1. Unidentified photographer

UNIDENTIFIED AFRICAN AMERICAN WOMAN WEARING WHITE GLOVES

ca. 1855

Many portraits like these were taken in a studio. The subjects were often formally posed and items were placed in the scene to communicate information about the sitter. Look closely at the subject. What items are her hands leaning upon? What might they be a symbol of? How is she dressed? What is her expression? Is this appearance common of images of African Americans in pre-Civil War times?

2. Unidentified Photographer

PORTRAITS OF UNION SOLDIERS RETRIEVED FROM THE US POSTAL SERVICE 'DEAD LETTER FILE'

1861 - 1865

Cartes-de-visite (French for ‘Visiting cards’) were first introduced in 1854. They were intended for personal use- exchanged with friends and relatives and placed in albums. They were made of paper and metal (called ‘’tintypes’) and were popular, inexpensive kinds of photographs made throughout the Civil War years. Many photographers would visit military camps during the war and set up temporary studios to photograph the soldiers. Soldiers sent these pictures back home to loved ones and friends, and waited for similar pictures of loved ones. These letters that contained these portraits, however, never arrived at their final destination. They came from the Dead Letter Office of the Post Office in Washington D.C.

What can these portraits tell us about who the soldiers were and what they experienced? How old were they? How did they dress? How did they fight in the war? What happened as a result?

3. Unidentified Photographer

PORTRAITS OF UNION SOLDIERS RETRIEVED FROM THE US POSTAL SERVICE 'DEAD LETTER FILE'

1861 - 1865

Cartes-de-visite (French for ‘Visiting cards’) were first introduced in 1854. They were intended for personal use- exchanged with friends and relatives and placed in albums. They were made of paper and metal (called ‘’tintypes’) and were popular, inexpensive kinds of photographs made throughout the Civil War years. Many photographers would visit military camps during the war and set up temporary studios to photograph the soldiers. Soldiers sent these pictures back home to loved ones and friends, and waited for similar pictures of loved ones. These letters that contained these portraits, however, never arrived at their final destination. They came from the Dead Letter Office of the Post Office in Washington D.C.

What can these portraits tell us about who the soldiers were and what they experienced? How old were they? How did they dress? How did they fight in the war? What happened as a result?

4. Unidentified Photographer

PORTRAITS OF UNION SOLDIERS RETRIEVED FROM THE US POSTAL SERVICE 'DEAD LETTER FILE'

1861 - 1865

Cartes-de-visite (French for ‘Visiting cards’) were first introduced in 1854. They were intended for personal use- exchanged with friends and relatives and placed in albums. They were made of paper and metal (called ‘’tintypes’) and were popular, inexpensive kinds of photographs made throughout the Civil War years. Many photographers would visit military camps during the war and set up temporary studios to photograph the soldiers. Soldiers sent these pictures back home to loved ones and friends, and waited for similar pictures of loved ones. These letters that contained these portraits, however, never arrived at their final destination. They came from the Dead Letter Office of the Post Office in Washington D.C.

What can these portraits tell us about who the soldiers were and what they experienced? How old were they? How did they dress? How did they fight in the war? What happened as a result?

5. Unidentified Photographer

PORTRAITS OF UNION SOLDIERS RETRIEVED FROM THE US POSTAL SERVICE 'DEAD LETTER FILE'

1861 - 1865

Cartes-de-visite (French for ‘Visiting cards’) were first introduced in 1854. They were intended for personal use- exchanged with friends and relatives and placed in albums. They were made of paper and metal (called ‘’tintypes’) and were popular, inexpensive kinds of photographs made throughout the Civil War years. Many photographers would visit military camps during the war and set up temporary studios to photograph the soldiers. Soldiers sent these pictures back home to loved ones and friends, and waited for similar pictures of loved ones. These letters that contained these portraits, however, never arrived at their final destination. They came from the Dead Letter Office of the Post Office in Washington D.C.

What can these portraits tell us about who the soldiers were and what they experienced? How old were they? How did they dress? How did they fight in the war? What happened as a result?

6. Unidentified Photographer

PORTRAITS OF UNION SOLDIERS RETRIEVED FROM THE US POSTAL SERVICE 'DEAD LETTER FILE'

1861 - 1865

Cartes-de-visite (French for ‘Visiting cards’) were first introduced in 1854. They were intended for personal use- exchanged with friends and relatives and placed in albums. They were made of paper and metal (called ‘’tintypes’) and were popular, inexpensive kinds of photographs made throughout the Civil War years. Many photographers would visit military camps during the war and set up temporary studios to photograph the soldiers. Soldiers sent these pictures back home to loved ones and friends, and waited for similar pictures of loved ones. These letters that contained these portraits, however, never arrived at their final destination. They came from the Dead Letter Office of the Post Office in Washington D.C.

What can these portraits tell us about who the soldiers were and what they experienced? How old were they? How did they dress? How did they fight in the war? What happened as a result?

7. Unidentified Photographer

PORTRAITS OF UNION SOLDIERS RETRIEVED FROM THE US POSTAL SERVICE 'DEAD LETTER FILE'

1861 - 1865

Cartes-de-visite (French for ‘Visiting cards’) were first introduced in 1854. They were intended for personal use- exchanged with friends and relatives and placed in albums. They were made of paper and metal (called ‘’tintypes’) and were popular, inexpensive kinds of photographs made throughout the Civil War years. Many photographers would visit military camps during the war and set up temporary studios to photograph the soldiers. Soldiers sent these pictures back home to loved ones and friends, and waited for similar pictures of loved ones. These letters that contained these portraits, however, never arrived at their final destination. They came from the Dead Letter Office of the Post Office in Washington D.C.

What can these portraits tell us about who the soldiers were and what they experienced? How old were they? How did they dress? How did they fight in the war? What happened as a result?

8. Unidentified Photographer

PORTRAITS OF UNION SOLDIERS RETRIEVED FROM THE US POSTAL SERVICE 'DEAD LETTER FILE'

1861 - 1865

Cartes-de-visite (French for ‘Visiting cards’) were first introduced in 1854. They were intended for personal use- exchanged with friends and relatives and placed in albums. They were made of paper and metal (called ‘’tintypes’) and were popular, inexpensive kinds of photographs made throughout the Civil War years. Many photographers would visit military camps during the war and set up temporary studios to photograph the soldiers. Soldiers sent these pictures back home to loved ones and friends, and waited for similar pictures of loved ones. These letters that contained these portraits, however, never arrived at their final destination. They came from the Dead Letter Office of the Post Office in Washington D.C.

What can these portraits tell us about who the soldiers were and what they experienced? How old were they? How did they dress? How did they fight in the war? What happened as a result?

9. Unidentified Photographer

PORTRAITS OF UNION SOLDIERS RETRIEVED FROM THE US POSTAL SERVICE 'DEAD LETTER FILE'

1861 - 1865

Cartes-de-visite (French for ‘Visiting cards’) were first introduced in 1854. They were intended for personal use- exchanged with friends and relatives and placed in albums. They were made of paper and metal (called ‘’tintypes’) and were popular, inexpensive kinds of photographs made throughout the Civil War years. Many photographers would visit military camps during the war and set up temporary studios to photograph the soldiers. Soldiers sent these pictures back home to loved ones and friends, and waited for similar pictures of loved ones. These letters that contained these portraits, however, never arrived at their final destination. They came from the Dead Letter Office of the Post Office in Washington D.C.

What can these portraits tell us about who the soldiers were and what they experienced? How old were they? How did they dress? How did they fight in the war? What happened as a result?

10. Unidentified Photographer

PORTRAITS OF UNION SOLDIERS RETRIEVED FROM THE US POSTAL SERVICE 'DEAD LETTER FILE'

1861 - 1865

Cartes-de-visite (French for ‘Visiting cards’) were first introduced in 1854. They were intended for personal use- exchanged with friends and relatives and placed in albums. They were made of paper and metal (called ‘’tintypes’) and were popular, inexpensive kinds of photographs made throughout the Civil War years. Many photographers would visit military camps during the war and set up temporary studios to photograph the soldiers. Soldiers sent these pictures back home to loved ones and friends, and waited for similar pictures of loved ones. These letters that contained these portraits, however, never arrived at their final destination. They came from the Dead Letter Office of the Post Office in Washington D.C.

What can these portraits tell us about who the soldiers were and what they experienced? How old were they? How did they dress? How did they fight in the war? What happened as a result?

11. Unidentified Photographer

PORTRAITS OF UNION SOLDIERS RETRIEVED FROM THE US POSTAL SERVICE 'DEAD LETTER FILE'

1861 - 1865

Cartes-de-visite (French for ‘Visiting cards’) were first introduced in 1854. They were intended for personal use- exchanged with friends and relatives and placed in albums. They were made of paper and metal (called ‘’tintypes’) and were popular, inexpensive kinds of photographs made throughout the Civil War years. Many photographers would visit military camps during the war and set up temporary studios to photograph the soldiers. Soldiers sent these pictures back home to loved ones and friends, and waited for similar pictures of loved ones. These letters that contained these portraits, however, never arrived at their final destination. They came from the Dead Letter Office of the Post Office in Washington D.C.

What can these portraits tell us about who the soldiers were and what they experienced? How old were they? How did they dress? How did they fight in the war? What happened as a result?

12. Unidentified Photographer

PORTRAITS OF UNION SOLDIERS RETRIEVED FROM THE US POSTAL SERVICE 'DEAD LETTER FILE'

1861 - 1865

Cartes-de-visite (French for ‘Visiting cards’) were first introduced in 1854. They were intended for personal use- exchanged with friends and relatives and placed in albums. They were made of paper and metal (called ‘’tintypes’) and were popular, inexpensive kinds of photographs made throughout the Civil War years. Many photographers would visit military camps during the war and set up temporary studios to photograph the soldiers. Soldiers sent these pictures back home to loved ones and friends, and waited for similar pictures of loved ones. These letters that contained these portraits, however, never arrived at their final destination. They came from the Dead Letter Office of the Post Office in Washington D.C.

What can these portraits tell us about who the soldiers were and what they experienced? How old were they? How did they dress? How did they fight in the war? What happened as a result?

13. Unidentified Photographer

PORTRAITS OF UNION SOLDIERS RETRIEVED FROM THE US POSTAL SERVICE 'DEAD LETTER FILE'

1861 - 1865

Cartes-de-visite (French for ‘Visiting cards’) were first introduced in 1854. They were intended for personal use- exchanged with friends and relatives and placed in albums. They were made of paper and metal (called ‘’tintypes’) and were popular, inexpensive kinds of photographs made throughout the Civil War years. Many photographers would visit military camps during the war and set up temporary studios to photograph the soldiers. Soldiers sent these pictures back home to loved ones and friends, and waited for similar pictures of loved ones. These letters that contained these portraits, however, never arrived at their final destination. They came from the Dead Letter Office of the Post Office in Washington D.C.

What can these portraits tell us about who the soldiers were and what they experienced? How old were they? How did they dress? How did they fight in the war? What happened as a result?

14. Unidentified Photographer

PORTRAITS OF UNION SOLDIERS RETRIEVED FROM THE US POSTAL SERVICE 'DEAD LETTER FILE'

1861 - 1865

Cartes-de-visite (French for ‘Visiting cards’) were first introduced in 1854. They were intended for personal use- exchanged with friends and relatives and placed in albums. They were made of paper and metal (called ‘’tintypes’) and were popular, inexpensive kinds of photographs made throughout the Civil War years. Many photographers would visit military camps during the war and set up temporary studios to photograph the soldiers. Soldiers sent these pictures back home to loved ones and friends, and waited for similar pictures of loved ones. These letters that contained these portraits, however, never arrived at their final destination. They came from the Dead Letter Office of the Post Office in Washington D.C.

What can these portraits tell us about who the soldiers were and what they experienced? How old were they? How did they dress? How did they fight in the war? What happened as a result?

15. Unidentified Photographer

PORTRAITS OF UNION SOLDIERS RETRIEVED FROM THE US POSTAL SERVICE 'DEAD LETTER FILE'

1861 - 1865

Cartes-de-visite (French for ‘Visiting cards’) were first introduced in 1854. They were intended for personal use- exchanged with friends and relatives and placed in albums. They were made of paper and metal (called ‘’tintypes’) and were popular, inexpensive kinds of photographs made throughout the Civil War years. Many photographers would visit military camps during the war and set up temporary studios to photograph the soldiers. Soldiers sent these pictures back home to loved ones and friends, and waited for similar pictures of loved ones. These letters that contained these portraits, however, never arrived at their final destination. They came from the Dead Letter Office of the Post Office in Washington D.C.

What can these portraits tell us about who the soldiers were and what they experienced? How old were they? How did they dress? How did they fight in the war? What happened as a result?

16. Matthew B. Brady

1ST CONNECTICUT ARTILLERY PARK ENCAMPED AT THE FORMER QUARTERS OF THE LOUISIANA TIGERS

1862

There are no notes for this image.

17. Alexander Gardner

HOME OF A REBEL SHARPSHOOTER, GETTYSBURG, PENNSYLVANIA

July, 1863

What does it mean to be ‘at home’? What does that place represent? Why do you think this word is used in the title?

The technology of photography was slower and much more cumbersome back then than it is today. We are used to seeing images of action as it happens. During the Civil War, the photographs of battles taken were scenes from before and after it was fought. Sometimes scenes, such as this famous one of a Rebel sharpshooter killed in action, were recreated or staged later by photographers. It is later discovered that the sharpshooter seen here was placed in this position. The body was posed and the gun (not a sharpshooter rifle) was set up for the picture. Why would photographers do this? What are some issues and problems with posing historical images?

18. Matthew B. Brady

PORTRAIT OF ULYSSES S. GRANT

March 9, 1864

During the war, generals such as Grant were considered celebrities. Many photographs of them were taken and collected by the public. This photograph presents an ‘image’ of Grant. How does he appear in this picture? Is he tired? Does he look serious? What can you tell by looking at his facial expression? What about his pose? Is he relaxed? Confident or nervous? There is an empty chair next to him. Does Grant look ready to sit? Why would the photographer put this in the picture?

19. Matthew B. Brady

PORTRAIT OF GENERAL GEORGE ARMSTRONG CUSTER

1864

Here is a portrait of another famous general. What is the impression we get of Custer from this photograph? What is his expression? What can his arms crossed firmly over his chest mean?

20. Timothy H. O'Sullivan

GENERAL GRANT'S COUNCIL OF WAR, MASSAPONAX, VIRGINIA

May, 21 1864

There was an increasing demand by Americans for documentation and ‘real footage’ from the war. Newspapers of the day could not reprint an actual photograph. One of the ways photographs were distributed to the public inexpensively was in the form of a Stereo Card, which when looked at through a special viewer appeared 3-Dimensional. Part of the effect is to have two almost-identical pictures side-by-side on the card, which is why you see two images here. Stereo cards and viewers on a wide range of topics were available and very popular during this era.

21. Unidentified Artist

HARVEST OF DEATH, GETTYSBURG PENNSYLVANIA

July 4, 1863

From a photograph by Timothy H. O'Sullivan
Published in Harpers Weekly July 22, 1865

There are no notes for this image.

22. Timothy H. O'Sullivan

A HARVEST OF DEATH, GETTYSBURG, PENNSYLVANIA

July 4, 1863

Compare/contrast with previous image. How is a photograph different than the drawing? What are some of the different ways we see photographs every day (including news/war photography)? How many of these were around during the Civil War?
[Bodies of Federal Soldiers, killed on July 1, near the McPherson Woods]

23. Alexander Gardner

LINCOLN WITH STAFF AT ANTIETAM

1862

There are no notes for this image.

24. Timothy H. O'Sullivan

INTERIOR OF BREASTWORKS ON ROUND TOP

July 1863

There are no notes for this image.

25. Timothy H. O'Sullivan

VIEW OF GETTYSBURG, PA

1863

There are no notes for this image.

26. Timothy H. O'Sullivan

FIELD WHERE GENERAL REYNOLDS FELL

1863

There are no notes for this image.

27. Alexander Gardner

A SHARPSHOOTER'S LAST SLEEP, GETTYSBURG, PENNSYLVANIA

July 1863

There are no notes for this image.

28. John Reekie

BURIAL PARTY, COLD HARBOR, VIRGINIA

April 1865

What process of the war is shown in this image? What clues does the photographer give you to what might be happening here? What can this photograph tell you about the roles African Americans played during the war? What other war activities were African Americans involved in?

29. George Barnard

RUINS IN CHARLESTON, SOUTH CAROLINA, CHARLESTON, SOUTH CAROLINA

1865 - 1866

This picture is taken after the Civil War. What can it tells us about the effects of the war? Look closely for details. Can you spot the two people sitting in the rubble in the middle of the picture? The people help us understand the scale of what we see. The photographer stands way back to give us a good look at a huge area. Look at the building closest to us on the left. How does it look? Why did the photographer include this building? Now look at the building in the middle way back. What are they doing to it? What might this say about the people of Charleston?

30. Alexander Hesler

PORTRAIT OF ABRAHAM LINCOLN

1860

There are no notes for this image.

31. Unidentified Photographer

PORTRAIT OF JOHN WILKES BOOTH

1862

President Lincoln’s assassin. How does he appear in this portrait? Compare his appearance with the next portrait of Lewis Payne. What are the similarities and differences? What impressions do they give us about these men?

32. Alexander Gardner

PORTRAIT OF LEWIS PAYNE

1865

Lewis Payne was a Lincoln conspirator who stabbed Secretary of State Seward on April 14, 1865. He was executed with other conspirators, an event also recorded by Gardner.

33. Alexander Gardner

EXECUTION OF LINCOLN ASSASSINATION CONSPIRATORS

July 7, 1865

Look closely at the details captured in this image. Consider the way people would have seen or had access to these images in the mid-1800s vs. the ways we are used to seeing news media today. Do we still see these kinds of images in the media? What might be reasons for public interest in this kind of event?