Lens Of War

In this “gripping and personal view of war” (Andy McNab, author of Bravo Two Zero), a celebrated photographer crafts a powerful memoir about his experiences in some of the world’s most dangerous, war-torn areas—and his terrifying capture by Syrian rebels in 2013. For a decade, Jonathan Alpeyrie—a French‑American photojournalist—had ventured in and out of more than a dozen conflict zones. He photographed civilians being chased out of their homes, military trucks roving over bullet‑torn battlefields, and too many bodies to count. But on April 29, 2013, during his third assignment to Syria, Alpeyrie became the story. For eighty‑one days he was bound, blindfolded, and beaten by Syrian rebels. Over the course of his captivity, Alpeyrie kept his spirits up and strove to find the humanity in his captors. He took part in their activities, taught them how to swim, prayed with them, and tried learning their language and culture. He also discovered a dormant faith within himself, one that strengthened him throughout the ordeal. The Shattered Lens is a firsthand account that “reads like a thriller” (The New York Journal of Books) by a photojournalist who has always answered the next adrenaline‑pumping assignment. Yet, during his headline‑making kidnapping and “for all his suffering, Alpeyrie expresses, in words and color photographs, the compassion of a global citizen seeing beyond his personal terror and into the nuances of human interactions” (Booklist).

This set of essays by twenty-seven historians of the Civil War describes a wide array of the war's photographs, examining them in unfamiliar ways.

Lens of War grew out of an invitation to leading historians of the Civil War to select and reflect upon a single photograph. Each could choose any image and interpret it in personal and scholarly terms. The result is a remarkable set of essays by twenty-seven scholars whose numerous volumes on the Civil War have explored military, cultural, political, African American, women's, and environmental history. The essays describe a wide array of photographs and present an eclectic approach to the assignment, organized by topic: Leaders, Soldiers, Civilians, Victims, and Places. Readers will rediscover familiar photographs and figures examined in unfamiliar ways, as well as discover little-known photographs that afford intriguing perspectives. All the images are reproduced with exquisite care. Readers fascinated by the Civil War will want this unique book on their shelves, and lovers of photography will value the images and the creative, evocative reflections offered in these essays. Contributors: Stephen Berry, William A. Blair, Stephen Cushman, Gary W. Gallagher, J. Matthew Gallman, Judith A. Giesberg, Joseph T. Glatthaar, Thavolia Glymph, Earl J. Hess, Harold Holzer, Caroline E. Janney, James Marten, Kathryn Shively Meier, Megan Kate Nelson, Susan Eva O'Donovan, T. Michael Parrish, Ethan S. Rafuse, Carol Reardon, James I. Robertson Jr., Jane E. Schultz, Aaron Sheehan-Dean, Brooks D. Simpson, Daniel E. Sutherland, Emory M. Thomas, Elizabeth R. Varon, Joan Waugh, Steven E. Woodworth.

Bestselling author David Shields analyzed over a decade's worth of front-page war photographs fromTheNew York Timesand came to a shocking conclusion: the photo-editing process ofthe "paper of record,"by way of pretty, heroic, and lavishly aesthetic image selection, pullsthe woolover the eyes of its readers; Shields forces us to face not only the the media's complicity in dubious and catastrophic military campaigns but our own as well.This powerful media mouthpiece, the mightyTimes, far from being a check on governmental power, is in reality a massive amplifier for its dark forces by virtue of the way it aestheticizeswarfare. Anyone baffled by the willful American involvement in Iraq and Afghanistan can't help but see in this book how eagerly and invariably theTimesled the way in making the case for these wars through the manipulation of its visuals. Shields forces the reader to weigh the consequences of our own passivity in the face of these images' opiatic numbing. The photographs gathered inWar Is Beautiful, often beautiful and always artful, are filters of reality rather than the documentary journalism they purport to be.

“Spectacular . . . a majestic collection that captures the drama of everyday existence in war zones around the world. . . . There is no disputing the impact of this revelatory collection.” —BookPage From the Pulitzer Prize-winning photojournalist and New York Times bestselling author, a stunning and personally curated selection of her work across the Middle East, South Asia, and Africa Pulitzer Prize–winning photojournalist and MacArthur Fellow Lynsey Addario has spent the last two decades bearing witness to the world’s most urgent humanitarian and human rights crises. Traveling to the most dangerous and remote corners to document crucial moments such as Afghanistan under the Taliban immediately before and after the 9/11 attacks, Iraq following the US-led invasion and dismantlement of Saddam Hussein’s government, and western Sudan in the aftermath of the genocide in Darfur, she has captured through her photographs visual testimony not only of war and injustice but also of humanity, dignity, and resilience. In this compelling collection of more than two hundred photographs, Addario’s commitment to exposing the devastating consequences of human conflict is on full display. Her subjects include the lives of female members of the military, as well as the trauma and abuse inflicted on women in male-dominated societies; American soldiers rescuing comrades in the Korengal Valley of Afghanistan, and Libyan opposition troops trading fire in Benghazi. Interspersed between her commanding and arresting images are personal journal entries and letters, as well as revelatory essays from esteemed writers such as Dexter Filkins, Suzy Hansen, and Lydia Polgreen. A powerful and singular work from one of the most brilliant and influential photojournalists working today, Of Love & War is a breathtaking record of our complex world in all its inescapable chaos, conflict, and beauty.

"War Through the Lens tells the story of the most daring filmmakers in the short history of Canada's motion picture industry, the 50 cameramen who filmed Canadians in battle during World War Two. They belonged to the Canadian Army Film and Photo Unit and often scooped their British and American allies with the first, and in many cases, the most memorable footage of the war's crucial battles in Europe. They produced a legacy of images which continue to shape the depiction of the war today. It is a story of courage, bitterness, friendship, triumphs, and tragedies. The cost of their work was high. Before the guns were stilled, nearly a third of them became casualties with the small unit suffering proportionally among the highest casualty rates in the Canadian Army. This book explores their experience with unique first person accounts combined with rare and dramatic images of Canada at war and the men and women who made those images. Providing both a front line and a behind the scenes view of the war, War Through the Lens provides both compelling personal stories and important insights into how the war was covered and how those continue to shape our perception of Canada and conflict."--

"Long before the Confederacy was crushed militarily, it was defeated economically," writes Charles L. Dufour. He contends that with the fall of the critical city of New Orleans in spring 1862 the South lost the Civil War, although fighting would continueøfor three more years. On the Mississippi River, below New Orleans, in the predawn of April 24, 1862, David Farragut with fourteen gunboats ran past two forts to capture the South's principal seaport. Vividly descriptive, The Night the War Was Lost is also very human in its portrayal of terrified citizens and leaders occasionally rising to heroism. In a swift-moving narrative, Dufour explains the reasons for the seizure of New Orleans and describes its results.