Series abstract : The Image of war is an expression of the Civil War through the photographer's eyes. What interested them interests us. What they did not cover with their negatives this work does not cover in its text. The chapter narratives aim not at a history of the war, but prepare the reader for the images to follow, and illuminate them. It aims to set aright a century-old injustice. Thanks to his entrepreneurial genius, Mathew Brady so left his stamp upon Civil War photography that even today the conception is widespread that Brady was the only artist covering the war, that any civil War photograph is a "Brady." In actual fact, Brady may not personally have exposed a single one of the thousands of negatives attributed to him. By 1861 his nearsightedness had progressed to such a state that he left all the camera work to his assistants, while he personally took all the credit. An attempts is here made to return that credit to the largely forgotten men like David B. Woodbury, T.C. Roche, James Gipson and many more, who worked for Brady. Beyond correcting the record with Brady and his assistants, it is desired as well to open the readers' eyes and minds to the work of the host of other artists operating throughout the war-torn nation through the relatively new eyes of the camera. Volume 3 : Despite early wins, by late 1862, the tide had begun to turn against the South. With heavy losses at Antietem, and the death of Stonewall Jackson, by friendly fire at that, the South continued to bleed.

A project of The National Historical Society. Includes index. Ill. on lining papers.

The bloodiest day : Antietam /James I. Robertson, Jr. -- The fury of Fredericksburg / Peter J. Parrish -- Strangling the South / James M. Merrill -- New Bern in North Carolina : a portfolio -- Slaves no more / Dudley T. Cornish -- Washington at war : a portfolio -- Chancellorsville, Lee's greatest triumph / Frank E. Vandiver -- The South at war / Charles P. Roland -- The guns at Gettysburg / William A. Frassanito.