<p>This article examines the contribution of the Italian neurologist Vincenzo Neri (1880–1960) to medical photography during the First World War, situating his work within the broader visual culture of wartime neuropsychiatry. Although photography was widely used to document neurological and psychiatric disorders, its archival survival is uneven due to military censorship, dispersed private collections, and the fragmentary nature of wartime medical records. Neri’s recently rediscovered archive—comprising more than 1,300 photographs, typographic clichés, and film fragments—offers an exceptional case study for understanding how visual media shaped the production of neuropsychiatric knowledge. Combining photography, cinematography, and graphic methods, Neri used images to differentiate organic, psychiatric, and functional disorders, to identify simulators, and to record therapeutic outcomes. His 1918 writings reveal a diagnostic gaze deeply intertwined with military authority, moral judgment, and classical rhetoric, illuminating the ethical and disciplinary tensions embedded in wartime medical practice. Wartime medical photography must be understood not only as clinical evidence but also as a product of the institutional, cultural, and ideological forces that shaped its creation, circulation, and meaning.</p>