THE CRAZY ONES SHOT FILM by Art Giberson

 

For nearly 100 years Navy, Marine Corps and Coast Guard Photographers provided enduring and powerful images that have shaped American’s memory of armed conflict as well as their ideas about warfare and its impact. The Crazy Ones Shot Film is not just the story a Navy Coast Guard and Marine Corps Photography, but rather the story of brave men and women who risked their lives to be front line witnesses to the horrors and heroism of war.

Combat photographers are the unsung heroes who serve alongside America’s fighting forces in trenches and jungles, in fighter planes, bombers and helicopters and aboard submarines, destroyers and aircraft carriers—to capture the visual essence of war. Often armed only with cameras they were and will continue to be, among the first to enter battle in the most dangerous places and under the heaviest fire, to record the huge reservoir of memorable images modern day students, scholars and historians take for granted. Combat cameramen pro¬foundly understand that they are compiling a historical record and they use their artistic flair and their technical expertise to make the best possible pictures for posterity.
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Most photographic books highlight photographs and well-known photographers, subsequently Military photographers and the role they play in recording military history have been inadequately documented.

For Navy photography, that changed in 2000 with the publication of Art Giberson's, Eyes of the Fleet: A History of Naval Photography.

The Crazy Ones Shot Film (a revised edition of Eyes of the Fleet) brings the reader up-to-date on the current status of the Navy, Marine Corps and Coast Guard photographers and completes the 92-year history of naval photography.

Mr. Giberson’s book highlights many of the people involved in sea service photography from the earliest days, beginning in 1914 when the Navy's first “official” photographer, Walter L. Richardson, a ship's cook and amateur photographer, took some of the first pictures for the naval service and concludes with the birth of a new generation of imaging specialists called Mass Communications Specialists.

As a camera collector and historian, this book fills a gap in my knowledge of military cameras and photography in a highly concise and picture-loaded form and is sure be of value to a wide range of people interested in the history of photography.

Ken Metcalf
Editor Graflex
Historic Quarterly

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