This is my version of the reb infantry. An excellent sculpt. The rifle is from Michael Roberts. Let there be critiques! Need to improve, need your help.

Here Steve

" But this was post by the descendent of a U. S Soldier captured at North Anna.

May 25th.
Slept soundly. Fine morning and with the opening day three more of the 35th were brought in making nine of us. As the day grew, it became warmer and we were taken into a wood where it was cool and comfortable. The rebel soldiers were anxious to buy watches knives, paper, and jewelry paying in Confederate money now worth in exchange value 1/10th of United States money. They were in the main good solid looking men, well clothed, many having on some part of United States Uniform. Those wearing our army belts did so with the “U.S.” upside down. Were free to talk with us"

I assume it was to avoid being accused of spying and thus liable to execution

Also found this which is supposed to be an authentic pic (looks a bit clear to me but maybe photo shopped)

Some years ago when in Chicago I bought a book by Dennis M. Keesee, Too Young to Die, boy Soldiers of the Union Army 1861-1865 . In sources and notes at the back, page 269 is a photo of a Willis A . Olmstead, and it describes amongst other details him wearing, M 1851 eagle-wreath belt plate worn upside down. I understand some prisoners of war, wore their belts upside down, it is mentioned in the book, but this lad served as Orderly in Murfreesboro , and Messanger Gulf HQ New Orleans. The photo I might add is a studio portrait, and everything else appears to be correct, so a strange one.

Thanks guys. I picked up that little tidbit when this figure was first posted. Due to the great sculpting, I was fortunate to slice it off and invert it without much damage. As I stated in the Joker thread, I'm writing down any suggestions that I get here on the painting details that I create on whatever I paint. Its nice to go back to reference it. This is a great forum. I always learn more when another set of eyes takes a look at a project, keep 'em comming

very nice work
but to my taste avoid the "I don't know what plant,grass,corn,...?"
and .. manufacturer ? size ?

Best

Yeah, I might have overdone the landscape a bit. I had some Hudson and Allen items I haven't tried yet, the ivy set and the leafy branches were fun and easy to add.

Tom, I think you can be bolder with your shadows. To my eyes, you have a base color, and one level of highlight, on the major components of the uniform - tunic, pants, bedroll, hat. Getting to that third level - shadow, base and highlight - might be the goal for your next figure. Take a look at the RevWar Continental that is featured today on the Painting threads. Giorigio has several levels of one color, and his blending between shades is very good. For your purposes, consider that every highlight has, or should have, a corresponding shadow, and vice versa. Push the contrasts to get the technique, then use a thin glaze or wash of the base color to pull it back together. This is sometimes referred to as the "stop-sign" technique, as detailed in Shep Paine's How To Paint Military Miniatures book (Kalmbach Press, published in the 1980s, don't know if it's still in print, but eBay should have copies). Bill Horan's books are excellent resources, as is Danielo Cartacci's more recent book. Basically stated, imagine the figure at 12 noon, standing outside on a sunny day. Every body part is a tube or cylinder, with a shadowed underside, an mid-tone side, and a highlighted upper part. Color tone should vary as one looks at an arm or leg - the bent left leg, especially from the knee down, should have a much different tonal value than the straight right leg on your figure.
Regarding the groundwork, I'm less concerned with what you use, but more concerned that some items are NOT painted. I think that we should paint every single component of a piece, so that the eye is not drawn to something that seems "out of place". You wouldn't think of leaving the fence in its natural resin (or metal) color, would you? No, you obviously wouldn't (and didn't). So don't NOT paint the bush in the background. Same principle.
Overall, this is a creditable effort, both in painting, and in staging the scene. Push yourself to get more contrast on the next figure. Well done, and best of luck on the next one! Don

This is what I'm talking about! I think I'm learning more in the last several posts than I attempted to pick up in how to books. Don, I can't thank you enough for taking the time out and helping me along. To be sure I 'll be using this as a guide for the next one.