Good Example Of Fenton, The Valley Of The Shadow Of Death, 1855, Paper Print Vs. Gardner, Home Of A Rebel Sharpshooter, Gettysburg, 1863 Essay

Considering the time the photos were taken they are primarily referring to the effects of the American Civil War and the Crimean War. These are the expression of the photographer on how they understand and how would they want others to understand the war.
Fenton is mainly giving a justification to the result of the war versus the British and the Russian in the Crimean Peninsula. The name of the photo was primarily borrowed in the book of Psalms in the Bible by the British Army. The photo was mainly portrayed by a valley of cannonballs printed in black and white. As an audience I would see that the cannonballs are leftovers of the war and I would rather wonder how many casualties are there. But to pay respect to those involve Fenton opt to not picture the dead. Evidently, it was a photo documentary that would give evidence that a war has existed.
On the other hand, Alexander Gardner’s Home of a Rebel sparks so much of attention that time. The photo contains a dead soldier with his rifle standing by his sharpshooter’s den. The way the photo is taken is quite problematic with regards to the position of the dead soldier. Some historians actually accused Gardner’s photo; the rifle on that photo was actually owned by Gardner. For a photographer point of view, it is likewise to add more meaning on the photo. But nevertheless, faking a photo from a legitimate war is quite intrinsically not good looking.

Holland Day, Crucifix with Roman soldiers, 1896, platinum print vs. Stiegltiz, The Steerage, 1907, from Camera Work, photogravure

Both photographs are taken in the early stage of the existence of cameras. Remarkably, they are all beautiful black and white prints that represents the early era of modernization.
Holland Day’s work was primarily a representation of Jesus crucifixion. Moreover, all of his other photos are all Christian-themed with the likes of the Last Seven Words and among others. While it is still on the last years of the 19th century, Day has been known to be one the photographer that sparks interest to everyone. All of his pictures are primarily all most nude male artist depicting a story. On this context, Crucifix with Roman Soldiers he is aiming the constituents of churches. He only uses one negative for each photo using the platinum process. Additionally, he had lost this interest in taking photos when the acquisition of platinum was non-existent because of the Russian Revolution.
The scene delineates an assortment of men and ladies going in the lower-class area of a steamer going from New York to Bremen, Germany. Numerous years in the wake of taking the photo Stieglitz portrayed what he saw when he took it.
Stieglitz was aboard on SS Kaiser and on the third day saw something that pokes his interest. This is while the people are entering the boat. He didn't have his cam with him, and he hustled back to his lodge to get it. Around then he was utilizing a hand-held 4×5 Auto-Graflex that utilized glass plate negatives. Stieglitz discovered he had stand out glass plate readied at the time, and he immediately came back to the perspective and caught the unrivaled picture of the scene.
Both photographers want to depict a scene that could relay raw emotions to each audience. It is imminent though as an artist, Day and Stieglitz wants to capture the rawest of all photos they could take. The simpler it is or the humbler the photo is; they think it is the best.