Recounts the story of wartime photography, from the first use of cameras on the battlefield through the war in Vietnam.

A chronicle of the frontline photographers of World War II recounts the sometimes harrowing exploits of the American Military Photographers, men armed with cameras who accompanied the Army, Marines, Air Force, and Navy into battle.

In this comprehensive, practical guide, award-winning photojournalist Stacy Pearsall offers the techniques, guidance, and inspiration needed to succeed in the dynamic and exciting field of photojournalism. Starting with an overview of photojournalism and her experience as both a combat and domestic photographer, Stacy covers the basics of preparing for assignments, discussing such key topics as selecting suitable attire for different environments, assembling essential camera gear, developing the right approach for a story, and honing your shooting technique. beyond the fundamentals, Stacy then dives into the nitty-gritty details of photojournalism work, providing insights into living and working in harsh conditions, maintaining physical and mental health, and managing relationships with subjects. The book interweaves hundreds of Stacy’s amazing photographs with stories of her experiences in the field, providing context for advice on everything from navigating unfamiliar locations, to properly exposing your images, to building innovative multimedia projects. Follow her into "the trenches" for the fascinating stories behind the shots, which show by example how to get the best photographs you can, even under the most challenging circumstances. Features stunning full-color images from some of the author’s most dramatic moments as a photojournalist Offers insights on preparing for long-term assignments, working in austere environments, and reintegrating into society after a project Interweaves photography techniques with advice on interacting with subjects and creating compelling stories

At the beginning of the Second World War the Nazi hierarchy at an early stage, had fully recognized the importance of controlling the depiction of military conflict in order to ensure the continued morale of their combat troops by providing a bridge between the soldiers and their families. Promoting the use of photographic record also allowed the Nazis to exercise control over negative depictions of the war. In contrast, the British military and political decision makers were reluctance to embrace any potential propaganda benefits of film and photographic material in the build up to and the early months of the Second World War. Military commanders in the field were conscious that their tactical blunders could be recorded on film and still photographs and made available to the British public. Visions such as the First World War use of troops as fodder for machine guns and the ensuing mud-coated corpses of British troops were not the sort of record of the conflict that British generals in the field were willing to contemplate. British politicians and their generals feared that a realistic presentation of the horror of war could have an adverse effect on recruiting. However, pressure was to come from across the Atlantic where the refusal to allow reporting of the war was harming Britain's cause in the United States and British diplomats overseas reported that the Germans were winning the propaganda war throughout the unoccupied countries of Europe. This belated acceptance of the need for open reporting of the conflict meant that when it was finally accepted as useful the P.R.2 Section (Public Relations) at the War Office and the British Military found itself in a 'catch up' situation. Despite the disadvantages of such a slow start, the British combat cameramen grew in strength throughout the conflict, producing films such as Desert Victory, Tunisian Victory, Burma Victory, The True Glory and a huge stock of both cine and still material lodged as 'Crown Property' in the Imperial War Museum, London. The British Army Film and Photographic Unit's material represents some of the most frequently used records of historical events and key figures of the period. It is utilized by film producers and television program makers without the camera men who shot the footage being listed in program credits. This book does not seek to denigrate the work of others such as Accredited War Correspondents but it does seek to accord to the combat camera men of the A.F.P.U. the recognition they are entitled to, but have never received, for their enormous and unique contribution to the historical record of the Second World War. Based on memoirs, personal letters and interviews with the AFPU camera men, this book reveals the development of the unit and tells the human story of men who used cameras as weapons of war.

Published to coincide with the 150th anniverary of the battle of Gettysburg, features both familiar and rarely seen Civil War images from such photographers as George Barnard, Mathew Brady, and Timothy O'Sullivan.

Animals have played an important role in warfare throughout history. Military forces have long relied on animals' natural abilities to achieve their missions. From medieval warriors charging into combat on horseback to dolphins locating explosive mines at sea, take a look at the many ways animals have helped armies find success on the battlefield. Then be sure to catch the other amazing titles in the Beasts and the Battlefield series.