Roger Fenton was a British photographer, noted as one of the first war photographers.
Fenton was born into a Lancashire merchant family. After graduating from Oxford with an Arts degree, he became interested in painting and later developed a keen interest in the new technology of photography after seeing early examples of at The Great Exhibition in 1851. Within a year, he began exhibiting his own photographs. He became a leading British photographer and instrumental in founding the Photographic Society (later the Royal Photographic Society). In 1854, he was commissioned to document events occurring in Crimea, where he became one of a small group of photographers to produce images of the final stages of the Crimean War.
Fenton was born in Crimble Hall, Rochdale, Lancashire, on 28 March 1819. His grandfather was a wealthy cotton manufacturer and banker, his father a banker and Member of Parliament. Fenton was the fourth of seven children by his father's first marriage. His father had 10 more children by his second wife.
In 1838 Fenton went to the University of Oxford where he graduated in 1840 with a "first class" Bachelor of Arts degree, having read English, mathematics, Greek and Latin. In 1841, he began to read law at University College, evidently sporadically as he did not qualify as a solicitor until 1847, partly because he had become interested in learning to be a painter. In Yorkshire in 1843 Fenton married Grace Elizabeth Maynard, presumably after his first sojourn in Paris (his passport was issued in 1842) where he may briefly have studied painting in the studio of Paul Delaroche. When he registered as a copyist in the Louvre in 1844 he named his teacher as the history and portrait painter Michel Martin Drolling, who taught at the École nationale supérieure des Beaux-Arts, but Fenton's name does not appear in the school records. By 1847 Fenton had returned to London where he continued to study painting under the tutelage of the history painter Charles Lucy, who became his friend and with whom, starting in 1850, he served on the board of the North London School of Drawing and Modelling. In 1849, 1850 and 1851 he exhibited paintings in the annual exhibitions of the Royal Academy.
Fenton visited the Great Exhibition in Hyde Park in London in 1851 and was impressed by the photography on display there. He then visited Paris to learn the waxed paper calotype process, most likely from Gustave Le Gray who had modified the methods employed by William Henry Fox Talbot, its inventor. By 1852 he had photographs exhibited in Britain, and travelled to Kiev, Moscow and St. Petersburg, and also photographed views and architecture around Britain. His published call for the setting up of a photographic society was answered in 1853 with the establishment of the Photographic Society, with Fenton as founder and first Secretary. It later became the Royal Photographic Society under the patronage of Prince Albert.
It is likely that in autumn 1854, as the Crimean War grabbed the attention of the British public, that some powerful friends and patrons - among them Prince Albert and Duke of Newcastle, Secretary of State for War - urged Fenton to go to the Crimea to record the happenings. The London print publisher Thomas Agnew & Sons became his commercial sponsor. The resulting photographs may have been intended to offset the general unpopularity of the war among the British people, and to counteract the occasionally critical reporting of correspondent William Howard Russell of The Times; the photographs were to be converted into woodblocks and published in the less critical Illustrated London News. He set off aboard HMS Hecla in February, landed at Balaklava on 8 March and remained there until 22 June. Fenton took Marcus Sparling as his photographic assistant, a servant known as William and a large horse-drawn van of equipment.
Due to the size and cumbersome nature of his photographic equipment, Fenton was limited in his choice of motifs. Because the photographic material of his time needed long exposures, he was only able to produce pictures of stationary objects, mostly posed pictures; he avoided making pictures of dead, injured or mutilated soldiers. But he also photographed the landscape, including an area near to where the Charge of the Light Brigade - made famous in Tennyson's poem - took place. In letters home soldiers had called the original valley "The Valley of Death", and Tennyson's poem used the same phrase, so when in September 1855 Thomas Agnew put the picture on show, as one of a series of eleven collectively titled Panorama of the Plateau of Sebastopol in Eleven Parts in a London exhibition, he took the troops'—and Tennyson's—epithet, expanded it as The Valley of the Shadow of Death with its deliberate evocation of Psalm 23, and assigned it to the piece; it is not the location of the famous charge, which took place in a long, broad valley several miles to the south-east.

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