Historical and contemporary photographs accompany a narrative reflection on Lieutenant Colonel George Armstrong Custer's "Last Stand" at the Battle of Little Bighorn, which includes personal accounts of battle veterans.

In Photographing Custer's Battlefield, Sandy Barnard, an expert on Custer and the Little Big Horn, presents the work of the site's most dedicated photographer, U.S. Fish and Game agent Kenneth F. Roahen (1888-1976), revealing further mysteries of the battlefield and showing how it has changed.

Almost as soon as the last shot was fired in the Battle of the Little Bighorn, the battlefield became an archaeological site. For many years afterward, as fascination with the famed 1876 fight intensified, visitors to the area scavenged the many relics left behind. It took decades, however, before researchers began to tease information from the battle’s debris—and the new field of battlefield archaeology began to emerge. In Uncovering History, renowned archaeologist Douglas D. Scott offers a comprehensive account of investigations at the Little Bighorn, from the earliest collecting efforts to early-twentieth-century findings. Artifacts found on a field of battle and removed without context or care are just relics, curiosities that arouse romantic imagination. When investigators recover these artifacts in a systematic manner, though, these items become a valuable source of clues for reconstructing battle events. Here Scott describes how detailed analysis of specific detritus at the Little Bighorn—such as cartridge cases, fragments of camping equipment and clothing, and skeletal remains—have allowed researchers to reconstruct and reinterpret the history of the conflict. In the process, he demonstrates how major advances in technology, such as metal detection and GPS, have expanded the capabilities of battlefield archaeologists to uncover new evidence and analyze it with greater accuracy. Through his broad survey of Little Bighorn archaeology across a span of 130 years, Scott expands our understanding of the battle, its protagonists, and the enduring legacy of the battlefield as a national memorial.

Featuring specially commissioned artwork and full-color maps, this absorbing study investigates the origins, fighting techniques, and battlefield performance of the combatants fighting on both sides during the Black Hills War of 1876–77. Following the discovery of gold deposits, in December 1875 the US Government ordered the indigenous population of the Black Hills in what is now South Dakota and Wyoming, the Sioux, to return to the Great Sioux Reservation. When the Sioux refused, US Army sent forces into the area, sparking a conflict that would make Lieutenant Colonel George Custer, Chief Sitting Bull, Crazy Horse, and others household names around the world. Examining a series of engagements in the Black Hills War, including Rosebud, Little Bighorn and Slim Buttes, this fully illustrated study assesses the forces fighting on both sides in this momentous campaign, casting light on the origins, tactics, armament, and battlefield performance of the US Cavalry and their Sioux opponents at the height of the Indian Wars.

This book is a first-of-a-kind comprehensive, photographic essay regarding surviving artifacts of Custer and the Battle of the Little Big Horn - some never before published. Years were spent photographing and acquiring artifacts in museums and private collections, which are presented here in vivid, high-resolution color photographs, shot from various angles with the researcher and collector in mind. The photographs are catalogued under chapters devoted to the battle, Custer's 7th Cavalry, and the Lakota and Cheyenne warriors who fought them. Hundreds of photographic images accompanying the chapters are filled with informative descriptions regarding physical properties, history, origin of the items, and the stories behind them. This definitive work will provide a valuable resource for military researchers and historians, as well as an aesthetically stunning photographic essay to compliment any collection or library.

This is undoubtedly the most valuable collection of historic photographs in America. It is believed to be the first time that the camera was used so extensively and practically on the battle-field. It is the first known collection of its size on the Western Continent and it is the only witness of the scenes enacted during the greatest crisis in the annals of the American nation. As a contribution to history it occupies a position that the higher art of painting, or scholarly research and literal description, can never usurp. It records a tragedy that neither the imagination of the painter nor the skill of the historian can so dramatically relate. The existence of this collection is unknown by the public at large. Even while this book has been in preparation eminent photographers have pronounced it impossible, declaring that photography was not sufficiently advanced at that period to prove of such practical use in War. Distinguished veterans of the Civil War have informed me that they knew positively that there were no cameras in the wake of the army. This incredulity of men in a position to know the truth enhances the value of the collection inasmuch that its genuineness is officially proven by the testimony of those who saw the pictures taken, by the personal statement of the man who took them, and by the Government Records. For forty-two years the original negatives have been in storage, secreted from public view, except as an occasional proof is drawn for some special use. How these negatives came to be taken under most hazardous conditions in the storm and stress of a War that threatened to change the entire history of the world is itself an interesting historical incident. Moreover, it is one of the tragedies of genius. While the clouds were gathering, which finally broke into the Civil War in the United States, there died in London one named Scott-Archer, a man who had found one of the great factors in civilization, but died poor and before his time because he had overstrained his powers in the cause of science. It was necessary to raise a subscription for his widow, and the government settled upon the children a pension of fifty pounds per annum on the ground that their father was "the discoverer of a scientific process of great value to the nation, from which the inventor had reaped little or no benefit." This was in 1857, and four years later, when the American Republic became rent by a conflict of brother against brother, Mathew B. Brady of Washington and New York, asked the permission of the Government and the protection of the Secret Service to demonstrate the practicability of Scott-Archer's discovery in the severest test that the invention had ever been given. Brady was an artist by temperament and gained his technical knowledge of portraiture in the rendezvous of Paris. He had been interested in the discoveries of Niepce and Daguerre and Fox-Talbot along the crude lines of photography but with the introduction of the collodion process of Scott-Archer he accepted the science as a profession and, during twenty-five years of labor as a pioneer photographer, took the likenesses of the political celebrities of the epoch and of eminent men and women throughout the country. Brady's request was granted and he invested heavily in cameras which were made specially for the hard usage of warfare. These cameras were cumbersome and were operated by what is known as the old wet-plate process, requiring a dark room which was carried with them onto the battle-fields. The experimental operations under Brady proved so successful that they attracted the immediate attention of President Lincoln, General Grant and Allan Pinkerton, known as Major Allen and chief of the Secret Service. Equipments were hurried to all divisions of the great army and some of them found their way into the Confederate ranks. To be continue in this ebook...