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They took 19 stereoview photographs of war-time Washington DC and its nearby defenses. The photographs of defenses showed Union pickets near Lewinsville, Virginia and scenes at Camp Griffin, which was near Lewinsville.
There he joined other photographers, including George Houghton, who took some iconic photographs of the Vermont Brigade in Northern Virginia. Washington, DC was not the brothers' only foray into Civil War photography. Albert Bierstadt had an exhibit at the fair featuring Native American culture. After the partnership broke up around Albert pursued his career as an artist and became a member of the Hudson River school of artists. He is best known for his dramatic paintings of the Western United States. Edward and Charles continued independent careers as photographers.
Henry P. Moore — was born in Goffstown, New Hampshire. His family moved to Concord, New Hampshire when Henry was seven.
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By Moore was a "well known" photographer in Concord, New Hampshire. His photography studio on the island of Hilton Head, South Carolina, comprised a tent set up in a sandy cotton field. He took at least one more trip to the same area that extended from April 22 to the end of May, The glass plate negatives he used measured 5 x 8 inches. Photographic prints were sold at his Concord, NH gallery for one dollar each. Moore produced more than 60 photographs of the South. The images include extensive coverage of the Third New Hampshire Regiment, but are not limited to that. Military operations were not his only interest.
Scenes of plantations and recently freed slaves fill out his portfolio. He photographed cotton processing and slave quarters on Hilton Head, J. Seabrook's plantation on Edisto Island, and "contrabands" harvesting sweet potatoes at Hopkinson's Plantation on Edisto Island. Moore continued as a photographer in Concord, NH after the war.
In he moved to Buffalo, New York closer to his daughter Alice.
He died in in Buffalo, but is buried in his hometown of Concord, NH. In the first months of the war, southern "artists" actively documented in the field through their images. In fact, a Southerner took the first photographs of the war inside Fort Sumter. However, as a consequence of the war and rampant inflation most were soon out of business. Unfortunately, as war photographs were long regarded with extreme disfavor in the South after the rebellion, most were disposed of.
Fortunately, this was not the case for the many cherished family portraits of Confederate servicemen who lived and died during the war. These remarkable photographs are among the last known record of who they were and what they looked like. The most renowned Southern photographer was George Smith Cook — The native of Stamford, Connecticut was not successful in the mercantile business, so he moved to New Orleans and became a portrait painter.
This proved unprofitable and in Cook began working with the "new art" of the daguerreotype , settling in Charleston, South Carolina , where he raised a family. Cook's status as one of the South's most famous photographers was due in part to his visit to Fort Sumter on Feb. Robert Anderson. 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. Then, on September 8, he and business partner James Osborn photographed the inside of Fort Sumter, and as luck would have it, also captured the developing naval action in the harbor, Federal ironclads firing on Fort Moultrie.
New Ironsides firing on Fort Moultrie in defense of monitor U. Weehawken, grounded off Cummings Point. For unknown reasons, the historic stereoview was not marketed until , when it was finally offered for sale by Cook's son, George LaGrange Cook. Cook moved his family to Richmond in , and his older son, George LaGrange Cook, took charge of the studio in Charleston. In Richmond, Cook bought up the businesses of photographers who were retiring, or moving from the city.
He thus amassed the most comprehensive collection of prints and negatives of the former Confederate capital known to exist. Cook remained an active photographer for the remainder of his life. In , one year before George's death, George Jr. After George Jr's death in , Huestis took over the Richmond studio.
Note: The famous "exploding shell" photo falsely attributed to Cook is in reality a painting by C. John R. Key, based on three half stereos taken by Cook inside Fort Sumter on Sept. Experts had overlooked the fact that no camera of the time was capable of taking the wide angle depicted. In , James M.
Osborn — , a 47 year old daguerreian, native of New York, living in Charleston, S. Both were soon to become among the war's first photographers. By , from their state-of-the-art, high-volume studio, they had reached a national audience with their advertised "largest and most varied assortment of stereoscopic instruments and pictures ever offered in this country. Today, thirty-nine are known to exist. Their friendship would outlast their Charleston business however, which the war and damaging fires had brought to an end by February 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. Little did the enterprising partners know that one result of this visit would be the first combat photographs in history. After the death of his father in , young Jay was sent to St. Louis to live with an aunt, at which time his surname was changed to Edwards. In , he and his aunt moved to New Orleans, and Jay quickly established himself at 19 Royal Street. He preferred working outdoors in his "queer-looking wagon. Because his stereo cards had a P.
However, that changed when he and E. Newton Jr. The gallery specialized in "stereoscopic views of any part of the world," and was assisted by New York publisher Edward Anthony and the London Stereoscopic Company.
Edwards undertook one of the earliest wartime photo expeditions by venturing into the field in April Afterwards, Edward was apparently out of business. William D. Like other Southern photographers in occupied cities, the pair quickly adapted to the occupation. This arrangement had the benefit of being able to procure photography supplies through special arrangements with the military.
Kearsarge after sinking the C. William D. Grant, Lt. Pierre; half-length. Nude Photography. The Tysons evacuated town, as did most of the residents, prior to the Rebel shelling and occupation on July 1.
The pair went to Port Hudson, La. In they moved to New Orleans and operated a gallery at Canal Street. In they dissolved their partnership. McPherson carried on with his own gallery at Canal St. Samuel T. Blessing, who survived the epidemic, administered McPerson's estate. Charles started his career as a daguerreotypist in Cincinnati around By , Charles had relocated to the former studio of Harrison and Holmes at Broadway, NYC, in what was then the new photographic industry's epicenter.
Competition was fierce so "Professor" Rees passed himself off as a European political refugee with an innovative "German method of picture making. After only a little more than two years in business, Charles moved from New York City.
By , 30 y. Charles, with his brother Edwin, returned to the soon-to-be capital of the Confederacy, Richmond, Virginia and again set up shop. They called their new studio "Rees' Steam Gallery. 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.
As the war progressed, acute shortages of everything was the norm and most retail shops in Richmond, including Rees' studio, eventually closed down altogether. As Grant advanced on Petersburg on April 3, , Richmond was evacuated. General Ewell ordered Richmond's warehouses put to the torch. The fires soon got out of control and engulfed the entire business district, including the Rees Brothers' studio. Then, in , for reasons not entirely clear Charles relocated his studio to Petersburg, Virginia, setting up shop at the J.
Rockwell Gallery on Sycamore Street. Charles Rees passed away in at the age of 84 and was buried in Hollywood Cemetery with his wife Minerva and sons Eddie and Charles Jr. The Rees studio would continue operating under his only surviving child, James Conway Rees. James lived until and was one of the few men left who might have remembered the Civil War and his father's work during that conflict. With the coming of the Great Depression, the Rees Studio in Petersburg took its last photograph and closed its doors.
Andrew David Lytle — was an itinerant photographer in Cincinnati, Ohio, who worked throughout the mid-South. In , he opened a studio on Main Street in Baton Rouge, Louisiana, and for the next half-century recorded the places, events and faces of Louisiana's capital city. Lytle's remarkable photograph of the 1st Indiana H.
After federal forces occupied Baton Rouge in May , Lytle developed a lucrative photographic relationship with the U. Army and Navy. Many of Lytle's civil war era works are preserved in the 'Andrew D. Lytle's studio was so successful during the civil war that he was able to buy property with buildings near the Louisiana Governor's Mansion, which became the Lytle family home for the next sixty years.
Julian Vannerson —? His portraiture of Native Americans were part of a systematic effort to document members of treaty delegations who came to Washington, D. He is best known for his portrait photographs of Confederate generals Robert E. Lee and J. Stuart and Stonewall Jackson. Vannerson closed his business and sold his equipment at war's end. The agent also spoke to Howard Lytle about the role his father had played in the war. From that conversation and the subsequent write up in The Photographic History the story of Lytle as "camera spy for the Confederacy" was born.
Other than this tale, told fifty years after the fact to a journalist, there is no record any espionage by Lytle. The cameras used wet-plate collodion glass-plate negatives with fairly long exposure times. Photographing in the field, a photographer needed a darkroom wagon nearby for preparing the wet plates for exposure and developing them after exposure before they dried. Without a darkroom wagon, a photographer would have required a system of runners or horsemen to relay the wet plates between his studio, the photographic site in the field, and back to his studio.
Confederate Lieutenant Robert M. Smith was captured and imprisoned at Johnson's Island , Ohio. Smith acquired chemicals from the prison hospital to use for the photographic process.