Ever since its humble beginnings and up to the present day, photography has been linked to various different ways of representation of a vast array of political conflicts. Different ways of looking at these conflicts were mostly developed through the history of Western colonialism, which is also the underlying theme of the book. Through analyses of photographs depicting armed conflict throughout the 20th century, taken by professional photojournalists and humanitarian workers, different theoreticians try to lead the reader beyond the narrow colonialist view – the view which does not disappear with the advance of new media technologies and social networks, but, on the contrary, gains new dimensions. The authors, through various examples, analyse the pivotal role of 20th century photojournalism in constructing typical social categories, such as the suffering individual, the relationship between good and evil, humanitarianism, armed conflict, and the question of compassion. Most photographers have addressed these categories through the so called role of photography as the historical “witness” and relater of events. With the advent of new technologies, however – satellites, the internet, digital production and photography –, the media realm has also grown enormously compared to the time when photography was born, disseminating unmanageable masses of photographs depicting conflict in the broadest sense of the word. Artists today try also to find answers to the question of the role of photography today as a testament and catalyst of global social change. They are interested to find out how a perfectly ordinary person who is not a professional photographer copes with the situation of finding themselves facing an armed conflict, armed with a mobile phone camera.