This book tells of Mathew B. Brady, a Civil War photographer, with over 300 reproductions of his work.

The first narrative biography of the Civil War's pioneering visual historian, Mathew Brady, known as the “father of American photography.” Mathew Brady's attention to detail, flair for composition, and technical mastery helped establish the photograph as a thing of value. In the 1840s and '50s, “Brady of Broadway” photographed such dignitaries as Henry Clay, Daniel Webster, Dolley Madison, Horace Greeley, the Prince of Wales, and Jenny Lind. But it was during the Civil War that Brady's photography became an epochal part of American history. The Civil War was the first war in history to leave a detailed photographic record, and Brady knew better than anyone the dual power of the camera to record and excite, to stop a moment in time and preserve it. More than ten thousand war images are attributed to the Brady studio. But as Wilson shows, while Brady himself accompanied the Union army to the first major battle at Bull Run, he was so shaken by the experience that throughout the rest of the war he rarely visited battlefields except well before or after a major battle, instead sending teams of photographers to the front. Mathew Brady is a gracefully written and beautifully illustrated biography of an American legend-a businessman, a suave promoter, a celebrated portrait artist, and, most important, a historian who chronicled America during the gravest moments of the nineteenth century.

Fought over the course of four years, the Civil War pitted countrymen against countrymen, North versus South, friend against friend, and brother against brother. The photographs within these pages document the war that united America as one. These rare shots were taken in the middle of the battlefield during the earliest days of photography. Selected from a collection of seven thousand original negatives, these historic photos capture nearly every aspect of Civil War life. Among these photos are images of camps sprawling across acres, soldiers at their battlements, firing of heavy artillery, the aftermath of battle, and the terror that these young men faced. See first-hand of Union and Confederate officers strategizing their next moves, and Abraham Lincoln addressing his Union commanders. Originally released from the private collection of Edward Bailey Eaton in 1907, this edition is a must have for any Civil War buff or historian. No collection can be considered complete without these photographs by Matthew Brady and Alexander Gardner, as well as the meticulous passages that put the images in illuminating context.

Considers five documentary sequences or narratives: the antebellum portraits of Mathew Brady and others; the Civil War albums of Alexander Gardner, George Barnard and A.J. Russell; the Western survey and landscape photographs of Timothy O'Sullivan, A.J. Russell, and Carleton Watkins; and social photographs and texts by Alfred Stieglitz and Lewis Hine; as well as documentaries inspired by the Depression, esp. Walker Evans's American Photographs.

They took the most memorable photographs of the Civil War. Now their long rivalry was about to climax with the spilled blood of an American president--an event that would usher in a new age of modern media. Mathew Brady and Alexander Gardner were the new media moguls of their day. With their photographs they brought the Civil War -- and all of its terrible suffering -- into Northern living rooms. By the end of the war, they were locked in fierce competition. And when the biggest story of the century happened--the assassination of Abraham Lincoln--their paparazzi-like competition intensified. Brady, nearly blind and hoping to rekindle his wartime photographic magic, and Gardner, his former understudy, raced against each other to the theater where Lincoln was shot, to the autopsy table where Booth was identified, and to the gallows where the conspirators were hanged. Whoever could take the most sensational -- or ghastly -- photograph would achieve lasting camera-lens fame. Compelling and riveting, Shooting Lincoln tells the astonishing, behind-the-photographs story of these two media pioneers who raced to "shoot" the late president and the condemned conspirators. The photos they took electrified the country, fed America's growing appetite for tabloid-style sensationalism in the news, and built the media we know today.

A portrait of the visual historian illuminates his role in establishing photography as a valued documenting tool, analyzing his portraits of period dignitaries and his self-sacrificing effort to capture images of the Civil War.

Published to coincide with the 150th anniverary of the battle of Gettysburg, features both familiar and rarely seen Civil War images from such photographers as George Barnard, Mathew Brady, and Timothy O'Sullivan.

Four score and seven years ago . . . . Are any six words better known, of greater import, or from a more crucial moment in our nation’s history? And yet after 150 years the dramatic and surprising story of how Lincoln wrote the Gettysburg Address has never been fully told. Until now. Martin Johnson's remarkable work of historical and literary detection illuminates a speech, a man, and a moment in history that we thought we knew. Johnson guides readers on Lincoln’s emotional and intellectual journey to the speaker’s platform, revealing that Lincoln himself experienced writing the Gettysburg Address as an eventful process that was filled with the possibility of failure, but which he knew resulted finally in success beyond expectation. We listen as Lincoln talks with the cemetery designer about the ideals and aspirations behind the unprecedented cemetery project, look over Lincoln's shoulder as he rethinks and rewrites his speech on the very morning of the ceremony, and share his anxiety that he might not live up to the occasion. And then, at last, we stand with Lincoln at Gettysburg, when he created the words and image of an enduring and authentic legend. Writing the Gettysburg Address resolves the puzzles and problems that have shrouded the composition of Lincoln's most admired speech in mystery for fifteen decades. Johnson shows when Lincoln first started his speech, reveals the state of the document Lincoln brought to Gettysburg, traces the origin of the false story that Lincoln wrote his speech on the train, identifies the manuscript Lincoln held while speaking, and presents a new method for deciding what Lincoln’s audience actually heard him say. Ultimately, Johnson shows that the Gettysburg Address was a speech that grew and changed with each step of Lincoln's eventful journey to the podium. His two-minute speech made the battlefield and the cemetery into landmarks of the American imagination, but it was Lincoln’s own journey to Gettysburg that made the Gettysburg Address.

This volume contains one hundred of the greatest war pictures ever taken. Union troops in battle, Lincoln at Antietam, the ruins of Richmond, Lee's surrender at Appomattox, and more. It became the Civil War's best-known visual record and helped define how viewers would come to know the war. This classic also became foundational in the history of American photography, combining, for the first time, words and images in a sophisticated and moving account.