Азамат соғысын фотоға түсірген суретші: Александр Гарднер өмірі мен еңбектері

Scottish photographer (1821–1882)
In 1856, Gardner and his family immigrated to the United States. Finding that many family members and friends at the cooperative he had helped to form were dead or dying of tuberculosis, he stayed in New York. Gardner initiated contact with Brady and became an assistant to him that year, continuing until 1862. At first, Gardner specialized in making large photographic prints, called Imperial photographs, but as Brady's eyesight began to fail, Gardner assuming increasing responsibilities in Brady's studio. In 1858, Brady put Gardner in charge of his Washington, D. C. gallery.

Abraham Lincoln became the President of the United States in the November 1860 election and along with his election came the threat of war. Gardner was well positioned in Washington, D. C. to document the pre war events, and his popularity rose as a portrait photographer, capturing the visages of soldiers leaving for war. Mathew Brady shared his idea with Gardner about photographing the Civil War. Gardner's relationship with Allan Pinkerton, chief of the intelligence operation that would become the Secret Service, was central to promoting Brady's idea to Lincoln. Pinkerton recommended Gardner for the position of chief photographer under the jurisdiction of the U. S. Topographical Engineers. Following that short appointment, Gardner became a staff photographer under General George B. McClellan, commander of the Army of the Potomac. At this point, Gardner's management of Brady's gallery ended. The honorary rank of captain was bestowed upon Gardner, and he photographed the Battle of Antietam in September 1862, developing photos in his travelling darkroom. Gardner's photography was so detailed that relatives could identify their loved ones by their facial features in his images. Gardner's work has often been misattributed to Brady, and despite his considerable output, historians have tended to give Gardner less than full recognition for his documentation of the Civil War. When Lincoln relieved McClellan from command of the Army of the Potomac in November 1862, Gardner's role as chief army photographer diminished. About this time, Gardner ended his working relationship with Brady, probably in part because of Brady's practice of attributing his employees' work as "Photographed by Brady". Gardner would photograph Lincoln on a total of seven occasions while Lincoln was alive. He became sick in the late fall of 1882 and died shortly afterward on December 10, 1882, at his home in Washington, D. C. He was survived by his wife and two children. In 1893, photographer J. Watson Porter, who had worked for Gardner years before, tracked down hundreds of glass negatives made by Gardner, that had been left in an old house in Washington where Gardner had lived. The result was a story in the Washington Post and renewed interest in Gardner's photographs.

A century later, photographic analysis suggested that Gardner had manipulated the setting of at least one of his Civil War photos by moving a soldier's corpse and weapon into more dramatic positions. In 1961, Frederic Ray of the Civil War Times magazine compared several of Gardner's Gettysburg photos showing "two" dead Confederate snipers and realized that the same body had been photographed in two separate locations. One of his most famous images, Home of a Rebel Sharpshooter, has been argued to be a fabrication. This argument, first put forth by William Frassanito in 1975, goes this way: Gardner and his assistants Timothy O'Sullivan and James Gibson had dragged the sniper's body into the more photogenic surroundings of the Devil's Den to create a better composition. Though Ray's analysis was that the same body was used in two photographs, Frassanito expanded on this analysis in his 1975 book Gettysburg: A Journey in Time, and acknowledged that the manipulation of photographic settings in the early years of photography was not frowned upon.