Showcase. Interpret. Preserve.
If you want the images and stories in Military Images but do not need the paper, our digital subscription is for you. Get a PDF of the quarterly print edition delivered to your email inbox and access to our password protected premium web version all for $19.95 per year.
This option joins two other ways to get Military Images—print and print + digital. Now you have three ways to receive our content. Visit our subscribe/renew section to subscribe.
The complete issueVol. XXXVII, No. 1
(80 pages)
Print edition: Visit our store to check availability
Digital edition: Visit JSTOR.org to purchase
Subscribe to MI ($24.95)
Explore the MI Archives: Browse | Advanced search | Tutorial
Cover image
A sixth-plate tintype from the Buck Zaidel Collection pictures two Union pards fighting for each other and the flag.
Download (free)
Table of Contents (p. 1)
Download (free)
Editor’s Desk (p. 2)
The editor marks the magazine’s 40th year by placing the publication in context to key events in the modern history of collecting. Also noted is the passing of John R. Sickles, an icon in the collecting community and a former Senior Editor of MI.
Download (free)
Mail Call (pp. 3-4)
Feedback includes an example of uncommon placement of chevrons on the coat sleeve of a hospital steward, a question about a Texas identification and a request for more Confederate images.
Download (free)
Military Anthropologist (p. 4)
An analysis of the 19 loyal states that did not border the Confederacy shows seven exceeded their quotas for Union troops and the rest barely missed making their numbers.
Download (free)
Passing in Review (p. 6)
Gettysburg’s Coster Avenue: The Brickyard Fight and the Mural (Gettysburg Publishing LLC) by Mark H. Dunkelman is the story of how one man’s vision added an artistic masterpiece to a less-traveled section of the Gettysburg battlefield.
Download (free)
Photo Sleuth by Kurt Luther (pp. 8-9)
In “What to Do When Gold Standards Go Wrong,” Kurt revisits a column published in the Autumn 2016 issue after alert reader Doug Sagrillo presented him with an identified carte de visite that challenged another listed with a different name in a reputable public collection.
Antebellum Warriors (p. 10)
A quarter-plate ambrotype from the Dan Binder Collection is a portrait believed to be a militia staff officer sitting next to his feathered hat and a document.
Most Hallowed Ground (p. 12)
Pvt. George Washington Tucker survived the deadliest day in Vermont history—May 5, 1864. He and his fellow Vermonters suffered 1,234 casualties during the fighting in The Wilderness.
The Honored Few (p. 14)
Cecil Clay, a captain in the 58th Pennsylvania Infantry, was conspicuous for gallantry during the attack on Fort Harrison on Sept. 29, 1864. The fight cost him an arm, and resulted in his being awarded the Medal of Honor.
The Citizenry (p. 16)
A group of women stand on the back stairs of a clapboard building in Corning, N.Y. Several of them hold hats in various stages of completion, indicating that they are milliners.
Where Light Meets Lens: Representative images from the Buck Zaidel Collection (pp. 18-29)
Buck Zaidel is perhaps best known as the co-author of the book, Heroes for All Time: Connecticut Soldiers Tell Their Stories. He is also a savvy collector with a keen eye for unique images. Here we showcase selected images from his holdings.
Portraits on The Point: Representative photographs by the studio of Robert M. and James B. Linn by Dr. Anthony Hodges with images from his and other collections (pp. 31-42)
The rocky outcropping that overlooks Chattanooga, Tenn., became the scene of one the most dramatic moments of the Civil War after Union soldiers raised the Stars and Stripes in victory over Confederates on Nov. 25, 1863. Soon after, enterprising photographer Robert M. Linn set up a gallery and captured uncounted numbers of soldiers who visited the iconic spot. In this gallery, we showcase representative images from private collections. This is the second in a three-part series.
Jerseymen! A survey of Civil War soldiers and sailors from the John Kuhl collection (pp. 44-55)
The state of New Jersey’s contribution to Northern arms is evident in the faces and stories of volunteers who served in the Union armies during the Civil War. Original images are included here, many published here for the first time, along with their personal narratives.
New Jersey’s Splendid Colors Recall a Terrible Struggle (pp. 56-57)
An 1885 fire in the New Jersey state capitol building almost destroyed the precious colors carried by regiments during the late Civil War. The 19 men who saved the flags received badges of honor for heroism. One of them, William S. Stryker, accepted the badge with a moving speech.
Guardians of Honor: Men and events that shaped the Medal of Honor by Ron Maness (pp. 60-66)
Though the standard by which the Medal of Honor is substantially the same as it was during the Civil War, the process by which the awards are made is far more rigorous. Two stories here examine how the lack of validation impacted the decoration, and highlight the actions of two forgotten soldiers.
Captain Ramsey and the Birth of the “True Blues” by Ronald S. Coddington (pp. 68-70)
David Wardlaw Ramsey numbered among the first Alabama men to join the army in 1861. Those early, heady days of excitement soon gave way to pain, suffering and loss at Island No. 10, Port Hudson and elsewhere.
“Admiral Johnston”: An unofficial powder boy’s courage under fire by Ron Field (pp. 73-75)
Pint-size 6-year-old James Vincent Johnston could scarcely be kept out of harm’s way after he and his mother were trapped aboard the gunboat Forest Rose during a fight near Vicksburg, Miss., in early 1864. His father, the commander of the vessel, resorted to tying the boy to a chair in his cabin to keep him safe. It didn’t work. What happened next became the stuff of navy legend.
British Invasion! Confederate portraits in England by John O’Brien (pp. 76-77)
During the latter period of the war, a series of cartes de visite of Confederates, including President Jefferson Davis, Gen. Robert E. Lee and political and military leaders, was published in London by photographer Charles B. Walker in partnership with Florida lensman S.C. McIntyre. Long overlooked, we explore the history of this unique grouping.
Stragglers: Distinctive Images from MI contributors (pp. 78-79)
“Southern Warriors” features four images of Confederates.
The Last Shot (p. 80)
An eighth-plate tintype from the Michele Behan Collection is a portrait of a heavy artilleryman or an infantryman posed with a cannonball.
You may have noticed content from our magazine in other Civil War publications. For example, The Civil War Monitor publishes an occasional series, Faces of War, based on images that have appeared in MI. The magazine of the Civil War Trust, Hallowed Ground, also includes an MI feature.
What is the sharing is all about? Aside from the obvious promotional efforts, there is a more substantial reason that is at the heart and soul of our magazine.
The reason is our mission—to showcase, interpret and preserve Civil War portrait photography. These unusual images are a relatively new to our eyes. For a century after the end of the war, the vast majority were hidden away in albums in attics and basements. A small number were published by veterans during their lifetimes in books and magazines—but they were relatively few compared to the overall number in existence.
Beginning the late 1950s and the 1960s, following Bruce Catton’s popular histories of the war, the centennial and the passing of the last living veterans, these singular portraits began to show up at flea markets, antique shops and other sales.
Today, they are highly collectible. And we’ve made it our mission to document as many as possible. We’ve been at this since 1979.
So, the next time you see a portrait of a Union or Confederate soldiers, remember them and their service. And also think about what MI is doing to keep their faces and stories alive.
Thank you!
Pleased to announce that the digital edition of Military Images magazine is now available. Formatted identically to the print version, it is produced directly from the master pdf files sent to the printer. Now you can enjoy all the rare and wonderful images, features and departments in every issue of MI on your laptop, tablet or phone. Single issues are now available for purchase at $7.95 each, and the downloadable pdf is yours to keep. The MI digital edition is powered by Tinypass.
The redesign that debuted with the current issue of the magazine has impacted all other materials associated with the publication. This includes the renewal form, which is being mailed today to those who have expired subscriptions.
The renewal form is a challenge from a design perspective. There are a number of details to communicate, and clarity is essential. Before beginning the task, I prepared by collecting renewal forms and invitations to subscribe forms from other publications.
Armed with samples, I set about creating the new form shown here. The final version is divided into two sections. The upper two-thirds states the price and describes highlights of the new MI, which includes the redesigned magazine and web site. The bottom third is a detachable return slip which is returned with payment in a self-addressed stamped envelope included with the form.
The biggest change, aside from the new look, is the placement of the free (and optional) classified ad, a long-time tradition for renewing subscribers. The free ad is still available, but the large space on the front of the return slip to enter the ten words and contact information has been reduced to a green box at the very bottom of the form. Text in the green box instructs subscribers to use the back of the return slip to enter this information. They can also email militaryimages@gmail.com.
One of the editorial highlights of any publication is the moment you decide it is ready to go to press. The moment comes after weeks and months of planning, and a final few frenetic days of proofing pages, editing text and tweaking the design.
The ‘Moment’ for Military Images arrived last night when I put my red pen down, confident that the Winter 2014 issue (my first as editor and publisher) was completed.
And while my description may make it seem a solitary journey, it was anything but a lonesome adventure. My wife Anne has been great in every way, and her honest feedback along the way truly appreciated. Copy Editor Jack Hurov has been terrific. His work has sharpened the text and put MI on the path of a solid style guide that will be very useful for future issues. I am indebted to Senior Editor Mike McAfee for his great column, “Uniforms & History,” and for the number of times over the last few months that I’ve emailed him images with a request for his authoritative opinion, which he always gave quickly and decisively.
So many other friends of MI have rallied to support our efforts, and I’ve been overwhelmed with their generosity. Contributing Editors Ron Field, Steve Karnes, Scott Valentine and David W. Vaughan contacted me early on and shared their contributions and observations. They were not alone! Other contributors in this issue include Rick Carlile, David Cress, Shayne Davidson, Francis Guber, Janet & Bedford Hayes, Don Hopkins, Mike Hunt, Rich Jahn, Tom Liljenquist, Greg Mast, John Robella, Gary and Bill Stier, Bryan Watson and Buck Zaidel.
In the end, it is your passion, enthusiasm and energy that keeps MI alive. This thought is foremost in my mind this morning.
The work of course is not complete! Today, I’ll make pdfs of the pages and shipped them via DropBox to the printer. And planning is already underway for the Spring 2014 issue and beyond!
Ina Dixon of the Civil War Trust contacted me a couple weeks ago, and asked me to share my perspectives about Military Images magazine and its role in historic photography. An excerpt:
Over time, I’ve come to understand and appreciate that these rare soldier portraits humanize the terrible conflict that raged on our soil during the four bloodiest and most violent years in our nation’s history. When I see these photos, which were personal, intimate objects shared with family, friends and comrades at a time of war, I am reminded of these soldiers’ courage, and my own responsibilities as an American and a world citizen.
It is only in the last few decades, beginning with the centennial of the war in the 1960s, that these old photographic portraits have begun to move from the realm of vernacular photography to become part of the nation’s visual record. Harry Roach, who founded MI in 1979, was in the forefront of those who realized the growing importance of these photographs.
I am thrilled to have had the opportunity, and deeply grateful to Ina and the rest of the staff of CWT for the great work they do in preservation and education.
The design of a new promotional card that will be distributed at the Low Country Civil War Show and the DC Photo Show early next year went to the printer yesterday. I am very pleased with the design (front and back shown here). Thanks to Anne who pushed me to edit the text. (The first version was much wordier!) And also to David Wynn Vaughan for contributing the wonderful image of the Confederate officer on the front of the card. The federal cavalrymen on the back of the card is part of my collection.
Transcribed from the latest issue of the print edition:
Ron Coddington Is New Military Images Publisher
ARLINGTON, VA.—Historian David Neville, who owned and edited Military Images magazine since 2003, sold it to Ronald S. Coddington of Arlington in early August.
Coddington, who is familiar to Civil War News readers as the author of “Faces of War,” took over as publisher and editor immediately.
Noting the magazine’s long tradition of excellence in bringing to light rare military portrait photographs, Coddington said, “I am thrilled and honored to have the opportunity to guide MI to the next chapter in its life.”
He said, “The magazine continues to play a key role in preserving the visual record and stories of citizen soldiers in America, and is a key source for information about uniforms and other aspects of the military.”
Coddington said, “In the current digital age, with so much new material surfacing, it is more important than ever to have a publication that showcases and interprets these important images.”
Harry Roach founded the Military Images in 1979. He set a mission to document the photographic history of U.S. soldiers and sailors from the birth of photography in 1839 through World War I, although the vast majority of published images date from the Civil War Period.
Roach sold the magazine in 1999 to Phillip Katcher, from whom Neville purchased it four years later.
Regular contributors to MI include some of the most knowledgable collectors in the country, including Michael J. McAfee, John Sickles, Chris Nelson, David Wynn Vaughan, Ron Field and Ken Turner.
Coddington said he is excited to continue working with all of the MI contributors and invites new faces with a passion for military photograhy to participate.
He may be contacted at militaryimages@gmail.com or militaryimagesmagazine.com
In reviewing various magazine-related materials yesterday, I came across this phrase, “By photo collectors for photo collectors.” It caused me to reflect upon the essential strength of Military Images: The contributors who bring forth superb examples of nineteenth and early twentieth century photographs of soldiers and sailors, and the subscribers, many collectors themselves, who appreciate the quality and subject matter. It is this relationship that drives the magazine.
MI should have a design that recognizes this relationship, and meets the demanding aesthetics and sensibilities of contributors and subscribers. This includes a full-color cover—a first for the magazine, and long overdue. I spent some time last night working with the new logo and a few images from my collection.
In the end, I came up with the prototype shown here. The logo is in the upper left, but can be moved the the upper right depending upon the contents of each cover photo. I modified the logo slightly to accommodate the issue date, which is located just below the “I” in “MI.” In this example, the black box behind the “MI” has been removed because of the darkness of the background. If the background happened to be light, the black box would be added. I also decided not to display any headlines or other text that might take away from the power of the portrait. This follows the traditional look of the magazine, although there have been past issues that do include headlines and other promotional material. The headline-free design also recognizes the collector-subscriber relationship at the heart of the publication.
