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Historical aerial photographs are an often overlooked source of information for archaeological, historical and landscape research. This monograph provides an overview and introduction to the collections which found their origin in the First World War and which are amongst the earliest systematic aerial collections. Along the Western Front from the end of 1915 onwards, aerial photo-reconnaissance units were sent out to record the outline of the enemy’s defences. The photographs were produced by an almost industrial process, brought together over four years, and survive in large quantities; archival collections are spread out across Europe, the United States and even Australia. The most important and interesting collections are discussed and dealt with, with a focus on their content, quantity, and geographic distribution. ------------------- Zgodovinske letalske fotografije so pri arheoloških, zgodovinskih in pokrajinskih študijah večkrat prezrt vir informacij. Monografija ponuja pregled nad kolekcijami, ki izhajajo iz prve svetovne vojne in sodijo med najzgodnejše sistematične zbirke fotografij posnetih iz zraka. Od leta 1915 naprej so vzdolž Zahodne fronte zračne opazovalne enote registrirale obrise sovražnikovih obrambnih položajev. Fotografije, ki so jih izdelovali v domala industrijskem obsegu in jih zbirali skozi širi leta, so se v velikem obsegu ohranile. Hranijo jih arhivi, ki so razprostranjeni po vsej Evropi, v Združenih državah Amerike in celo v Avstraliji. Opisane so najpomembnejše in najbolj zanimive zbirke letalskih fotografij Zahodne fronte, s posebnim poudarkom na njihovi vsebini, obsegu in geografski razprostranjenosti.
"The First World War demanded revolutionary technology to break the vicious stalemate in which the armies of Europe found themselves, as soon as static, or trench warfare became established. One such technology was aerial reconnaissance and photography, which together with the growing intelligence use of phone tapping and radio intercepts, changed the nature of war forever. Colonel Terry J. Finnegan's Shooting the Front reviews the entire evolution of Allied aerial photography and photographic interpretation during the Great War, in a text packed with data and based upon meticulous research in archives worldwide. The photographs included are both informative and spectacular, charting perforce the early years of aviation itself. Shooting the Front shows not only how important aerial reconnaissance was to the war effort, but also how it became the foundation for modern-day exploitation of imagery and geospatial intelligence used to guide today's decision makers on global issues, and shaped intelligence work for generations to come."--Publisher.
This volume presents the rich, but under-utilised and in parts inaccessible, archival historic aerial imagery, traditional photographs and those captured from satellites, for the exploration and management of cultural heritage. An unparalleled resource, for archaeologists and all with an interest in landscapes, images spanning the second half of the 20th century provide an unrivalled means of documenting and understanding change and informing the study of the past. Case studies, written by leading experts in their fields, illustrate the applications of this imagery across a wide range of heritage issues, from prehistoric cultivation and settlement patterns, to the impact of recent landscape change. Contemporary environmental and land use issues are also dealt with, in a volume that will be of interest to archaeologists, historians, geographers and those in related disciplines.
Historical archives of vertical photographs and satellite images acquired for other purposes (mainly declassified military reconnaissance) offer considerable potential for archaeological and historical landscape research. They provide a unique insight into the character of the landscape as it was over half a century ago, before the destructive impact of later 20th century development and intensive land use. They provide a high quality photographic record not merely of the landscape at that time, but offer the prospect of the better survival of remains reflecting its earlier history, whether manifest as earthworks, cropmarks or soilmarks. These various sources of imagery also provide an opportunity to examine from the air areas of Europe and beyond whose skies are still not open to traditional archaeological aerial reconnaissance. Tens of millions of such images are held in archives around the world, but their research potential goes very largely untapped. A primary aim of this volume is to draw to wider attention the existence, scope and potential access to historical archival aerial and satellite photographs, in order to encourage their use in a range of archaeological and landscape research. By drawing attention to this massive archival resource, providing examples of its successful application to archaeological/landscape questions, and offering advice how to access and utilise the resource, the volume seeks to bring this material to wider attention, demonstrate its huge potential for archaeology, encourage its further use and stimulate a new approach to archaeological survey and the study of landscape evolution internationally. ​
The photographs of the First World War offer an extraordinary range of images, and in this book Jane Carmichael draws on her great expertise and knowledge in this area to look at how those photographs came to be taken. She examines the work of the official, press and amateur photographers, and reproduces over 100 photographs from the archive of the Imperial War Museum, one of Britain's great photographic collections. She focuses on the growing use of the photograph as a medium for the masses and as a historical document, making us aware of the operations of propaganda and journalism during the period and enhancing our appreciation of the photographic documents of the war.
The Battle of Attu, which took place from 11-30 May 1943, was a battle fought between forces of the United States, aided by Canadian reconnaissance and fighter-bomber support, and the Empire of Japan on Attu Island off the coast of the Territory of Alaska as part of the Aleutian Islands Campaign during the American Theater and the Pacific Theater and was the only land battle of World War II fought on incorporated territory of the United States. It is also the only land battle in which Japanese and American forces fought in Arctic conditions. The more than two-week battle ended when most of the Japanese defenders were killed in brutal hand-to-hand combat after a final banzai charge broke through American lines. Related products: Aleutian Islands: The U.S. Army Campaigns of World War II is available here: https: //bookstore.gpo.gov/products/aleutian-islands-us-army-campaigns-world-war-ii-pamphlet Aleutians, Historical Map can be found here: https: //bookstore.gpo.gov/products/aleutians-historical-map-poster Other products produced by the U.S. Department of Interior, National Park Service can be found here: https: //bookstore.gpo.gov/agency/national-park-service-nps World War II resources collection is available here: https: //bookstore.gpo.gov/catalog/world-war-ii
The Great War of 1914-1918 now stands at the furthest edge of living memory. And yet, hardly a month passes without some dramatic and sometimes tragic discovery being made along the old killing fields of the Western Front. Graves of British soldiers buried during battle – still lying in rows seemingly arm in arm or found crouching at the entrance to a dugout; whole 'underground cities' of trenches, dugouts and shelters have been preserved in the mud; field hospitals carved out of the chalk country of the Somme marked with graffiti; unexploded bombs and gas canisters – all of these are the poignant and sometimes deadly legacies of a war we can never forget. Killing Time digs beneath the surface of war to uncover the living reality left behind. Nicholas J. Saunders brings together a wealth of discoveries to offer fresh insights into the human and often barbaric aspect of warfare. He uses discoveries in the trenches, family photographs, diaries and souvenirs to give the dead a voice. You cannot fail to be fascinated and moved by what he unearths.