Photographers of the American Civil War

In 1856, seeing the tremendous potential for reproducible, enlarged prints and their purpose for the illustrated newspapers, Brady hired photographer and businessman, Alexander Gardner for his Washington City studio.

[12] In April 1865, Gardner photographed Lewis Powell, George Atzerodt, David Herold, Michael O'Laughlen, Edman Spangler and Samuel Arnold, who were arrested for conspiring to assassinate President Abraham Lincoln.

Gardner, with the assistance of O'Sullivan, also took photographs of the execution of Mary Surratt, Lewis Powell, George Atzerodt and David Herold as they were hanged at Washington Penitentiary on July 7, 1865.

After finishing his assignment on October 19, Gardner returned to Washington City and that year published his folio sized anthology, "Across the Continent on the Union Pacific Railway, Eastern Division."

In 1875, the civic-minded Gardner worked at the Washington City Metropolitan Police Department, copying nearly a thousand daguerreotypes to be used as "mug shots", the forerunner of the "Rogues Gallery.

"[15] In 1879, Alexander Gardner formally retired from photography, devoting his remaining years to improving and enlarging the scope of the co-operative life insurance business model of the "Washington Beneficial Endowment Association.

In 1884, the Barnards moved to Painesville, Ohio and opened a studio with partner, local artist Horace Tibbals, which utilized their own manufactured dry plates.

Roche lived well off his many royalties, and continued as technical advisor to the company, sharing his knowledge, wisdom and anecdotes with readers of Anthony's Bulletin up until his death in 1895.

These include the "death studies", at least 20 stereoviews of the dead, allegedly taken inside Fort Mahone[36] The War Department contracts guaranteed the Anthonys the stereo negatives, while furnishing the government with the large format plates.

[42] Coonley is known to have operated a business at 78 Broughton Street, Savannah, Georgia, dealing in Chromos, engravings and paintings, as well as manufacturing frames and publishing of stereoviews and photographs.

In July 1863, Woodbury and Anthony Berger photographed the Gettysburg battlefield for Brady, returning on November 19 to take "pictures of the crowd and Procession" (Nov. 23, 1863 letter to sister Eliza).

"[49] He is probably best known for his iconic plate, "13 inch mortar Dictator, in front of Petersburg, Va." Like his colleagues John Reekie and the Gardner brothers, Knox was an officer of the Washington, D.C., Saint Andrews Society, a Scottish relief organization.

In May 1865, Maj. General Henry H. Abbot assigned Browne to photograph the James River water batteries around Richmond, Va., thus "preserving an invaluable record of their wonderful completeness."

Then, on November 19, the brothers recorded a number of historic views of the procession to the dedication of the Soldier's National Cemetery, one of which captured President Lincoln on horseback.

In June 1861 Stacy recorded his renown Fortress Monroe series, where his future brother in law Colin Van Gelder Forbes was serving with Duryee's Zouaves (5th NYVI) at the time.

On July 9, just six days after the Battle of Gettysburg, Gutekunst produced a series seven large plates of exquisite quality, including the first image of local hero John L.

Whitney opened his own "Skylight Gallery" in Rochester in 1851, and made regular trips to the New York City studios of Matthew Brady and Jeremiah Gurney in order to study the latest improvements in photography.

[68] In 1959, after recovering from the ill effects of cyanide poisoning, Whitney sold his Rochester business and moved to New York City, opening a gallery at 585 Broadway with Andrew W. Paradise, Mathew Brady's "right-hand man."

[81] Of particular historic significance is the pair's "Unidentified camp",[82] recognized in the year 2000 by South Carolina, author Jack Thompson to be among the world's very first photographs of actual combat.

A September 8, 1863, date has been suggested for the photo, however during that action the 17-gun frigate was engaging Fort Moultrie at close range and out of view of the Federal camps which were 4 miles (6 km) away.

His entrance into Civil War photography occurred when Moore followed the Third New Hampshire Regiment soldiers to Hilton Head, South Carolina in February 1862 and stayed through April or May 1862.

A successful portrait business that survived the war, and the systematic documentation of Union shelling of Charleston and in particular, Fort Sumter added to Cook's fame.

[88] Sadly, Cook's extensive collection, mainly consisting of portraits of notable Southern personalities, was lost on Feb. 17, 1865, when his Columbia, S.C. studio was destroyed during the firestorm that engulfed the capital city.

[93] Then, in September 1863, in response to Gen. Thomas Jordan's desire to document what "Southern troops could endure", Osborn and fellow artist George S. Cook volunteered to photograph the interior of Fort Sumter, which had been shelled by Union batteries into a shapeless mass.

[98] McPherson & Oliver are probably best known for "The Scourged Back", their sensational, widely published portrait of "Gordon", an escaped slave from a Louisiana plantation, who came into the Union lines at Baton Rouge.

Lower Manhattan contained the studios of some of the best photographers in the business, such as Henry Ulke, Mathew Brady, Jeremiah Gurney, Edward Anthony and Abraham Bogardus.

Caught up in the patriotic fervor of the time, Charles soon joined the 19th Virginia Militia, a regiment made up of shopkeepers, railroad workers and local firemen, who were used primarily as prison guards, but who were also used in extreme emergencies.

His portraiture of Native Americans were part of a systematic effort to document members of treaty delegations who came to Washington, D.C.[105] After the Civil War broke out, operating out of Richmond, Vannerson continued making portraits of famous Confederate general officers, using his preferred method, the "salt" print.

Itinerant (traveling) photographers received permission from a commanding general to establish themselves within an encampment, primarily for the lucrative purpose of making portraits for the soldiers, which could then be sent to loved ones as a memento.

Fredericks, J. Bogardus) and disputes surrounding the patents may have had an intimidating effect, and discouraged a wider use of "instantaneous" (stop action) photography during the Civil War.