■ Photographs by Natalie Conn

■ Additional Photographs by Gustavo Mercado, Peter Jackson, Martin Lucas, and Mick Hurbis-Cherrier

■ Cover Photos by Robin Canfield/Actuality Media and G. Betancourt (CGIAR Research Program on Climate Change, Agriculture, and Food Security— CCFAS)

Figure 1.1 from The Missing Picture; Figure 1.2 from Waltz with Bashir; Figure 1.3 courtesy of Nathan Fitch; Figure 1.4 courtesy of Edin Velez; Figure 1.5 from In Whose Honor?; Figure 1.6 courtesy of Jamel Shabazz; Figure 1.7 from If I Can’t Do It, courtesy of Noel Salzmann; Figure 1.8 from Nobody’s Business; Figure 1.9 courtesy of Anderson Gold Films, Inc.; Figure 2.3 from Workers Leaving the Factory; Figure 2.4 from Regen; Figure 2.5 from The Polymath; Figure 2.6 from Housing Problems; Figure 2.7 from In Whose Honor?; Figure 2.8 from Titicut Follies; Figure 2.9 from Chronique d’un Été; Figure 2.10 from Tongues Untied; Figure 2.11 from All My Babies; Figure 2.12 from The Thin Blue Line; Figure 3.2 from Every Mother’s Son; Figure 3.4 from Inside Job; Figure 3.5 from Watermark; Figure 3.6 from A Conversation with My Black Son; Figure 3.7 from Marie’s Dictionary; Figure 3.8 from Hotel 22; Figure 3.9 from Last Minutes with ODEN; Figure 3.10 from The Shrimp; Figure 4.1 from A Village Called Versailles; Figure 4.2 from The Immortalists; Figure 5.1 from Etre et Avoir; Figure 5.2 courtesy of Zana Briski; Figure 5.3 from Darwin’s Nightmare; Figure 5.4 from Snakeheads; Figure 5.5 from Outfoxed: Rupert Murdoch’s War on Journalism; Figure 6.4 courtesy of Renato Tonelli; Figure 6.5 from Mr. Cao Goes to Washington; Figure 6.6 from Never Enough; Figure 6.7 from The Immortalists; Figure 6.9 courtesy of Robert Bahar; Figure 6.11 courtesy of Robert Bahar; Figure 7.1 from Sweetgrass; Figure 7.4 from Nostalgia for the Light; Figure 7.5 from Nostalgia for the Light; Figure 7.6 from Manufactured Landscapes; Figure 7.7 from The Thin Blue Line; Figure 7.8 from Nostalgia for the Light; Figure 7.10 from Chile: Obstinate Memory; Figure 7.12 from Fog of War; Figure 7.13 from Sweetgrass; Figure 7.17 from Crumb; Figure 7.21 from Manufactured Landscapes; Figure 7.23 from Primary; Figure 7.24 from Night and Fog; Figure 7.25 courtesy of Jai Mansson; Figure 7.28 from Crumb; Figure 7.29 from Roger and Me; Figure 7.30 from Cutie and the Boxer; Figure 7.32 from Mr. Cao Goes to Washington; Figure 7.33 from Mr. Cao Goes to Washington; Figure 7.34 from Mr. Death: The Rise and Fall of Fred A. Leuchter, Jr.; Figure 7.35 from Our Daily Bread; Figure 7.36 from Mr. Death: The Rise and Fall of Fred A. Leuchter, Jr.; Figure 8.1 from Butterfly Dance; Figure 8.3 courtesy of Edin Velez, Philip Johnston, and Prudence Hill; Figure 8.4 from The Police Tapes; Figure 8.9 courtesy of Gustavo Mercado; Figure 8.10 courtesy of Gustavo Mercado; Figure 8.12 from Bully; Figure 8.14 from Leviathan; Figure 8.15 courtesy of Sony Corporation and Anna Ozbek; Figure 8.17 courtesy of Sony Corporation; Figure 8.33 courtesy of AJA Video Systems, Inc.; Figure 8.34 courtesy of Arjen Van de Merwe; Figure 8.38 courtesy of Bennett Cain; Figure 8.39 from Pina; Figure 9.13 from Description of a Memory; Figure 9.17 courtesy of Kitmondo Marketplace; Figure 9.20 from Lessons of Darkness; Figure 9.25 from Nobody’s Business; Figure 9.26 from Helvetica; Figure 10.1 courtesy of Gary Griffin and Andre Baranowski; Figure 10.3 courtesy of Vocal-NY; Figure 10.4 from Nostalgia for the Light; Figure 10.5 from Man with a Movie Camera; Figure 10.14 from The Immortalists; Figure 10.15 courtesy of Erika Kapin; Figure 10.16 courtesy of Edelkrone; Figure 10.17 courtesy of Philip Johnston; Figure 10.18 courtesy of Shari Sperling; Figure 10.19 courtesy of DJI; Figure 11.1 from Split; Figure 11.6 courtesy of Mole-Richardson; Figure 11.8 courtesy of Gustavo Mercado; Figure 11.11 courtesy of Renato Tonelli; Figure 11.13 courtesy of De Sisti; Figure 11.15 courtesy of Chimera Lighting; Figure 11.19 courtesy of Curt Pair; Figure 11.27 from War Photographer; Figure 12.5 from The War and Sherman’s March; Figure 12.6 courtesy of Sekonic; Figure 12.8 from Don’t Look Back; Figure 12.10 from Casting the First Stone; Figure 12.11 from Franz Fanon: Black Skin, White Mask; Figure 12.12 from Resisting Paradise; Figure 12.14 from Border; Figure 12.15 courtesy of Eastman Kodak Company; Figure 12.19 courtesy of Canon USA, Inc.; Figure 13.3 courtesy of Principe Productions; Figure 13.8 courtesy of Holly Hardman; Figure 13.12 courtesy of Beachtek; Figure 13.16 courtesy of Sound Devices LLC and Zaxcom, Inc.; Figure 13.28 courtesy of Lectrosonics; Figure 14.1 courtesy of Principe Productions; Figure 14.2 courtesy of Professional Sound Services; Figure 15.1 from Out at Work; Figure 15.2 from Sherman’s March; Figure 15.3 from My Brooklyn; Figure 15.4 from Inside Job; Figure 15.5 from Hiroshima Bound; Figure 15.6 from Every Mother’s Son; Figure 15.7 from Mr. Death: The Rise and Fall of Fred Leuchter, Jr.; Figure 15.8 from Particle Fever; Figure 15.9 courtesy of Tami Gold; Figure 16.2 from Man with a Movie Camera; Figure 17.8 courtesy of Adobe Systems Inc.; Figure 17.20 from Visitors; Figure 18.1 from Trouble the Water; Figure 18.2 from Trouble the Water; Figure 18.3 from Trouble the Water; Figure 18.4 from Last Train Home; Figure 18.5 from Last Train Home; Figure 18.6 from Trouble the Water; Figure 18.8 from In Whose Honor?; Figure 18.9 from Night Mail; Figure 18.10 from The Last Bolshevik; Figure 19.1 from Barque Sortant du Port; Figure 19.2 from The Plough that Broke the Plains; Figure 19.3 from Banished: How Whites Drove Blacks Out of Town in America; Figure 19.4 from Banished; Figure 19.5 from Banished; Figure 19.6 from Banished; Figure 19.7 from Regen; Figure 19.8 from Nostalgia for the Light; Figure 19.9 from The Most Dangerous Man in America; Figure 19.11 from Cutie and the Boxer; Figure 19.14 from Darwin’s Nightmare; Figure 19.15 from Darwin’s Nightmare; Figure 19.16 from Mr. Cao Goes to Washington; Figure 19.17 from Fog of War; Figure 19.18 from Nobody’s Business; Figure 19.19 from Etre et Avoir; Figure 19.20 from Nostalgia for the Light; Figure 19.21 from Darwin’s Nightmare; Figure 19.22 from Manufactured Landscapes; Figure 19.23 from The Thin Blue Line; Figure 19.24 from State of Rest and Motion; Figure 20.1 from Hiroshima Bound; Figure 20.2 courtesy of The Digital Diaspora Family Reunion; Figure 20.3 from Sidney Poitier: An Outsider in Hollywood; Figure 20.4 from Atomic Cafe; Figure 20.5 from History and Memory: For Akiko and Takashige; Figure 20.6 from Nobody’s Business; Figure 20.8 from History and Memory: For Akiko and Takashige; Figure 20.11 from My Brooklyn; Figure 20.12 from The Civil War; Figure 20.13 from The Thin Blue Line; Figure 21.1 from Song of Ceylon; Figure 21.3 from Trouble the Water and Sweetgrass; Figure 21.5 courtesy of Sound One/Ascent Media; Figure 21.7 from Hell and Back Again; Figure 21.8 from Sweetgrass; Figure 21.9 from Intimate Stranger; Figure 21.17 courtesy of Avid; Figure 22.8 from Where in the World is Osama Bin Laden?; Figure 22.10 from When the Levees Broke: A Requiem in Four Acts; Figure 22.11 from Helvetica; Figure 22.13 from Banished and Darwin’s Nightmare; Figure 22.17 courtesy of Adobe Systems, Inc.; Figure 23.1 from Evaporating Borders; Figure 23.3 courtesy of The Fledgling Fund; Figure 23.5 courtesy of Skylight Pictures; Figure 23.6 courtesy of Skylight Pictures; Figure 23.7 courtesy of Skylight Pictures.