The historical photographic chronicle, Crimean Memories: Artefacts of the Crimean War, photographed by me and written with my co-authors (Michael Vice and B.J. Small), received a 2010 Independent Publisher (IPPY) Silver Award for best reference book.

My most recent novel, The Gettysburg Conspiracy, received a 2010 Independent Publisher (IPPY) Bronze Award for best regional fiction.   In addition, The Gettysburg Conspiracy was selected as a finalist in the ForeWord Magazine Book of the Year Award (BOTYA) for historical fiction.

IPPY Awards –         http://www.independentpublisher.com/article.php?page=1362&urltitle=Announcing%20the%20Results%20of%20the%202010%20Independent%20Publisher%20Book%20Awards

BOYTA Award Finalists –         http://www.bookoftheyearawards.com/finalists/2009/category/fiction-historical/

The Gettysburg Toy Soldier Show Sunday was great fun.  My talk was well attended and no one fell asleep.  I was watching .

Now I’m in full swing preparing for UK Book Tour 1 – 20 May.  Looking forward to a pint and a curry on arrival, which might be a bit dicey at 9:30 AM –  UK time    

Unfortunately my blog may suffer a bit in my travels … but I will be back if I can’t get on the internet over there … I’ll bring back loads of stories and adventures.

My schedule in UK is posted on my web site for my mates in old Blighty. (http://www.willhutchison.com)

Just me at the table

It is always good to be surrounded by like-minded folks.  For me that is especially true if they are historians, and the folks at this meeting are some of the best of the best.  It was last weekend from Thursday through Sunday.  I was able to renew old acquaintances and make new ones.  Mike Vice and I set up a table to talk about our book, “Crimean Memories: Artefacts of the Crimean War,” and that served as an introduction to many of the attendees I might not otherwise have engaged with.  The displays of military artifacts were among the best I’ve seen – all the personal collections of the members.

A room full of history

The accommodations were superb at the Sheraton Hotel – Reston, and the meeting went like clockwork. There was plenty of time to chat about military history with the elite of military historians, who were more than willing to share their knowledge and research.  It was gratifying to discover how many of the members knew of our book, and how many already had a copy.  They were most kind in their praise for the work, which was for us a labor of love.

I would like to take this opportunity to thanks the CMH for an outstanding weekend.

Officer's Coatee of Capt Hervey Tower

The Coldstream Guards landed at Kalamita Bay in the Crimea in September 1854, as part of the Guards Brigade, 1^st Division, English Army of the East.  These were Her Majesty Queen Victoria’s elite personal guards.  In the Crimea the Guards Brigade consisted of the Grenadier Guards, Coldstream Guards, and Scots Fusilier Guards.  The Guards’ battle honours include Alma, Inkerman, and the Siege of Sevastopol.

Although they may have modified or discarded uniform parts later, when the Guards Brigade landed, they wore their full parade dress uniform with epaulettes and bearskin cap.  This photograph shows a fine example of a Coldstream Guards’ officer’s coatee, worn during his Crimean service by Captain Hervey Tower, 1st Battalion, 2nd (Coldstream)Regiment of Foot Guards.

The Star of the Order of the Garter, the badge of the Coldstream Guards, can be seen on each side of the Prussian collar.  It is also identified as Coldstream Guards by the sets of two buttons in double rows down the coatee front, thus the 2nd Regiment of Foot Guards.   The 1st (Grenadier) Regiment of Foot Guards buttons are evenly spaced, and the 3rd (Scots Fusilier) Regiment of Foot Guards buttons are in sets of three.  The back of the collar and cuff facings are blue, as were all Guards regiments.  There is a rose and crown in silver on gold on the strap of the epaulettes, designating the rank of Captain.  There was also a difference in the size and shape of the bullion descending from the crescent, depending on the rank.

Close observation shows usage stains on the white lining of the skirts.  In addition, the small slash pockets inside the turn backs can be seen.  These were used to carry such necessary and essential items to a Guards officer as white gloves, or a dance card.

This artifact was photographed courtesy of the Guards Museum, London, UK.

Ram's Head Snuff Mull - 42nd Royal Highland Regiment of Foot

So many of the 1500 photographs I took in the UK for our recently released book, “Crimean Memories: Artefacts of the Crimean War,” were unusual, with interesting histories, but this snuff mull is one of my absolute favorites. It is a silver mounted ram’s head snuff mull, which had a home in the Officer’s Mess of the 42nd Royal Highland Regiment of Foot until the Crimean War.

The Crimean War took place between 1854 and 1856, primarily on the Crimean Peninsula in today’s Ukraine. Imperial Russia had for some time been exhibiting expansionist ambitions which were threatening established trade routes to India. Under what was perceived as a veiled attempt to further these ambitions, Russia invaded parts of the Ottoman Empire (Turkey). Britain, France, and eventually Sardinia joined Turkey and declared war on Imperial Russia.

The 42nd Royal Highland Regiment of Foot, more commonly known as The Black Watch, landed at Kalamita Bay in the Crimea in September1854, as part of the Highland Brigade, 1st Division, of the English Army of the East. Their battle honours include Alma, and the Siege of Sevastopol.

The snuff mull in this photograph is the head shoulders and horns of a ram, and is about two feet square. It currently rests in a fine case in The Black Watch Museum, Perth, Scotland, where we found it. It was originally in the 42nd Regiment Officers’ Mess, and contained snuff in the round silver jeweled tray on its top between the horns. There was a ritual-like ceremony attached to the snuff use that each officer was bound by mess tradition to follow.

According to the Black Watch Museum records, this particular mull was brought to the Crimea by the Highland officers to be used in their mess, but upon arrival, they found no source for proper snuff. Thus, the commanding officer used the snuff mull as an inkpot. On close examination you can see the ink stains inside the round tray on top of the mull.

After the war, the mull was lost. It literally disappeared for 75 years. It was found under odd, but interesting circumstances. There is now a silver plate added on the front of the snuff mull which reads: “This Black Watch snuff mull was discovered in a saleroom by H.M. Queen Mary who presented it to the Black Watch in 1932.”

Thus, this superb artefact found its way to its rightful home, and I found an amazing story to attach to my photograph of this noble creature. There’s something endearing about the way he is looking at you – almost as though he’s looking across the ages.

This artifact was photographed courtesy of The Black Watch Museum, Perth, Scotland.

Typical photo shoot set up in confined area

I spent much of today getting my camera equipment ready for a photo shoot coming up soon for a good friend, Keith Rocco, a fine historical artist.  This means making certain cameras are clean, loaded, and with charged batteries.  It also involves cleaning and checking out lenses, exposure meters, lights, backdrop stands, and various other photographic paraphernalia.

This may sound strange, but doing so invariably reminds me of the cleaning and checking out process with weapons and the equipment needed for a military operation or a law enforcement raid of some kind.  In my past I’ve done both.

I find guns and cameras a captivating contrast, with interesting similarities.  When I was in the military, and later in law enforcement, checking your weapons and equipment was essential to survival. They had to be checked and checked again to be certain, if needed, they would be available and properly functioning.  If you had to use a gun, however, the outcome was hardly creative.  The results were more distructive.

In photography, your equipment still has to be available and functioning, but the end result is quite different.  Rather than possibly destroying something or hurting someone, you are creating images people might enjoy or use productively.

It is the professional tasks of cleaning and functionally checking the tools of your trade where I find interesting contrasts and similitudes.  In the long run, I find what I am doing now in photography a more personally satisfying end result – - – but, then, in the past, I wouldn’t have wanted to run into a bad guy in a dark alley when all I had was a camera

Crimean Memories - Released by Schiffer Publishing

What would be the reaction of two ‘Yanks’ photographing and writing about surviving artefacts of a near forgotten British War – the Crimean War?  Well, it wasn’t at all what was expected.

Whether it was our dogged determination (focused on the work until it was done each day, then on to the pubs), our historical knowledge (certainly not reaching the level of theirs), the fact that the soldiers who fought it are under appreciated, our approach (professional – we hoped), or merely our bright Yank-like smiles, we were met with overwhelming enthusiasm and support from museum staffs and private collectors wherever we went.

At first, they were a bit reticent and cautious, wanting to bring each artefact into our photo set, then returning each delicately to its glass case home.  After a few museum visits, however, with both of us wearing white gloves, and Mike speaking curator-eez to them, things began to change.  I think phone calls were made among this small community of museums.  They saw and sensed how we cared for and about the artefacts.  Soon we were ourselves handling the artefacts, given the keys to the display cases, and found less and less supervision on our work.  We considered this the utmost compliment and were diligent in our efforts to honor their trust.

In all locations they made room.  In some instances they would close down a floor for our setup.  In others, they went so far as to close the museum for us to shoot. I can recall one occasion where they actually closed the museum, handed us the keys, and said please come get us if you need anything, then, in passing, “Oh, and lock the doors when you’re finished.  We’d like you to join us for a bite and a pint.”  Needless to say, we were a mite humbled by this treatment.

We were hosted all over by the most gracious folks.  Just to name a few of the many cherished memories:  As mentioned previously, guests at the homes of several curators and collectors; guests several times for lunch at the Honorable Artillery Company – London; guests at a Loyal Georgian Society meeting – Halifax; provided a private tour of Horse Guards (Sort of the British Pentagon) by the SgtMaj of the Welsh Guards; guests at Black Sunday, Scots Guards, Wellington Barracks; guests at the Sergeants’ Mess and Officers’ Mess, Wellington Barracks; and even a special guest at Windsor Castle for the Scots Guards Changing of the Colours by Her Royal Highness Queen Elizabeth.

Mike assisting with lighting on a typical shot - note his white gloves

Mike hard at work taking notes on artefacts

NCO Mess Wellington Barracks

Will and Commanding Officer, Scots Guards - Black Sunday, Wellington Barracks

With Brigadier Kim Ross - Black Sunday, Wellington Barracks

Will 'working' while seated at The Duke of Wellington's desk - Horse Guards

Windsor Castle - Five Bishops blessing the new Scots Guards Colour

HRH Queen Elizabeth at Scots Guards Changing of the Colours - Trooping the Line. She is really quite lovely and gracious.

Crimean Memories: Artefacts of the Crimean War - released by Schiffer Publishing 2009

The journey to publication of Crimean Memories: Artefacts of the Crimean War wasn’t merely about the technical or logistical side of the photography or the history of the artefacts.  It was, in fact, a people experience Mike Vice and I will never forget.

Six months before our first one-week “recce” visit to see if the project was even feasible we started sending letters to museums and collectors asking what their Crimean collection consisted of, and permission to photograph.  The response was much better than expected, and our subsequent first visit was a rousing success.  The project was, indeed, reasonable and achievable, but the budget was going to be tight.

We planned and coordinated our second 4-6 week visit with detailed appointments for shooting and a grueling itinerary.  Our major bases of operation were London (south of England), Halifax (middle and north of England), Edinburgh (Scotland), and a town whose name I can’t even pronounce in Wales.  We planned to take day trips from these places like the spokes in a wheel, and it worked, far above expectations.  To accomplish this, however, we had to find lodging, and that expense alone might have crippled us.  It did not.  Because we had so many kind friends who supported us, and the worthiness of the project.

In London, Sergeant Kevin Gorman, Archivist, Scots Guards, and the son I never had, found us more than reasonable accommodations. He was, as well, an invaluable help with various aspects of the project.

In Halifax, we stayed at the home of a dear friend, LtCol Wade Russell, Royal Tank Regiment (Ret), for weeks on end.  Whether we arose at 2 or 3 am, and in spite of our protests, Wade was always there, making us breakfast for the road.  Whatever time we returned, exhausted and bedraggled, he was waiting with a quiet smile and a fresh gin and tonic.

We felt one of the larger collections was at the Green Howards Museum in Richmond, and that it would take more than a day to shoot.  Roger Chapman, the then curator, insisted we remain overnight with him and his lovely wife.

In Scotland, Wade made arrangements for us to stay at a military officer’s mess in Edinburgh – delightful, and within budget.  We ate at the enlisted mess, and spent the evenings in good company at the officer’s mess.

In Wales, our hosts were Bill Curtis and his wife, while we photographed his definitive weapons collection.  We then went on from there to shoot artefacts at the 23rd Royal Welch Fusiliers Museum.

The kindness and unending hospitality of these folks and so many others made the project not only possible, but so very enjoyable.  The new friends we made and the old friendships we nourished will be with us always.

What I want to talk about in Part II, tomorrow, is the reception of the museum staffs and private collectors to two ‘Yanks’ on a mission to photograph surviving artefacts from a very British war.

The Team - A/Sgt Kev Gorman, Scots Guards, Will, and Michael, surrounded by our equipment

Will and Roger Chapman, of the Green Howards. Photograph taken at the Crimean War Research Society Annual Meeting

Bill Curtis smiling among his collection - a happy man, indeed

Will, Mike, and Wade Russell at the Maypole Pub near Wade's house, not far from Halifax

Mike & a friend, Peter Lockwood, who was a wonderful host and great help in the project's early stages.

British officer's roundabout jacket showing campaign use (Details in book)

British officer's forage cap worn by a Victoria Cross recipient (Details in book)

Officer's breast plate (All the details and history are in the book)

This beautiful cover was designed by Bob Biondi at Schiffer Publishing

This blog may seem a bit technical, but I believe there are enough shutterbugs out there to appreciate its content.  For the rest of you, I hope there’s enough humor to retain your interest.

“Crimean Memories: Artefacts of the Crimean War,” was recently published by Schiffer Publishing.  I, and my co-authors (Michael Vice and BJ Small) are most pleased with the final product, and we have been blessed with a kind reception from various readers, reviewers, photographers, and scholars.

The photographers who have contacted me often ask about the photographic journey to the final printed book.  This is for them.  First, the photographs were shot all over the United Kingdom, at various museums and private collections having Crimean War artefacts (No – It’s not spelled incorrectly, artefact is the UK spelling).  To accomplish this I used exclusively a Nikon D100, with an assortment of lenses.  These enable me to shoot from odd distances in the often cramped areas within museums.

We purchased a set of simple tungsten lights in the UK to accommodate the electricity differences.  All the other equipment – tripods, stands, backdrops, light tents, drop-clothes, tape measures, light meters, flash attachments, cables, etc. – we brought with us from the States.  At 3 or 4 am each day we stuffed it all in our tiny rented car and hauled it to locations hither and yon about the countryside of England, Scotland, and Wales.  (The Irish countryside was just too far away, with too few artefacts available,  and too expensive on our limited budget.)

Each location was a challenge, as was each and every individual photograph.  The museum hosts were marvelous to us, but we had to contend with open museums, and often small nooks and crannies for space to set up.  There were some very creative uses of lights and lenses.

Michael Vice handled the curators, the artefacts, and taking proper notes/measurements of each item.  I arranged the set, lights and equipment, and took the photographs of each item brought usually from their glass cases to be placed in the set. B J Small came into the writing picture after our return to the States with over 1500 exposures.

The photographs were shot in RAW format to gain as much data on each as possible to work with later. This meant the images were large, requiring a 2 GB memory card, which I downloaded to my Mac laptop each night after shooting all day.  This cleared the usually full memory stick for the next day’s shooting.  I did no work in Photoshop on the road, saving that for detail work at home and for the publisher.  One of the more difficult aspects of the project was downloading the photographs to the laptop late at night after the obligatory several pints of beer with the military staff, museum staff, and collectors after a day’s work at the local pub.

Michael and Will on the job!

All in all we went to the UK three times, the longest being about 4-6 weeks, traveled over 1200 miles in rented cars, and visited over twenty-five museums and private collections having noteworthy Crimean War artefacts.  From concept, through reconnaissance, to finding a publisher, and ultimately publishing the book was over five years, but I must say it was worth every minute !

Photo Shoot - Household Cavalry Museum

Photo Shoot - Black Watch Museum - One of our more spacious sets

British Officer's Sash

British Officer's Coatee

British Officer's Dragoon Helmet

British Rifle Brigade Shako