This thesis approaches a body of 520 British official First World War photographs in the collection of the Art Gallery of Ontario, to ask how access to this material can be enhanced. The practical project involves physically arranging the works as well as improving their catalogue records. Additionally, this thesis examines the social and political causes for wartime censorship, leading to the appointment of “official” photographers. It compares the work of Britain’s two
most prolific First World War photographers to illustrate the benefits of physically arranging historical photographs by maker and to understand their individual approaches to capturing subjects of war.