.org/10.4324/9781315746746.

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7

Bros, Maggs. Japanese photography from the pre-war period: Photobooks & prints. London: Maggs Bros., 2007.

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8

War and photography: A cultural history. London: Routledge, 1997.

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9

Frassanito, William A. Early photography at Gettysburg. Gettysburg, Pa: Thomas Publications, 1995.

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10

Fabian, Rainer. Images of war: 130 years of war photography. London: Guild Publishing, 1985.

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11

Images of war: 130 years of war photography. Dunton Green, Sevenoaks, Kent: New English Library, 1985.

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12

Markon, Genya, and Sybil Milton. Photography and the Holocaust. London: Taylor & Francis, 1999.

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13

War photography: Realism in the British press. London: Routledge, 1991.

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14

Tambrun, Catherine. Paris: Libéré, photographié, exposé = freed, photographed, exhibited = befreit, fotografiert, ausgestellt. Paris: Paris-Musées, 2014.

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15

1940-, Cicotello Louis, ed. War images: Fabricating reality. Lanham: Lexington Books, 2010.

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16

Popper, Grete. Fotografie mezi dvema svetovymi valkami =: Photographs from the inter-war period. Brne: Moravska galerie v Brne, 2005.

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17

Bruce, Bernard, and Marlow Peter 1952-, eds. Humanity and inhumanity: The photographic journey of George Rodger. London: Phaidon Press, 1994.

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18

Thomas, Ann. The Great War: The persuasive power of photography. Ottawa: National Gallery of Canada = Musée des beaux-arts du Canada/5 Continents, 2014.

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19

Williams, Val. Warworks: Women, photography and the iconography of war. London: Virago, 1994.

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20

Moeller, Susan D. Shooting war: Photography and the American experience ofcombat. New York: Basic Books, 1989.

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21

Finding the Civil War in your family album. [United States]: Picture Perfect Press, 2011.

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22

Reza war + peace: A photographer's journey. Washington, DC: National Geographic, 2008.

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23

Werner, Fenz, Frisinghelli Christine, Neue Galerie am Landesmuseum Joanneum., and Forum Stadtpark, eds. Krieg. Graz: Edition Camera Austria, 1993.

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24

Will, Michels, and Zelt Natalie, eds. War/photography: Images of armed conflict and its aftermath. Houston: Museum of Fine Arts, Houston, 2012.

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25

Shots of war. London: Carlton Books, 2010.

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26

Tucker, Anne. This was the Photo League: Compassion and the camera from the Depression to the Cold War. Chicago: Stephen Daiter Gallery, 2001.

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27

Witness to man's destruction: This is war. Milano: Charta, 2004.

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28

Adam, Hochschild, ed. Infra: Photographs. New York, N.Y: Aperture Foundation, 2012.

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29

Mexico at the hour of combat: Sabino Osuna's photographs of the Mexican Revolution. Laguna Beach, CA: Laguna Wilderness Press, 2012.

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30

Afterimages: Photography and U.S. foreign policy. Chicago: The University of Chicago Press, 2016.

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31

Greene, Stanley. Black passport. New York, N.Y: Aperture Foundation, 2009.

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32

Critelli, Maria Pia. Stefano Lecchi: Un fotografo e la Repubblica romana del 1849. Roma: Retablo, 2001.

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33

Steen, Uwe. Friedrich Brandt: Ein Pionier der Photographie in Schleswig-Holstein. Heide in Holstein: Westholsteinische Verlagsanstalt Boyens, 1989.

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34

Greene, Stanley. Black passport: Journal eines Kriegsfotografen. Bern: Benteli, 2009.

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35

Senn, Paul. Ein Zeitbild, 1930-1950: Paul Senn, Hans Staub, Gotthard Schuh : drei Schweizer Photoreporter. Bern: Benteli, 1986.

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36

The camera at war: A history of war photography from 1848 to the present day. London: Octopus, 1986.

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37

1947-, Kennerly David Hume, ed. American combat photography: From the Civil War to the Gulf War. New York, NY: MetroBooks, 2001.

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38

Sander, August. August Sander: Köln wie es war. Köln: Kölnisches Stadtmuseum, 1988.

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39

Through Soviet Jewish eyes: Photography, war, and the Holocaust. New Brunswick, N.J: Rutgers University Press, 2010.

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40

Moeller, Susan D. Shooting war: Photography and the American experience of combat. New York: Basic Books, 1989.

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41

Joelle, Bolloch, and Musée d'Orsay, eds. War photography. Paris: Musée d'Orsay, 2004.

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42

Taylor, John. War Photography. Routledge, 2020. http://dx.doi.org/10.4324/9781003102816.

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43

Koch. Russian War Photography. St. Martin's Press, 2000.

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44

Oldfield, Pippa. Photography and War. Reaktion Books, Limited, 2019.

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45

Brothers, Caroline. War and Photography. Routledge, 2013. http://dx.doi.org/10.4324/9780203709382.

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46

Finnegan, Cara A. The Presence of Unknown Soldiers and Imaginary Spirits. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039263.003.0002.

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This chapter analyzes close readings of photographs of the battlefield dead at Antietam, published accounts of photographs of unknown soldiers, and public commentary and trial transcripts related to the practice of spirit photography. Such photographs posed considerable reading problems for viewers who were unaccustomed to the idea of photographic representations of death and the afterlife. In a time of national crisis, grief, and trauma, viewers made sense of such images by drawing on their recognition of photography's capacity to produce presence. The chapter first provides an overview of Civil War photography before turning to photographs of unknown soldiers at the Battle of Antietam. It also considers how the most permanent of absences were seemingly erased by the mysterious appearance of the apparent spirits of deceased family and friends in photographic portraits. During a period in which the collective grief of the “republic of suffering” vividly animated public life, those who read both war and spirit photographs recognized the medium's capacity for producing presence in the face of the most traumatic of absences.

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47

Taylor. WAR/PHOTOGRAPHY PB (Comedia). Other, 1991.

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48

Bolloch, Joelle. War Photography: Photography at Orsay Series, From the Crimean War to World War I (Photography at the Musee D'Orsay). 5 Continents Editions, 2006.

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49

Australasian Nature Photography 10. CSIRO Publishing, 2013. http://dx.doi.org/10.1071/9781486300648.

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Abstract:

The bioregion of Australia, New Zealand, Antarctica and New Guinea possesses a unique natural heritage stretching back over 80 million years since the break-up of the great southern continent of Gondwana. The South Australian Museum and Australian Geographic focus on enhancing a general knowledge of this extraordinary legacy by encouraging photography of the region’s nature and wilderness, and promoting an annual competition to find the Australian Geographic ANZANG Nature Photographer of the Year. Australasian Nature Photography: ANZANG Tenth Collection presents the finest photographs submitted to the 2013 Australian Geographic ANZANG Nature Photographer of the Year competition. Each photograph is accompanied by technical information as well as anecdotes about how the picture was taken, which will stimulate yet further interest in the flora and fauna and their conservation in the region.

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50

Australasian Nature Photography 08. CSIRO Publishing, 2011. http://dx.doi.org/10.1071/9780643106802.

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The bioregion of Australia, New Zealand, Antarctica and New Guinea possesses a unique natural heritage stretching back over 50 million years since the break-up of the great southern continent of Gondwanaland. The South Australian Museum focuses on enhancing a general knowledge of this extraordinary legacy by encouraging photography of the region’s nature and wilderness, and promoting an annual competition to find the Nature Photographer of the Year. Australasian Nature Photography: ANZANG Eighth Collection presents the finest photographs submitted to the competition. Each photograph is accompanied by technical information as well as anecdotes about how the picture was taken, which will stimulate yet further interest in the flora and fauna and their conservation in the region.

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