why did thomas gannon kill sabina rosas?ruth says she immediately thought of sabina's family in central asia and berlin. >> my heart goes out to them. it's so you know i'm a mother. so. and a sister and a friend. and sabina sounded like she was such a, you know, a wonderful daughter and sister. they would have wanted justice for their daughter. and they didn't get that. >> and has no regrets about being a player in the story, you know. >> you know, he told me in his country of turkey, he was a former journalist, or he just knew you know, i was going on my instincts, but he was really an active participant. i mean, we really did this together. >> up next, a loving couple living their best life in retirement vanished from their yacht. >> and on the bow of the boat, there's only one anchor, and there should have been two. >> the mystery at sea in lving this young couple with a baby on the way. when we come back. >> the darkness of bipolar depression made me feel like life was moving on without me. then i found a chance to let i

we turned weapon on him and kathy gannon, who survived the incident. and david was there with me and we just sat at the house that afternoon and i can't quite repeat the language we were using, but we were just asking ourselves, what, what are we doing? is this story worth our lives? and questioning, you know, lots of sort of life choices in that moment and trying to understand, you know, what do we do with this? and, you know, the feeling was our story might not necessarily be worth our life. we don't really want to think about it in that context. but these are important stories and he more so much more so i did because david was in first in 2001 he was with the first forces that went in. he that conflict first hand for 15 years and felt an obligation to the people the us troops that he embedded with and photographed and anyone else to keep that story and keep it alive. and i certainly felt that in the time i was there, interest was waning and it was a struggle to keep people interested in afghan system. and so, yeah, you do that obligation to the sto

gannon earlier showed us some examples of the woodcuts, the engravings that were used and.these early newspapers, even they during this time period were actually very expensive to produce and very difficult. so i've showed you a couple of examples from. the mastheads masthead, it was viable to use images because they used the same, you know, week after week. most of these newspapers were weekly, by the way. they use the same masthead image, so it was worth putting the time and labor into creating a woodcut that you were going to use day after day. but if you're thinking about illustrating a one time news story about what happened yesterday, it was just too much to worth the expense and the time time. but this gradually begins to change by the 1850s, and especially the civil war era. that's really when you begin to see the interest in visuals. you see a lot of those sketches that often are in our powerpoints about various topics in civil war history, sketches from reporters in, the field make their way back to public, like harper's weekly and get reproduced. one of the ways

barbara gannon. she's a professor of history at the university of central florida in orlando, and she's the author of a couple of books. first, the award, the one cause black and white comradeship in the grand army of the republic. and another book entitled americans remember the civil war. and she's currently got a great research project on battle of a lost state in florida, looking not only at what happened there, the civil war, but about the status of the union dead. here's remains were left on the battlefield. so hopefully we'll have a future opportunity to learn more about that project today. her talk is going to turn attention to visual of information and how affected the civil war. her title is war and 3d stereo views and civil war memory. dr. guinan welcome back to civil war weekend. well thanks to all. i'm so glad to be here and so honored. it's so good. your have been excellent. sometimes a civil war meetings you don't get as a question but this is obviously a very well-educated bunch. so f

barbara gannon.he's a professor of history at the university of central florida in orlando, and she's the author of a couple of books.

barbara gannon.he's a professor of history at the university of central florida in orlando, and she's the author of a couple of books. first, the award, the one cause black and white comradeship in the grand army of r

we turned weapon on him and kathy gannon, who survived the incident. and david was there with me and we just sat at the house that afternoon and i can't quite repeat the language we were using, but we were just asking ourselves, what, what are we doing? is this story worth our lives? and questioning, you know, lots of sort of life choices in that moment and trying to understand, you know, what do we do with this? and, you know, the feeling was our story might not necessarily be worth our life. we don't really want to think about it in that context. but these are important stories and he more so much more so i did because david was in first in 2001 he was with the first forces that went in. he that conflict first hand for 15 years and felt an obligation to the people the us troops that he embedded with and photographed and anyone else to keep that story and keep it alive. and i certainly felt that in the time i was there, interest was waning and it was a struggle to keep people interested in afghan system. and so, yeah, you do that obligation to the sto