This was in his coverage of the main war in 1855. Roger Fenton was born on March 28, 1819, into northern wealth – a son of that economic power train of the Industrial Revolution, the cotton trade. It is a grotesque paradox that war, humankind’s most destructive activity, has also been the inspiration for some of its greatest moments of creativity. In our days, however, historians unanimously recognize Fenton's remarkable accomplishments not only for his keen artistic eye and seminal role in establish photography as an artistic endeavor, but also honor him as one of the first professional war photographers. Fenton was born into an affluent family near Manchester, England, in 1819 and graduated with a Bachelor of Arts degree from University College in London in 1840. Roger Fenton and the Crimean War Roger Fenton was one of the first pioneers of war photography. Fitting then that he found his way from his first avocation, painting – he wasn’t very good – to the industrial revolution’s most notable bequest to art, the camera. Roger Fenton (28 March 1819 – 8 August 1869) was a British photographer, noted as one of the first war photographers. The impact of Fenton’s photographs on the Victorian public was considerable. Fenton, who spent fewer than four months in the Crimea (March 8 to June 26, 1855), produced 360 photographs under extremely trying conditions. Fenton started making his over 40 negatives of still lifes in the summer of 1860 when … With his still life series he used fecund fruits, bursting with ripeness and juice, flowers and the vases and inanimate objects typically found in similar still life paintings.
Though best known for his photographs of the Crimean War, Roger Fenton was one of the most accomplished landscape and architectural photographers of his time. While these photographs present a substantial documentary record of the participants and the landscape of the war, there are no actual combat scenes, nor are there any scenes of the devastating effects of war.

Roger Fenton's Crimean War photographs represent one of the earliest systematic attempts to document a war through the medium of photography.

This paradox is reflected in both our personal and societal responses to conflict.
A man known as Roger fenton is said to be the greatest of all time in telling news in picture. Fenton covered the war using five cameras, seven hundred glasses plates, four houses and wagon which served as darkroom. War is ‘evil’, but it can also be ‘just’; sacrifice can be ‘worthless’, but it can also be ‘glorious’.