Two images from The Valley of the Shadow of Death, 1854-5. PHOTOS: Roger Fenton

Pierre Anthony-Thouret’s ‘Plate XXXVIII’ (1927) shows Reims after the first world war with its devastated cathedral. ©Private collection, London

Richard Peter: Dresden After Allied Raids, Germany, 1945. © SLUB Dresden / Deutsche Fotothek

Don McCullin: Shell Shocked US Marine, The Battle of Hue, 1968. Printed 2013. © Don McCullin

Toshio Fukada: The Mushroom Cloud – Less than twenty minutes after the explosion (4), 1945. Tokyo Metropolitan Museum of Photography. © The estate of Toshio Fukada, courtesy Hiroshima Peace Memorial Museum

Two images from Wolf’s Lair/Adolf Hitler’s War Headquarters, 1960. PHOTOS: Jerzy Lewczynski

Shomei Tomatsu: Steel Helmet with Skull Bone Fused by Atomic Bomb, Nagasaki 1963. © Shomei Tomatsu – interface. Courtesy of Taka Ishii Gallery, Tokyo

11.02 Nagasaki, 1966 (detail) by Shomei Tomatsu. Photograph: © Shomei Tomatsu, courtesy of Taka Ishii Gallery, Tokyo

Sophie Ristelhueber: Gulf War Oil Fields in Fait, 1992. National Gallery of Canada. © Courtesy the artist and gallery Jérôme Poggi / Paris

Two images from Fait, 1992. PHOTOS: Sophie Ristelhueber

Two images from the 1993 series We Live as We Dream, Alone showing graffiti made by German prisoners of war in Britain. PHOTOS: Nick Waplington

An-My Lê’s ‘Untitled, Hanoi’ (1994-98) from the series ‘Untitled, Vietnam’. ©Courtesy the artist and Murray Guy, New York

US Bombing on Taliban Positions, 2001. Photo: Luc Delahaye

Simon Norfolk: Bullet-scarred apartment building and shops in the Karte Char district of Kabul. 2003. © Simon Norfolk

Managua, July 2004, from the series Reframing History. PHOTO: Susan Meiselas

Biville (left) and Urville, 2006 PHOTOS: Jane and Louise Wilson

The Day Nobody Died III, 2008. PHOTO: Adam Broomberg and Oliver Chanarin

Patio civil, cementerio San Rafael, Málaga, 2009 by Luc Delahaye. Photograph: Courtesy Luc Delahaye & Galerie Nathalie Obadia, Paris/Bruxelles

Jo Ractliffe’s ‘As Terras do fim do Mundo’ (2009). Hand-printed silver gelatin print. ©Courtesy the artist

Chloe Dewe Mathews’ ‘Vebranden-Molen, West-Vlaanderen’ (2013). ©Chloe Dewe Mathews

‘A Guide for the Protection of the Public in Peacetime’, 2014. © Tate Photography

Installation view of ‘Conflict, Time, Photography’ at Tate Modern. Photo: © Tate Photography

“Fṛm ɖ secndz aftr a bom z deṭnetd t a fwmr sìn v batl yirz aftr a wor hz endd, ɖs muvñ xibišn fôc̣sz on ɖ pasñ v tîm, trêsñ a dvrs n pýňnt jrni ʈru ovr 150 yirz v conflict arnd ɖ wrld, sns ɖ invnšn v ftogṛfi.

In an iṇṿtv mūv, ɖ wrcs r ōdrd acwdñ t hâ loñ aftr ɖ ivnt ɖe wr crietd fṛm mmnts, dez n wīcs t decedz lêtr. Fôṭgrafs têcn sevn munʈs aftr ɖ fîrbomñ v Drezdn r šôn alñsd ɖoz têcn sevn munʈs aftr ɖ end v ɖ Frst Gulfwor. Imijz md in Vietnam 25 yirz aftr ɖ fwl v Sîgon r šôn alñsd ɖoz md in Naġsaci 25 yirz aftr ɖ atomic bom. Ɖ rzult z ɖ čans t mc nvr-bfr-md cnẋnz ẇl vywñ ɖ leġsi v wor az ātists n ftogṛfrz hv capčrd it in retṛspect.

Ɖ imījt trwma v wor cn b sīn in ɖ îz v Don MCuḷn’z Šelšoct YS Mrīn 1968, ẇl ɖ dstruẋn v bildñz n landsceps r dokmentd bî Sîmn Nwf̣c’s Afganistan: Cronotopia 2001.

Dfṛnt conflicts wl olso rı̣pir fṛm multipl pýnts in tîm ʈrt ɖ xibišn. Ɖ Secnd Wrldwor fr xampl z adrest in Yerži Levčinsci’z 1960 fôṭgrafs v ɖ Wlf’s Ler / Adolf Hitlr’z Wor Hedqwtrz, Šôme Tmatsu’z imijz v objcts fând in Naġsaci, Cicŭji Cawada’z epic projct Ɖ Map md in Hirošima in ɖ 1960z, Mîcl Šmit’s Brlin strītsceps fṛm 1980 n Nic Woplñtn’z 1993 clôsups v sélwōlz fṛm a Priznr v Wor camp in Wêlz.

Ɖ xibišn z stêjd t côinsîd wɖ ɖ 2014 sentīnri n cncludz wɖ ny n rīsnt projcts bî Britiš, Jrṃn, Pôliš n Sirı̣n ftogṛfrz ẇč rflect on ɖ Frst Wrldwor a senčri aftr it bgan.”

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