"Going through all the forms of the game from dealing to antes and betting and drawing a last card during which no word was uttered and his countenance like a statue, he suddenly swept the table clean into his blanket and rose from the table and strutted away. It was a piece of superb acting, and exceedingly funny." Iron Tail continued to travel with Buffalo Bill until 1913, and then the Miller Brothers 101 Ranch Wild West until his death in 1916. Iron Tail and Gertrude Käsebier Photographing the Sioux Gertrude Käsebier was one of the most influential American photographers of the early 20th century and best known for her evocative images of Native Americans. Käsebier spent her childhood on the Great Plains living near and playing with Sioux children. In 1898, Käsebier watched Buffalo Bill's Wild West troupe parade past her Fifth Avenue studio in New York City, toward Madison Square Garden. Her memories of affection and respect for the Lakota people inspired her to send a letter to Buffalo Bill requesting permission to photograph Sioux traveling with the show in her studio. Buffalo Bill and Käsebier were similar in their abiding Native American culture and maintained friendships with the Sioux. Buffalo Bill quickly approved Käsebier's request and she began her project on Sunday morning, April 14, 1898. Käsebier's project was purely artistic and her images were not made for commercial purposes and never used in Buffalo Bill's Wild West program booklets or promotional posters. A session with Chief Iron Tail Käsebier took classic photographs of the Sioux while they were relaxed. Chief Iron Tail was one of Käsebier's most challenging portrait subjects. Käsebier's session with Iron Tail was her only recorded story: "Preparing for their visit to Käsebier's photography studio, the Sioux at Buffalo Bill's Wild West Camp met to distribute their finest clothing and accessories to those chosen to be photographed." Käsebier admired their efforts, but desired to, in her own words, photograph a "real raw Indian, the kind I used to see when I was a child', referring to her early years in Colorado and on the Great Plains. Käsebier selected one Indian, Iron Tail, to approach for a photograph without regalia. He did not object. The resulting photograph was exactly what Käsebier had envisioned: a relaxed, intimate, quiet, and beautiful portrait of the man, devoid of decoration and finery, presenting himself to her and the