Military photography played a critical role in the documentation and circulation of imagery and information about the Algerian War, an eight-year war of independence defined by guerrilla warfare and torture that officially began on November 1, 1954. The photographers documenting the war were from a variety of backgrounds. Some were French, some were from other European nations, and we know of at least one Muslim Algerian photographer. An exploration of the broad, under-explored field of military photography provides nuanced insight into the Algerian War through a variety of individual perspectives—the colonizer, the colonized, and members of the international community. This paper is organized in two main sections. In the first section, I discuss images taken by photographers working for the Service Cinématographique des Armées (SCA), the branch of the French army responsible for photographing and filming the Algerian War. Generally speaking, military photographers were charged with documenting meetings, battles, speeches, and special social occasions. However, the French military harnessed photography for more than record keeping purposes. I argue that the camera was also a means of domination and weapon of psychological warfare. In this section, I discuss images that demonstrate that the camera was an important tool for knowledge production about the revolution and helped abet the construction of false social realities that the French military advanced both locally and internationally to varying degrees of success. In the second section, I discuss the work of photographers who had access to the inner workings of the Gouvernement Provisoire de la République de l’Algérie (GPRA), the provisional government based in Tunisia, and the Front de Libération Nationale (FLN), the principal Algerian nationalist movement of the time. I argue that the Front de libération nationale (FLN) mobilized photography in service of the revolution in myriad ways: 1) To present a notion of Algerian nationhood that was distinctly Arabo-Islamic, highly-organized, and capable of governing itself; 2) Defend against the narrative that the Armée de libération nationale was a terrorist organization and humanize its mujahidin; 3) Encourage pan-Arab, pan-African, and Third World solidarity; 4) To commemorate and venerate; 5) Construct, as the French did, its own false social realities; 6) Record individual experiences and private moments. These details go to show that not only did Algerian revolutionaries have a highly sophisticated relationship with the camera, but a deeply personal one too.