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diff --git a/old/61352-h/61352-h.htm b/old/61352-h/61352-h.htm deleted file mode 100644 index 77c1a8d..0000000 --- a/old/61352-h/61352-h.htm +++ /dev/null @@ -1,2881 +0,0 @@ -<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" - "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> -<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> - <head> - <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" /> - <meta http-equiv="Content-Style-Type" content="text/css" /> - <title> - The Project Gutenberg eBook of The Case Against Spirit Photographs, by C. Vincent Patrick and W. Whately Smith. - </title> -<link rel="coverpage" href="images/cover.jpg" /> - <style type="text/css"> - -body { - margin-left: 10%; - margin-right: 10%; -} - - h1,h2,h3 { - text-align: center; - clear: both; -} - -p { - margin-top: .51em; - text-align: justify; - margin-bottom: .49em; -} - -div.chapter {page-break-before: always;} -h2.nobreak {page-break-before: avoid;} - -div.titlepage {text-align: center; page-break-before: always; page-break-after: always;} -div.titlepage p {text-align: center; font-weight: bold; line-height: 1.5; margin-top: 2em;} - -hr { - width: 33%; - margin-top: 2em; - margin-bottom: 2em; - margin-left: 33.5%; - margin-right: 33.5%; - clear: both; -} - -hr.chap {width: 65%; margin-left: 17.5%; margin-right: 17.5%;} -hr.tb {width: 45%; margin-left: 27.5%; margin-right: 27.5%;} - - - -table { - margin-left: auto; - margin-right: auto; -} - - .tdi {text-align: left; text-indent: 3em;} - .tdr {text-align: right;} - .tdc {text-align: center;} - -.pagenum { - position: absolute; - left: 92%; - font-size: smaller; - text-align: right; -} - - - -.center {text-align: center;} - - - -.smcap {font-variant: small-caps;} - - - -.large {font-size: 125%;} -.xlarge {font-size: 140%;} -.ph1 {text-align: center; font-size: x-large; font-weight: bold;} -.ph2 {text-align: center; font-size: large; font-weight: bold;} - - -.figcenter { - margin: auto; - text-align: center; -} - -p.drop-cap { - text-indent: -0.2em; -} - - -p.drop-cap:first-letter -{ - float: left; - margin: 0.15em 0.1em 0em 0em; - font-size: 250%; - line-height:0.55em; - text-indent: 0em; -} -@media handheld -{ - p.drop-cap { - text-indent: 0em; - } - p.drop-cap:first-letter - { - float: none; - margin: 0; - font-size: 100%; - } -} - - -.footnote {margin-left: 10%; margin-right: 10%; font-size: 0.9em;} - -.footnote .label {position: absolute; right: 84%; text-align: right;} - -.fnanchor { - vertical-align: super; - font-size: .8em; - text-decoration: - none; -} - - - -.transnote {background-color: #E6E6FA; - color: black; - font-size:smaller; - padding:0.5em; - margin-bottom:5em; - font-family:sans-serif, serif; } - </style> - </head> -<body> - - -<pre> - -The Project Gutenberg EBook of The Case Against Spirit Photographs, by -C. Vincent Patrick and W. Whately Smith - -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms -of the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you'll -have to check the laws of the country where you are located before using -this ebook. - - - -Title: The Case Against Spirit Photographs - -Author: C. Vincent Patrick - W. Whately Smith - -Release Date: February 9, 2020 [EBook #61352] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK SPIRIT PHOTOGRAPHS *** - - - - -Produced by deaurider, David E. Brown, and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - - - - - - -</pre> - - -<div class="figcenter"><img src="images/cover.jpg" alt="" /></div> -<hr class="chap" /> -<div class="figcenter"><img src="images/i_title.jpg" alt="" /></div> -<hr class="tb" /> - -<div class="titlepage"> -<h1> -<small>THE CASE AGAINST</small><br /> -SPIRIT PHOTOGRAPHS</h1> - - -<p><span class="smcap">By</span><br /> - -<span class="xlarge">C. VINCENT PATRICK</span><br /> - -AND<br /> - -<span class="xlarge">W. WHATELY SMITH</span></p> - - -<p><span class="large">LONDON:</span><br /> -<span class="large">KEGAN PAUL, TRENCH, TRUBNER & CO., <span class="smcap">Ltd.</span></span><br /> -BROADWAY HOUSE, 68-74, CARTER LANE, E.C.<br /> -1921</p> -</div> - -<hr class="chap" /> - -<div class="chapter"> - -<h2 class="nobreak"> -CONTENTS</h2></div> - -<table border="0" cellpadding="2" cellspacing="2" summary="table"> - - -<tr><td> </td><td> </td><td class="tdr"><small>PAGE</small></td></tr> - -<tr><td class="tdr"><small>I.</small></td><td> <span class="smcap">Introductory</span> (W. Whately Smith)</td><td class="tdr"><a href="#Page_5"> 5</a></td></tr> - -<tr><td class="tdr"><small>II.</small></td><td> <span class="smcap">Historical</span> (C. Vincent Patrick)</td><td class="tdr"><a href="#Page_7"> 7</a></td></tr> - -<tr><td class="tdr"><small>III.</small></td><td> <span class="smcap">Fraud</span> (C. Vincent Patrick)</td></tr> - -<tr><td> </td><td class="tdi">A. <i>General Methods</i></td><td class="tdr"><a href="#Page_15"> 15</a></td></tr> - -<tr><td> </td><td class="tdi">B. <i>Experiments in Fraud</i></td><td class="tdr"><a href="#Page_21"> 21</a></td></tr> - -<tr><td> </td><td class="tdi">C. <i>Internal Evidence of Fraud</i></td><td class="tdr"><a href="#Page_27"> 27</a></td></tr> - -<tr><td class="tdr"><small>IV.</small></td><td> <span class="smcap">Spirit Photographs Obtained by Amateurs</span> (C. Vincent Patrick)</td><td class="tdr"><a href="#Page_31"> 31</a></td></tr> - -<tr><td class="tdr"><small>V.</small></td><td> <span class="smcap">The Fairy Photographs</span> (C. Vincent Patrick)</td><td class="tdr"><a href="#Page_33"> 33</a></td></tr> - -<tr><td class="tdr"><small>VI.</small></td><td> <span class="smcap">The Reliability of Witnesses</span> (W. Whately Smith)</td><td class="tdr"><a href="#Page_36"> 36</a></td></tr> - -<tr><td class="tdr"><small>VII.</small></td><td> <span class="smcap">The Value of Recognition</span> (W. Whately Smith)</td><td class="tdr"><a href="#Page_39"> 39</a></td></tr> - -<tr><td class="tdr"><small>VIII.</small></td><td> <span class="smcap">Recent Literature</span> (W. Whately Smith)</td><td class="tdr"><a href="#Page_42"> 42</a></td></tr> - -<tr><td class="tdr"><small>IX.</small></td><td> <span class="smcap">Real Test Conditions</span> (W. Whately Smith)</td><td class="tdr"><a href="#Page_45"> 45</a></td></tr> -</table> - -<hr class="chap" /> - - -<div class="chapter"> -<span class="pagenum"><a name="Page_5" id="Page_5">[5]</a></span> - - - - - - - -<p class="ph1">THE CASE AGAINST SPIRIT PHOTOGRAPHS<br /> - - - -<span class="smcap">By C. Vincent Patrick and W. Whately Smith.</span></p> - - - - -<h2 class="nobreak">I.—<span class="smcap">Introductory</span></h2></div> - -<p class="center"><b>(<span class="smcap">W. Whately Smith</span>)</b></p> - - -<p class="drop-cap">SPIRIT photographs have long been a source of controversy and -discussion, and signs are not lacking that public interest in -them is at least as keen as ever. A Society for the Study of -Supernormal Pictures has, for example, been formed recently, and it is -by no means uncommon to meet people who owe much of their belief -in Spiritualism to the results they have obtained through photographic -mediums. This considerable public interest would alone suffice to -make the subject important, but, apart from this, it is clear that if all—or -even a fraction—of what is claimed be true the phenomenon must -be of unique value from the point of view of strictly scientific research.</p> - -<p>Photographic phenomena differ from practically all others studied -by psychical researchers in being, so to speak, permanently objective. -If one could be sure that the results obtained were not due to trickery -one would be in a far better position as regards the problems of their -origin and so forth than one is in the case of other types of “physical” -phenomena. One could collect spirit photographs, compare them with -one another, correlate their differences with the varying conditions of -their production, and generally study them at leisure—a procedure -which is not possible with table-levitations, materialisations, or direct-voice -phenomena.<a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a> The photographic plate would, in fact, be the most -powerful of all weapons of research if only we could eliminate all -possibility of fraud. This is, as usual, the crux of the whole matter, -and, as my collaborator and I hope to show, it is not nearly so easy to -do as might appear at first sight.</p> - -<p>Spiritualists commonly assert that photographic phenomena are -easier to control than any others, and this is in a sense true. They -would be easy to control <i>IF</i> one were allowed to take the necessary -precautions. But one is not, and under the conditions which actually -prevail at photographic <i>séances</i> the procedure lends itself to fraud more -readily, and in more diverse ways, than any other form of mediumistic -activity. Photography is a comparatively complicated process, and<span class="pagenum"><a name="Page_6" id="Page_6">[6]</a></span> -at every stage there is opportunity for the astute trickster to produce -the effect he desires. Part of the proceedings, moreover, <i>must</i> take -place in a light which is inimical to accurate observation, and it should -not be forgotten that, as a rule, the “sitter” is immobilised and placed -<i>hors de combat</i>, so to speak, for an appreciable period while his photograph -is being taken. (The significance of this will appear later.)</p> - -<p>The various fraudulent methods which are or may be used and the -question of the reliance which should be placed on the statements of -those who believe that they have watched the proceedings so carefully -as to exclude the possibility of fraud will be discussed at length later -in this paper. I may as well say at once, however, that I see no -reason for believing that any spirit photographs are, or have ever been, -due to any cause other than fraud.<a name="FNanchor_2_2" id="FNanchor_2_2"></a><a href="#Footnote_2_2" class="fnanchor">[2]</a></p> - -<p>But before discussing the various considerations which appear to -justify this view I should like to make it clear that I, personally, am -very willing to be convinced <i>if and when adequate evidence is forthcoming</i>. -The question of what kind of evidence should be considered -adequate is one which will be easier to answer after the various possibilities -of fraud which must be eliminated have been pointed out. So -far as I myself am concerned, I am prepared, further, to admit that -photographic phenomena appear to me to be less improbable on general -<i>a priori</i> grounds than many other alleged events of supposedly supernormal -origin. We know that the camera can detect, or rather that -the photographic plate is sensitive to, ether waves which produce no -effect on the retina of the human eye, and it seems, on the whole, less -improbable that “spirits,” if they exist, should produce subtle and -relatively minor etheric disturbances of this kind than that they -should be responsible for the movements of gross material objects in -the way which is often claimed for them.</p> - -<p>I maintain this merely to guard, so far as may be possible, against -the accusations of prejudice which will doubtless be brought forward -by some readers. <i>A priori</i> considerations of this kind have their -legitimate place, but it is on the relevant facts that our final decision -must be based. On <i>all</i> the relevant facts. This is the important point. -It may be a “fact” that some great wise and eminent man states that -he took such and such precautions, “never let the plates (or slides) -out of his sight,” and so forth, but it is necessary to take into account, -along with such statements as this, other facts about the psychology -of deception, the reliability of witnesses, the potentialities of fraudulent -methods and so forth which are usually ignored by enthusiastic devotees -of the subject.</p> - -<p><span class="pagenum"><a name="Page_7" id="Page_7">[7]</a></span>One does not wish to be too dogmatic, there <i>may</i> be such things as -<i>bona fide</i> spirit photographs, and when satisfactory evidence is forthcoming -one will be very pleased indeed to make the <i>amende honorable</i> -and acknowledge one’s fault.</p> - -<p>But in view of the many methods of trickery which are available -and the known incapacity of untrained observers to detect fraud the -evidence at present available seems scarcely worthy of serious consideration.</p> - - - -<hr class="chap" /> -<div class="chapter"> - -<h2 class="nobreak"> -II.—<span class="smcap">Historical</span></h2></div> - -<p class="center"><b>(<span class="smcap">C. Vincent Patrick</span>)</b></p> - - -<p>During the last half-century—that is, practically since the introduction -of the photographic plate—various abnormalities have been -reported in developed photographs. Some of these have appeared to -reputable observers to be incapable of natural explanation, and have -been eagerly seized upon by spiritualists as proof of survival after -death—the sensitive emulsion being supposed to have recorded the -presence of spirits, otherwise invisible. It is evident that a permanent -photographic record, if its genuineness can be established, would stand -almost alone as evidence of the presence of the spirit-forms described -by clairvoyants.</p> - -<p>Various types of such photographic abnormalities must be distinguished:</p> - -<p>1. “Thought photographs,” “dream photographs,” photographs -of “psychic auras,” and the like. These are rarely distinct, and as -they have little bearing on spirit phenomena they will not be discussed -here.</p> - -<p>2. Photographs taken of a visible spirit form. Such have been -taken at <i>séances</i>: <i>e.g.</i>, by Sir William Crookes, of Miss King’s -“control,” Katie. The photographs taken recently at the Goligher circle -should perhaps be included in this category. Similar experiments -might, perhaps, be carried out in a “haunted house”—provided that -one can be found which bears investigation.</p> - -<p>3. The more usual type of “spirit photograph,” with which this -article is chiefly concerned. Here a plate is exposed upon a sitter or -sitters, and on development an “extra” appears, varying from -splashes of light to fully-formed features or figures. The presence of -a medium is usually regarded as being essential for such phenomena; -but similar appearances have occasionally been obtained by amateurs -on several well-attested occasions, either unexpectedly, or upon plates -deliberately exposed for the purpose, no professional medium being -present.</p> - - - -<p><span class="pagenum"><a name="Page_8" id="Page_8">[8]</a></span>4. In some cases the plates are not exposed in a camera, but -merely submitted to “spirit influences,” which results in more or less -distinct faces, or even screeds of writing, appearing on development.</p> - -<p>It is not perhaps surprising to find that the spirit photograph -originated in America, where it dates back to the days of the wet-plate -process. The first recorded case comes from Boston, in 1862. -One Mumler, an engraver by trade, made chemistry and photography -his hobby; and having among his friends a professional photographer, -he was frequently dabbling with plates and chemicals in his studio. -Up to this time he had shown no mediumistic tendencies, although it -is safe to assume that he must have known something of spiritualism, -since this was attracting much attention in America at the time.</p> - -<p>One day Mumler suddenly produced a photograph of himself, -standing, with a chair by his side supporting a shadowy female figure. -The face of this figure was not clear, though the upper part of the -body was fairly well defined; below the waist it faded away. The -chair and background were distinctly visible through the extra. He -alleged that this was an untouched photograph, which he had taken -by focussing the camera on the chair, inserting the plate, and standing -by the chair for the period of the exposure. This picture raised a -considerable stir, and Mumler published the following declaration in the -press: “This photograph was taken of myself, by myself, on Sunday, -when there was not a living soul in the room beside myself—‘so to -speak.’ The form on my right I recognise as my cousin who passed -away about twelve years since.—<span class="smcap">W. H. Mumler.</span>”</p> - -<p>Not unexpectedly, other people soon wanted their dead relatives to -be photographed with them, and Mumler’s services were in considerable -demand. Many of his sitters were rewarded with extras, and he -soon started a regular business, claiming that he was a medium for -taking spirit photographs. His pictures aroused much interest both -in America and in this country, and he evidently found it a paying -business. The following advertisement with regard to copies of his -photographs appeared in the <i>Spiritual Magazine</i> for 1863:</p> - -<p>“The packet of three photos may be obtained from Mr. Pitman, -20, Paternoster Row; price 3s. 6d.”</p> - -<p>Very few copies of Mumler’s photographs still exist; they are all -similar in their general characters to the first. Noteworthy points are -that the spirits are always without legs, and are usually on the right -of the sitter. A considerable number of his extras, indistinct though -they were, were recognised by the sitters and their friends as the dead -person whose photograph they were expecting. (The value of these -recognitions is dealt with in a later section.) Naturally, cries of fraud -were raised, and investigators, consisting of men of science and newspaper -representatives, devised “test conditions” to eliminate this -possibility. This they did to their own satisfaction, and obtained spirit<span class="pagenum"><a name="Page_9" id="Page_9">[9]</a></span> -extras; but on reading their accounts it is easy to see that ample -loopholes were left for fraud. In some cases the camera and lens -were minutely inspected, and Mumler’s operations carefully supervised, -but a glass plate provided by Mumler was used for the sensitised -emulsion. (How this renders a natural explanation of the extra -possible is explained in the section on methods of fraud.) In other -cases where tests were instituted the developing-room was in complete -darkness, no ruby light being used, which put the investigators completely -in the medium’s hands.</p> - -<p>On one occasion Mumler was persuaded to forsake his studio for -the private house of an investigator. Here he was not allowed to use -any of his own apparatus—camera, plates, and chemicals all being -provided for him. The result was a complete failure to get anything -abnormal on the plates. Mumler explained that he “thought his -(medium’s) influence had not been sufficiently long in contact with the -chemicals.” This one can readily believe.</p> - -<p>He presently became bolder, and his spirits’ features became more -distinct. This led to a bad mistake, for in February 1863 the -sceptics were able to show that one of Mumler’s spirit extras was the -likeness of a man still alive, and living in Boston; and, worse still, -that this man had had his photograph taken by Mumler a few weeks -before. Such carelessness on the part of the spirits ruined a promising -business, for after the outcry which followed we hear no more of -Mumler for some six years.</p> - -<p>In 1869 he appeared again in New York, and commenced business -on his old lines. Before he had been practising many months, however, -the public authorities arrested him, and prosecuted him for fraud. -At the trial the Boston evidence was disallowed and consequently -little positive evidence of fraud was brought against him, for he had -only been practising in New York for a short time. The chief ground -of the prosecution was a spirit extra which he represented to be a dead -relative of the sitter’s, whereas the latter declared it to be utterly -unlike the relative in question. The trial was interesting, in that -Mumler was defended by many of his sitters, who swore that they -recognised his extras as their dead friends; and by others, including a -professional photographer, who had investigated his processes and had -found no evidence of trickery. He was acquitted for lack of evidence -on the part of the prosecution; but he apparently gave up producing -spirit photographs, for no more is heard of him.</p> - -<p>Three years later spirit photographs were being taken in this -country. Hudson, the principal exponent, was introduced by Mrs. -Guppy, a well-known medium of the time. His performance was on -the same lines as Mumler’s, and his results similar, the faces of the -extras being always partly obscured and the figures draped. Nevertheless, -many of them were recognised. The usual unsatisfactory<span class="pagenum"><a name="Page_10" id="Page_10">[10]</a></span> -tests were applied by the more sceptical sitters; in particular we -have the report of an optician named Slater, who took his own camera -and lenses to Hudson, obtaining “a fine spirit photo” and observing -“no suspicious circumstances.” However, a less easily duped critic -soon appeared, in the person of one Beattie, a professional photographer -of Clifton, and a man of high repute. He showed that in many of -Hudson’s photographs not only did the background appear through -the extra—as might perhaps be expected with an ethereal spirit—but -that the background was clearly visible through the very material -bodies of the human sitters! Sometimes the backgrounds had a double -outline; and in one case at least he was able to point out that clumsy -attempts had been made to obliterate, by retouching, the pattern of a -carpet showing through the legs of the sitter. All this clearly pointed -to double exposure and fraud; and Beattie was joined in denouncing -Hudson by the editor of the <i>Spiritualist</i>. In fact, on closer inspection, -Hudson’s pictures were found to be very poor frauds indeed; some of -the “spirits” were stated by the critics to be Hudson himself dressed -up!</p> - -<p>Much controversy followed this exposure; while many declared -that spirit photographs were an utter fraud, others considered that -though some were genuine, mediums frequently obtained their spirits -by trickery in order not to disappoint their sitters. Few went so far -as to declare their belief that the phenomena were <i>all</i> genuine, and -these few were mostly those who had identified as their dead relatives -the extras presented to them. Ingenious explanations were offered by -them of the appearances pointed out by Beattie; the spirit aura was, -they declared, doubly refracting; hence the legs of a chair might, by -atmospheric refraction, appear through the legs of its occupant. It is -possible that the unscientific were impressed by such explanations. -Support was certainly lent to them for a time by the statements of Mr. -Russell, of Kingston-on-Thames. Working as an amateur for his own -satisfaction, he declared that he had obtained spirit photographs showing -evident signs of double exposure, whereas only one had taken -place. Challenged to produce his plates, however, he demurred, and -eventually said that they had been accidentally destroyed.</p> - -<p>Disgusted by the trickery he had detected in Hudson, Beattie -determined to experiment for himself as to whether genuine spirit -photographs could actually be obtained. He accordingly set to work -with some friends, one of whom was reputed to be a medium, and -held many <i>séances</i>, exposing dozens of plates with but little result. -He procured as his dark-room assistant a certain Josty, whose character, -unfortunately, appears not to have been above suspicion. Thenceforward -streaks and splashes of light were obtained on some of the -plates, though the <i>séances</i> were mostly blanks. Josty discovered -himself to be possessed of clairvoyant faculties, and declared that he<span class="pagenum"><a name="Page_11" id="Page_11">[11]</a></span> -saw spirits at the <i>séances</i>; the marks on the plates would then appear -in the positions he had indicated. These marks had only the very -slightest resemblance to human figures: one is described as being like a -dragon. Out of several hundred plates, thirty-two bore these marks. -Beattie’s integrity was never challenged; but it has been suggested -that Josty produced the smudges on the plates—as he very easily -could do—in order to keep himself in employment of a light and -lucrative character. In any case, the results obtained were so trifling, -and so different from the usual professional medium’s photographs, as -to be chiefly of value as negative evidence.</p> - -<p>Similar experiments were made by Dr. Williams, of Haywards -Heath. He exposed plates, in the hope of obtaining spirit extras, -over a period of eighteen months. Out of many hundreds, he obtained -three plates with unexplained marks on them, one of which bore some -resemblance to two eyes and a nose. He also claimed that a complete -human figure developed on one of his plates, only to disappear again; -this could scarcely have had any objective existence, since there was -no trace of it in the finished negative. The value of his experiments, -also, can only be considered as against the occurrence of spirit photography -where trickery plays no part.</p> - -<p>In the summer of 1874 there came to London a Parisian photographer -named Buguet, who represented himself as able to photograph -spirits. Besides being a more skilful photographer than his predecessors, -he appears also to have had a sense of humour. The spirit -faces of Dickens, Charles I., and other celebrities appeared in his -photographs! His spirits had clearly-defined features, and were much -better productions than anything that had appeared before. Many -well-known people sat to him, and were duly rewarded with the spirit -features of their equally well-known friends. Next year he returned -to Paris, and, continuing in business there, produced among other -things a photograph of Stainton Moses, the spiritualist, while the -latter was lying in a trance in London, his spirit being supposed to have -visited Buguet’s studio in Paris.</p> - -<p>Before he had been back long, however, the French authorities -intervened. His studio was raided by the police and a large stock of -cardboard heads, a lay figure, and other incriminating paraphernalia -were found. Buguet was arrested and charged with fraud. At the -trial he made a complete confession. All his spirits had, he said, been -obtained by double exposure. At first his assistants had acted as the -ghosts, but this soon became dangerous on account of constant repetition -of the same features, and he procured the lay figure and cardboard -heads for the purpose. He also explained how he employed his -assistants to extract all possible information from the sitters, as to the -facial characteristics of the spirits they were expecting. And then -came the extraordinary feature of the trial. In spite of the damning<span class="pagenum"><a name="Page_12" id="Page_12">[12]</a></span> -material evidence against him, and of his own confession, witness -after witness came forward to defend him! They said they had sat to -him and obtained unquestionable likenesses of their dead relations, and -had satisfied themselves that no tricks were played upon them. In -spite of Buguet assuring them in court that they had been deceived, -they maintained that it could not be so. Buguet pointed out to the -court one face which had been recognised as the mother of one sitter, -the sister of a second, and the friend of a third. One spirit, recognised -by a sitter as his lifelong friend, was declared by another man to be an -excellent likeness of his still-living—and much annoyed—father-in-law. -Buguet was convicted and sentenced to twelve months’ imprisonment -and a fine of 100 francs. It was maintained by spiritualists in -England that he had been bribed to make a false confession; and -after the expiry of his sentence he appears to have told the same tale. -This, however, quite fails to explain the finds made at his studio by the -French police.</p> - -<p>At the time of Buguet’s trial, another spirit photographer, Parkes -by name, was practising in London. He never produced photographs -of any value, as he gave but little opportunity of watching his proceedings -in the dark-room; nor were many of his extras recognised. -Nevertheless there are certain points of interest in his career. Some -of his plates showed evident marks of double exposure; he was adroit -enough to write articles to the spiritualistic papers, drawing attention -to this fact and suggesting theories to account for it. It had been -previously assumed by spiritualists that the spirit forms, although -invisible to the eye, were present at the side of or behind the sitter, and -that their images were projected on to the plate by refraction through -the lens in the ordinary way. Hence their images on the plate would -be inverted, like the image of the sitter. Parkes, however, described -an experiment, which he professed to have carried out, throwing doubt -on this. He placed, he said, a mirror obliquely across the camera -between the lens and the plate, so as to project the image of the sitter -and background on to a second plate at the side of the camera—the -same principle employed in the viewing screen of the modern reflex -camera. He said that the position of the spirit photograph was -unaffected by the mirror, and that the extra still appeared on the plate -at the back of the camera, while the sitter and background were -naturally only photographed on the side plate. He further declared -that the spirit was not affected by the lens, and appeared <i>erect</i> on the -back plate, instead of inverted as a normal photograph would be. -The absurdity of this statement is evident when we realise that in his -ordinary photographs sitter and spirit appeared the same way up—<i>i.e.</i>, -both inverted on the plate; in order to effect this and comply -with his other statement, the spirits would have to be standing on -their heads beside the sitters! Now Parkes also professed to have<span class="pagenum"><a name="Page_13" id="Page_13">[13]</a></span> -clairvoyant power, and claimed actually to <i>see</i> the spirits standing -with the sitters; as he never mentions them adopting the inverted -attitude we may safely assume that they did not put themselves to -this discomfort. One, at least, of Parkes’ statements must therefore -have been false.</p> - -<p>On one occasion, however, his spirit extra <i>did</i> appear upside down. -The plate—supplied by the sitter—was loaded into the camera by -Parkes in the usual way, and all was ready for the exposure when a -photographer present requested that the plate be inverted in the -camera. This was done, and the exposure made; with the result that -on the developed plate the spirit was inverted with regard to the -sitter. It was indeed fortunate for Parkes’ reputation that the company -present were able to affirm that the plate on which this occurred -“had never been in Parkes’ possession before”!</p> - -<p>Since 1875 a number of spirit photographers have practised in this -country, but few have attained any note. Not many people have -considered their claims seriously, any critical investigation soon finding -cause for suspicion, if not actual evidence, of fraud. Perhaps the two -best known are Boursnell, who was taking spirit photographs in -London during the first decade of this century, and Hope, of Crewe, who -has now been practising for many years, and has attained considerable -proficiency in the art. The conditions allowed have never been such -as to preclude fraud, and the general method of procedure and results -obtained have been so similar to those of their predecessors as to need -no separate description. In 1909 a Commission was appointed, under -the auspices of the <i>Daily Mail</i>, to investigate the subject. The Commission -consisted of three spiritualists and three expert photographers; -at the conclusion of the investigation the photographers reported with -regard to the results obtained that “they would not testify to their -supernatural production; they bore on the face of them evidence of -the way in which they had been produced.” They pointed out that -some of the plates had been exposed twice, as shown by the marks on -the edges caused by two different patterns of dark slide. The spiritualists, -on the other hand, reported that “the photographers were not -in a proper frame of mind” to obtain results.</p> - -<p>In America the movement has always found rather more adherents -than in this country. Spirit photography has been practised in different -parts of the United States practically since Mumler’s time to the -present day; the same medium usually producing other kinds of spirit -phenomena as well. The conditions under which most of these photographs -have been taken, and the ridiculous results obtained, renders -them unworthy of serious consideration. It is quite usual to find in -the background of these photographs a dozen or more heads, of all -shapes and sizes, and with all kinds of headgear; bunches of flowers -often appear, and even a spirit buttonhole sometimes ornaments the<span class="pagenum"><a name="Page_14" id="Page_14">[14]</a></span> -lapel of the sitter’s coat! An amusing account is given by Hereward -Carrington<a name="FNanchor_3_3" id="FNanchor_3_3"></a><a href="#Footnote_3_3" class="fnanchor">[3]</a> of a visit to a medium of this type at Lily Dale in 1907:</p> - -<p>“On arriving at Mr. Norman’s house I was obliged to wait for some -time on the verandah, as he was busy inside the house with a ‘customer.’ -When he came out I was invited to sit ‘just where I was,’ and the -medium disappeared into the house, and the next minute came out -carrying a large camera and two plates, already in the slide, prepared. -There was a white chalk-mark on one side of the double-back plate -slide, and this side was carefully inserted foremost. Mr. Norman -erased the chalk-mark with his finger as he inserted the slide into the -camera. I posed, and the photograph was taken.</p> - -<p>“Next we went indoors. The plate slide was reversed, and the -room placed in total darkness. I was informed that ‘the spirits would -materialise their own light,’ and that none was needed. This was -‘where the mediumship came in.’ The second plate was then exposed, -the cap being removed about a minute. During that minute I was -informed that I ‘should sit for physical manifestations,’ and the -medium asked me if I had ever sat to a spirit photographer before....</p> - -<p>“When, however, I asked the medium to allow me to examine the -process of development of the plates, he flatly refused to allow anything -of the kind! I said cautiously that I should think it would be -very interesting to watch the development of a plate upon which might -appear spirit faces; the answer was that these faces developed in -exactly the same manner as any other faces. I replied that I should -like to watch the process in order to convince myself that they -developed in the manner stated, and that they were not already on -the plate. The result was to bring forth a flat refusal to allow me to -watch the process of development! It need hardly be said that this -refusal to allow any test conditions of the most elementary order -deprives the photographs of all evidential value; and definite evidence -of fraud was brought against this medium at a later date. For when -the photograph was examined, none of the faces bore the slightest -trace of any family resemblance; and, more than that, the photograph -showed unmistakable signs of fraudulent manipulation. One of the -faces, that of a woman, upon being examined through a magnifying -glass, clearly shows the miniature indentations made by the electric -needle in reproducing newspaper cuts. This is clearly noticeable in -the forehead, but can be seen to extend all over the face, even with the -naked eye, examined carefully. This face was therefore copied from -some newspaper or magazine, reproducing it from the paper in which -it originally appeared. The other faces show clear marks of manipulation.”</p> - -<p>A new method of procedure in taking spirit photographs was<span class="pagenum"><a name="Page_15" id="Page_15">[15]</a></span> -apparently introduced by one Wyllie, of San Francisco, about 1903. -No camera was used; the plates were unpacked in the dark-room and -held by the sitter, Wyllie simply placing his hands on the plate for -some seconds. On development, a face or faces, more or less blurred, -would appear. These were never larger than the print of a thumb, -which suggested to Dr. Pierce—who was investigating Wyllie’s methods—that -they were possibly produced by chemicals pressed into contact -with the plate. He therefore made Wyllie wash his hands before -entering the dark-room, but the extras still appeared. It would, of -course, have been a simple matter for the medium to have had concealed -about his person a slip of thin card or a small rubber stamp, with -an “extra” sketched on it in some suitable chemical; when in the -dark-room this would be palmed and applied to the plate. Dr. -Pierce, however, evidently considered the results were genuine spirit -manifestations, and the next year carried out a series of experiments by -himself in London. Needless to say, he found that without Wyllie’s -mediumship no results could be obtained.</p> - -<p>Another modern development, which has been largely exploited -by Hope, of Crewe, is the “psychograph.” For this, again, no camera -is used; a plate is carefully wrapped up, usually sealed, and submitted -to the medium’s influence. The plate is then developed by the victim, -and screeds of writing appear, usually arranged in circles instead of -lines. Sometimes the plate is sent to the medium through the post, -carefully wrapped and sealed, and returned apparently unopened a -few days later. On development, the message appears—and the most -banal rubbish it usually is. Yet many people actually believe that -these productions are the means adopted by higher intelligences to -communicate with us. Surely such folk must be lacking in a sense of -humour?</p> - - - -<hr class="chap" /> -<div class="chapter"> - -<h2 class="nobreak"> -<span class="smcap">III.—Fraud</span></h2></div> - -<p class="center"><b>(<span class="smcap">C. Vincent Patrick</span>)</b></p> - - -<h3><i>A.—General Methods</i></h3> - -<p>The taking of spirit photographs under so-called “test conditions” -has frequently been carefully investigated by men of high reputation -in other walks of life, chiefly men of letters and men of science. In -many cases they have been unable to detect any trickery, and after due -consideration have decided that they know of no natural means by -which the results obtained could be produced, under the conditions -employed. This is in itself a perfectly fair conclusion; but it does not -follow that because they know of no natural method, no such method<span class="pagenum"><a name="Page_16" id="Page_16">[16]</a></span> -can exist; unfortunately the argument is frequently carried to this -stage. Let us suppose that an eminent physicist watches a sleight-of-hand -conjuror, who produces a dozen or more eggs from a small velvet -bag, which was unquestionably empty when examined by the audience -a few seconds previously; he will certainly not assume mediumistic -powers on the part of the conjuror, or postulate the materialisation of -a spirit hen. He realises that he is being deceived; he has had no -training in conjuring, and does not know what to look for in order to -“see through” the trick. How, then, does he expect to be able to -detect a trick played upon him, probably in the dim light of a photographic -dark-room, by a clever medium who has every method of -trickery at his fingers’ ends? Even if he knew what to look for, the -chances would be all in favour of the medium under the conditions -which usually obtain; and in actual fact he probably has no idea of -the multiplicity of methods which may be used for his deception. It -seems therefore desirable to enumerate some of the many methods by -which spurious spirit photographs may be produced. The following -list makes no pretensions to being complete, but may give some idea -of the variety of methods which the accomplished spirit photographer -has at his service.</p> - -<p><i>Group I.</i>—<i>Methods Involving Double Exposure and Substitution</i>, -in which a plate previously prepared with an undeveloped extra is -substituted for the plate provided by the sitter. This gives excellent -photographs, as the extra may be as distinct in detail as is desired, and -the exposures can be calculated to a nicety, giving a suitably transparent -spirit with a more solid portrait of the sitter. The substitution of the -plate may be effected at almost any stage in the proceedings, for -example:</p> - -<p>(<i>a</i>).—Methods involving substitution of the entire packet:</p> - -<p>1. The medium may be in league with the shop from which the -plates are purchased, the unfortunate sitter buying a box of plates -already prepared with spirits. Wise sitters buy their plates at a -distance, but mediums frequently demand a particular brand of plate, -and if those brought by the sitter are declared unsuitable, he will have -to go out and purchase the correct ones. He is naturally supplied -with the address of the nearest photographic dealer, and the name of -the brand of plates is written on a slip of paper to show the shopman; -this ensures no mistake being made.</p> - -<p>2. If the sitter brings the right plates he will show the packet to the -medium before entering the dark-room to make sure that they are -all right. The medium takes the packet into his hand for a moment—turning -to the light to read the label—and passes them back with the -remark that they are the right kind—which now they certainly are, -for the sitter’s original packet is in the medium’s breast-pocket.</p> - -<p>3. The sitter may perhaps autograph or otherwise mark his packet<span class="pagenum"><a name="Page_17" id="Page_17">[17]</a></span> -before coming to the medium, in order to prevent any such substitution. -In this case the medium will wait until the wrapper is torn off -in the dark-room, when he may be able to handle the box for a moment -on some pretext,<a name="FNanchor_4_4" id="FNanchor_4_4"></a><a href="#Footnote_4_4" class="fnanchor">[4]</a> and the dim light makes the substitution easier -than before, particularly as it occurs during the first minute or so -in the reduced light before the sitter’s eyes have become accustomed -to it.</p> - -<p>If these methods are employed, the medium usually finds it necessary -previously to mark the plate or plates in the box that have the -latent extras, in such a way that he may be sure of not getting the -spirit inverted: a slight scratch on one edge will suffice for this.</p> - -<p>(<i>b</i>).—Methods involving substitution of the faked plate only, after -removal from the original packet:</p> - -<p>1. With an unwary sitter this may be done in the dark-room. The -sitter usually marks the plates; while he is marking one, the medium -may be able to exchange his prepared plate for one of those not yet -marked.</p> - -<p>2. A trick dark-slide may be used, having a secret partition, and -already containing the faked plate.<a name="FNanchor_5_5" id="FNanchor_5_5"></a><a href="#Footnote_5_5" class="fnanchor">[5]</a> If the sitter is content to mark -the plate after it is placed in the slide, he may easily be caused to mark -the prepared plate instead of his own.</p> - -<p>3. If the plates are not marked, it will be a simple matter to -substitute, during the focussing operations, a duplicate slide containing -a faked plate.</p> - -<p>4. Little accidents are apt to happen in the unaccustomed light of -the red lamp; while the sitter is groping on the floor for a wrapper -he has dropped, or while his attention is in some other way diverted for -a moment, the exchange is made.</p> - -<p>I am aware that many will ridicule the idea of such a simple trick -being played upon an intelligent observer; but any conjuror, whose -business it is to do this kind of thing, knows that it is remarkably -easy.</p> - -<p>5. Sometimes the first photographs taken are blanks, the sitter -then returns to the dark-room and loads up some fresh plates out of -the packet. It may not occur to him that an accomplice of the medium -has had access to the dark-room in the meantime, and when he gives -this account of the <i>séance</i> a few days later he will probably have -entirely forgotten that the plates were not all loaded at once.</p> - -<p>Substitution can, of course, be effected in many other ways; every -medium probably has his favourite method which he chiefly practises.</p> - -<p>It may be pointed out here that in the case of a regular sitter who -always marks his plates in the same way, as most do, it would not be<span class="pagenum"><a name="Page_18" id="Page_18">[18]</a></span> -at all difficult to forge his signature on a prepared plate and substitute -this for one of the marked plates.</p> - -<p><i>Group II.</i>—<i>Other Methods</i>, conveniently classified as follows:</p> - -<p>(<i>a</i>).—Methods involving preparation of the studio:</p> - -<p>1. An accomplice may be concealed behind the sitter, and be -photographed with him; this is the simplest way of all, the sitter -facing the camera, and, being told not to move during the exposure, is -unaware that a “spirit face” is behind him, framed in an unsuspected -opening in the background. Being behind the sitter, the face will be -a little out of focus, and will appear rather blurred on the negative.<a name="FNanchor_6_6" id="FNanchor_6_6"></a><a href="#Footnote_6_6" class="fnanchor">[6]</a></p> - -<p>2. It has been suggested that a mirror, or sheet of glass—on the -principle of “Pepper’s Ghost”—may be introduced behind the sitter, -producing the spirit by reflection of an accomplice hidden from the -sitter. In practice this would be rather complicated and difficult to -conceal; it would seem to have no advantage over the preceding -method.</p> - -<p>3. The extra is frequently sketched on the background—especially -if this be a plain one—in some fluorescent substance, such as quinine -sulphate. Such a sketch is invisible to the eye, but visible to the -photographic plate. Many of Boursnell’s spirits appear to have been -produced in this manner.</p> - -<p>(<i>b</i>).—Methods involving the camera and dark slides:</p> - -<p>1. A trick slide may be employed, in which the shutter contains a -positive transparency of the desired extra, held in such a manner that -it can either be withdrawn with the shutter, or left in position in front -of the plate when required; i.e., during the exposure, which will have -to be somewhat longer than usual.</p> - -<p>2. A similar transparency may be inserted in the camera, close to -the plate, and between it and the lens, during the focussing operations. -The black focussing-cloth makes an admirable screen for such manipulations, -while the sitter is of necessity immobilised a few feet from the -camera. It is easy to imagine how a transparency on a spring mount -could be slipped into the camera under cover of the cloth in such a -way as to press up against the plate when the shutter of the slide is -drawn.</p> - -<p>3. It is stated that a doubly refracting lens has been used, focussing -onto the same plate both the sitter and an object concealed at one side -of the studio. Such a contrivance may have been employed, but -would certainly not be cheap to manufacture.</p> - -<p><span class="pagenum"><a name="Page_19" id="Page_19">[19]</a></span>4. A simpler method of obtaining the same result is to have a pinhole -in the bellows of the camera; a brightly illuminated object at -the side and rather in front of the camera will then throw an image on -the plate. A considerable exposure will be needed to give a fair extra; -but this will present no difficulties, as the pinhole will be open all the -time the plate is in position, and not merely during the few seconds -that the lens is uncapped for the photograph of the sitter.</p> - -<p>5. An extra may be painted on the inner surface of the dark-slide -shutter, in some radio-active chemical. The shutter usually only -clears the surface of the sensitised emulsion by a fraction of a millimetre, -and a fairly distinct extra will be produced if the plate is kept in the -slide for a sufficient length of time—depending, of course, upon the -amount of radio-active substance used.</p> - -<p>(<i>c</i>).—Dark-room methods.</p> - -<p>1. In the days of the wet-plate process, when plates were cleaned -and used a second time with fresh emulsion, it would sometimes happen -that the original photograph would re-develop on top of the second, -very careful chemical cleaning of the plate being necessary to prevent -this. Mumler’s first spirit photograph was probably produced in this -way, and the knowledge was turned to good account by several of the -earlier spirit photographers. Some of the unexpected results obtained -by amateurs may be attributable to this cause, because a certain -number of used plates are returned to plate manufacturers, who clean -off the emulsion and use the glass again. The cleansing may sometimes -be imperfect, and in these cases the original image may appear on -development.</p> - -<p>2. Faces may be sketched in chemicals on small pieces of card, or -even on the medium’s fingers. On opportunity arising in the dark-room, -the medium holds or steadies the plate for an instant, bringing -the chemical pictures into contact with the plate. Or he may so -manœuvre it that the plate is laid face down on a prepared surface of -the dark-room work-bench, probably while it is being marked<a name="FNanchor_7_7" id="FNanchor_7_7"></a><a href="#Footnote_7_7" class="fnanchor">[7]</a>; upon -development of the plate extras will duly appear. The most refined -version of this method consists in the preparation of small rubber -stamps in which the chemicals are smeared. These can easily be -palmed and dabbed for a moment on the plate in a manner which -appears quite unsuspicious. A number of active chemicals will -produce this effect, but the medium must be careful to know whether -the substance he is using will accelerate or retard development in the -affected part; for cases have occurred in which a positive extra has -been produced on the negative plate, giving a negative spirit on the -finished print!</p> - -<p>3. Mr. Bush, in his recent pamphlet, “Spirit Photography Exposed,”<span class="pagenum"><a name="Page_20" id="Page_20">[20]</a></span> -describes a piece of apparatus made out of an empty blacking-tin -containing a small electric bulb, one side of the tin being replaced -by a positive transparency of the desired extra. This, he alleges, is -used by Hope, the Crewe spirit photographer, the transparency being -pressed against the plate and the light switched on for a second. If -carefully faced with black velvet round the transparency, this device -should be quite useful; but it must be remembered that an escaping -ray of white light would at once catch the eye in the dark-room. -Skilful palming and manipulation should make it quite possible for an -extra to be printed on the plate in this way, if the medium can cover it -with his hand for a moment or two. All Hope’s results are certainly -not produced in this way, however, as is implied by Mr. Bush.</p> - -<p>4. The medium may palm a positive transparency; if he is allowed -to handle the plate he will hold it close to the red lamp with the -transparency between; if the lamp is rather bright, or is not a very -deep red, an impression is soon made on the plate.</p> - -<p>5. With a pinhole in the dark-room lamp, and a transparency -inside—a perfectly practicable arrangement with some of the more -complicated dark-room “safe-lights,”—a pinhole projector can be -formed, which will throw an image on a suitably-placed plate. Any -leakage of white light into the dark-room, either from the lamp or from -outside, can be used to produce blotches and streaks on the plate. -A very little mechanical ingenuity will enable a medium who takes a -pride in his work to rig up an arrangement of this kind which can be -switched off and on at will and which will project an image on a predetermined -spot on the bench. By the simple expedient of having -the bench so cluttered up with bottles and miscellaneous rubbish that -this spot is the only unencumbered one, the unsuspecting sitter may be -forced to lay a plate on this spot while, for example, he is marking -another. The medium may ostentatiously stand at the other end of -the room and “switch on” for a moment while the sitter’s attention -is engaged with his marking.</p> - -<p>6. Photographic plates are sensitive to rays invisible to the eye, as -has been pointed out in considering the effect of fluorescent substances. -X-rays and ultra-violet rays, for instance, both invisible -yet strongly actinic, might be used in the most baffling manner in the -production of spirit extras. The expense and technical difficulties -would be considerable, but were any medium to take the method up, he -might safely defy the most critical investigation and would soon recoup -himself for the few pounds initial outlay.</p> - -<p>There are undoubtedly many other methods used by mediums for -this purpose; but if the sitter who has obtained spirit extras under -test conditions carefully considers the procedure employed, in the light -of the suggestions made above, he will probably find that several -loopholes were left by which fraud might have been introduced.</p> - -<p><span class="pagenum"><a name="Page_21" id="Page_21">[21]</a></span></p> - - -<h3><i>B.—Experiments in Fraud</i></h3> - -<p>The argument most frequently brought forward, in favour of the -genuineness of spirit photographs, is that the conditions employed in -their taking leave no loophole for fraud. It has been pointed out in -the preceding section that the usual “test conditions” leave not one, -but many, such loopholes. Evidence of fraud has at some time or -other been brought against most spirit photograph mediums, and they -have consequently been more or less discredited. Other mediums -have been more clever—or more fortunate—and many people therefore -argue that they are not all to be tarred with the same brush; it is -pointed out that spirit extras <i>have</i> been obtained under the strictest -conditions imposed by acute observers who have found nothing suspicious -of trickery.</p> - -<p>It occurred to me that the most effective way to refute this argument -was actually to produce bogus spirit photographs under similar, -or even more stringent, test conditions. This I accordingly attempted -in a series of <i>séances</i>, held in my rooms at Cambridge in the summer of -1919. At four of these <i>séances</i> photographs were taken, and on each -occasion one plate showed a more or less conventional spirit extra. As -I was experimenting primarily for my own satisfaction, my seven -victims were drawn from among my own friends, and were enjoined to -keep the matter as quiet as possible. They were not, of course, -specially trained psychic researchers, but could not, I think, be considered -as being particularly easy men to deceive. Five of the seven -were ex-Service men, and all were of B.A. or “fourth year” University -status; they included two chemists, two medical students, a geologist, -and two physiologists who were also studying psychology. They were -all therefore of a scientific bent, and, with possibly one exception, were -completely sceptical about spiritualistic phenomena when the experiments -started.</p> - -<p>I first suggested to four of them that we might try to obtain a spirit -photograph, like those described and reproduced in recent magazine -articles. They did not take me very seriously at first, but after we had -obtained the right atmosphere with a little table-turning, they consented -to try for a spirit photograph. When a spirit face duly developed -in addition to the sitter, everyone present expressed amazement! -I was naturally asked if I was “pulling their legs.” I hedged -and refused to say either yes or no, explaining that I wanted the -experiments to continue under scientific conditions. If, on the one -hand, I declared that I had not in any way faked the photograph, they -would probably believe me, and would not insist on further photographs -being taken under test conditions. If, on the other hand, I -refused to give such an assurance, they would think that I was probably -tricking them, and would take all possible steps to “bowl me out”;<span class="pagenum"><a name="Page_22" id="Page_22">[22]</a></span> -and when they failed to do so would thereby establish evidence of the -genuineness of any further photographs we might be lucky enough to -obtain. After some little demur they saw the point of this—or as -much of it as I wished them to see—and agreed to meet again in my -room on the following Sunday evening, promising that I should be -given no opportunity of playing any tricks. It was also agreed that -notes should be taken during the <i>séances</i> as far as possible, and that -full reports of what occurred should be drawn up afterwards by all of -us in conjunction, which everyone would sign.</p> - -<p>I now quote their report on the next two meetings, omitting nothing -except their names, which I have replaced by single letters, at their -request.</p> - -<blockquote> - -<p>“On the following Sunday, July 20th, at 8.15, there met in -Patrick’s rooms A, B, C, and D. Saturday being a Bank Holiday, the -plates were purchased on Friday evening by B, and kept by him until -the meeting. B produced his plates, unopened, and after some -preliminary table-turning and rapping, more successful than at the -previous meeting, it was decided to proceed with the photographs. A -carried the plate-box unopened to the dark-room, and he and D sat -closely on either side of Patrick, and watched him open the box and -load two double dark-slides; they were satisfied there was no substitution -or trickery, or anything in the least degree suggestive of it. -The wrapper of the box was broken in full view of both, and Patrick -loaded the top four plates into two double dark-slides, which were -examined by A and D immediately before they were loaded; they -did not leave their sight from the moment of examination until the -photographs were taken. The camera was also subjected to careful -and minute examination, especially by A, who removed the lens and -examined both it and the interior of the camera. The lens was then -replaced, and the focal plane shutter set in the open position, the -exposures being made by the simple expedient of withdrawing the -shutter of the dark-slide.</p> - -<p>“At the request of C, before approaching the camera to focus it, -Patrick removed his coat, rolled up his sleeves, and was carefully -searched by him.</p> - -<p>“It had been arranged that Patrick should take a photograph of -each of the four others present, under identical conditions. The -background was arranged, as before, of gowns hung over a cupboard, -but was made more complete. The subjects occupied the same chair -in succession; of the others, one stood by the light switch, and the -two others by the camera, to watch the photographer. Patrick -attended both to the camera and the flash production. The exposures -were made, as stated, by withdrawing the shutter of the dark-slide; -the focal plane shutter was not touched throughout. The electric<span class="pagenum"><a name="Page_23" id="Page_23">[23]</a></span> -light was therefore switched off for a few seconds while the shutter was -drawn and the flash being lighted. Sufficient light came through the -white window-curtains (9.30 p.m. Summer Time) to enable those in the -room plainly to see each other, and watch the photographer’s movements. -The four photographs were taken in rapid succession.</p> - -<p>“The slides were taken back into the dark-room, and developed -by A and Patrick in conjunction. B and C watched in turn, and D also -watched part of the time. One of the plates was quickly observed to -have an ‘extra’ developing on it. A bromide print was again taken -from the wet negative, and showed on the photograph of D the head of -an elderly man, besides a very fair photograph of the sitter. The -extra face was above D’s head, and to his right. The “spirit” -was bearded, and partly bald, with a somewhat melancholy -expression. There was a suggestion of a white collar. On the left -of the face and somewhat above it was written in white on the black -background what was apparently a signature, with two final letters -of a preceding word. It was dubiously deciphered as ‘...ly S. -Simmonds.’ Neither face, name, nor writing were recognised by any -one, either at the time or subsequently.</p> - -<p>“The three other photographs were fair portraits, but showed no -abnormality.</p> - -<hr class="tb" /> - -<p>“A third meeting was held in the same place at 8.15 p.m. on Sunday, -July 27th, when even more stringent conditions were imposed on the -photographer.</p> - -<p>“The plates were bought on Saturday evening by D; other men -should have been present, but did not turn up at the arranged time. -D took the plates to his own rooms, where Patrick sealed them for his -own satisfaction. The box was kept locked up by D till he brought -them to the meeting on Sunday, and he did not part with them till he -gave them to E to take into the dark-room.</p> - -<p>“At this meeting there were present A, B, C, D, E, F, and G, besides -the photographer.</p> - -<p>“When all had arrived, E carried the plates to the dark-room. -C brought a dark-slide, which he had abstracted and kept since the -previous meeting. Before going into the dark-room Patrick, again at -the request of C and E, removed his coat, rolled up his sleeves, and -was searched, C even going to the length of examining his socks for -possible concealed plates or dark-slides.</p> - -<p>“Patrick wished to load the slides himself, as they were rather -delicate. Accordingly neither slide nor plates were passed into his -hands until he was sitting in front of the ruby light, with E on one -side of him and C and F on the other. He broke the seals, and in -full view of these three loaded a single plate into compartment No. 3 -of the dark-slide. This was then immediately taken from his hands<span class="pagenum"><a name="Page_24" id="Page_24">[24]</a></span> -again by E, and he and C locked it in a drawer of the desk, upon -which stood a reading-lamp, which was never extinguished throughout -all the subsequent proceedings. C kept the key of the drawer, and -passed it to E when the slide was required.</p> - -<p>“Some table-tilting was then carried out by all except C, who -remained at the desk and acted as secretary. The lights were all put -out except the reading-lamp he used, which was, as stated, over the -drawer where the dark-slide lay locked.</p> - -<p>“After half an hour or so of moderate success with the table, E -and Patrick also dropped out, to take a flashlight photograph of the -group round the table. Patrick prepared the flash-powder, and set up -the camera—which had previously been examined—by the side of the -desk and lighted lamp. E again examined the camera, inside and out, -and when Patrick had focussed it examined the view in the ground-glass -screen. (The lights were put up for a few minutes, to aid the -focussing, etc.) When all was ready, E received the key from C, unlocked -the drawer, and took out the dark-slide. He saw that it was undoubtedly -placed in the camera right way about, <i>i.e.</i>, No. 3 compartment -in use, and the shutter withdrawn. When the table had commenced -its tilting again the flash was fired by Patrick. C took notes -of the movements of the table, and at the same time watched the -camera, which was in the full light of the reading-lamp throughout. -After the flash the shutter of the slide was replaced, and on removal -from the camera the slide immediately passed again into the possession -of E. Any substitution of plate or dark-slide was thus rendered out -of the question.</p> - -<p>“The dark-slide was taken to the dark-room by E, and he and C -watched Patrick open it, remove the plate, and develop it. As before, -E kept the slide till everything was ready, and passed it to Patrick in -the full light of the ruby lamp, C checking the number of the compartment -in which the plate had been loaded, and still remained (No. 3). -On development, Patrick pointed out that there was a hand at the top -of the plate, which could not belong to any of those at the table, and -was pointing with its index finger at one of the group. On fixing, it -was examined more closely, both by Patrick and the two others. All -three distinctly saw the image of a hand and wrist, pointing, the forearm -being draped. It was in fairly sharp focus, and appeared, by -its proportion, to be rather nearer the camera than the centre of the -table, above which it appeared to hang suspended. A shadow cast -by it was plainly seen, larger and less sharply focussed, apparently on -the back wall of the room. (A picture on this wall had previously -been removed, to eliminate any reflection, and leave the background -clear.) There was a general appearance of drapery surrounding the -group, particularly at the sides; there was in this the suggestion of a -trunk to which the hand might belong. The appearance of the picture<span class="pagenum"><a name="Page_25" id="Page_25">[25]</a></span> -was very startling, and Patrick suggested that as the man at whom it -should turn out to be pointing might suffer considerable uneasiness on -seeing it, it might be well to destroy the plate without attempting to -identify him. E and C, after a minute’s thought, both agreed that this -would be the wisest course, and it was accordingly done. Patrick did -not wish to feel that he might be in any way responsible for causing -anyone uneasiness or harm, such as might well result from such a -picture.<a name="FNanchor_8_8" id="FNanchor_8_8"></a><a href="#Footnote_8_8" class="fnanchor">[8]</a> Accordingly the three returned to the other room, and -explained the situation to the others, who, though obviously disappointed, -did not condemn the course taken.</p> - -<p>“This concludes the account of these first three meetings. We -wish to record that all through the meetings Patrick desired and -requested us to take all and any precautions we thought fit, to satisfy -ourselves that he introduced no trickery.</p> - -<p>“In conclusion, we, the undersigned, declare this to be an accurate -account of the occurrences to the best of each man’s individual knowledge. -While not committing ourselves to any statements as to our -belief or disbelief in the genuineness of the phenomena observed, we -maintain that the greatest possible care was taken to prevent any -possibilities of trickery; and we consider that, barring the possibility -of Patrick having an accomplice among us, the evidence should be -accepted as proof of the genuineness of the phenomena observed.”</p></blockquote> - -<p>This is followed by their seven signatures. E added afterwards a -paragraph of his own as to the interpretation of the word “accomplice.” -E was much the acutest observer and the most obstinate sceptic of -the seven: I think he suspected D of being in some way my accomplice; -some of the others suspected him of being a medium. He certainly -was not an accomplice—for I never had one in the room; he may be a -medium for aught I know—but I should doubt it.</p> - -<p>At the next meeting an eighth investigator appeared, and everybody -seemed to be suspecting everybody else, and not merely the -photographer. The plates were bought at a different shop, chosen by -lot, by a committee of four; and the packet was at once done up with -much red tape and green sealing-wax. When they had finished I -requested to be allowed to put my seal on it too, to assure myself that -<i>they</i> were not playing any tricks! My request was granted. I now -quote the report of the meeting:</p> - -<blockquote> - -<p>“The box of plates was produced by C, and the seals were found -to be intact. The box was taken into the dark-room by A, and a plate-carrier—which<span class="pagenum"><a name="Page_26" id="Page_26">[26]</a></span> -had been previously examined by several of those -present—by B. The seals were broken, and a plate was loaded in the -presence of A, B, D, and E, who signed their names on stamp-paper -fixed to the back of the plate.</p> - -<p>“In attempting to fit the slide into the camera, the plate was -accidentally exposed. It was discarded, and another plate signed and -loaded by A, C, E, and Patrick. C then locked the plate away in a -drawer, and kept the key until the slide was required for the photograph.”</p> - -<p>[Table-turning was then indulged in; A, C, E, and myself not taking -part. The usual type of answers was obtained from the table; I -omit this part of the report. During the table-tilting the photograph -was taken under precisely the same conditions as at the last meeting.]</p> - -<p>“The plate was developed by Patrick; A, C, and E watching. An -extra pair of eyes and the upper part of a nose developed, apparently -on the wall; they were brightly illuminated, from the same position -as the other figures. They were larger than those of the other members -of the group, and were over B’s head.</p> - -<p>“We consider that this is a true account of what occurred. Barring -any very abstruse and elaborate explanation, it would seem that the -photograph is undoubtedly genuine.”</p></blockquote> - -<p>Then follow the signatures. As they made <i>me</i> sign the report on -this meeting, I had to see that it was worded rather carefully, particularly -the last paragraph; the report <i>was</i> true, so far as it went; -and the explanation of the result <i>was</i> rather elaborate; so I felt I -could safely sign it.</p> - -<p>I did not hold another photographic <i>séance</i>, but being emboldened -by success, introduced at the next meeting “a medium from London.” -(As a matter of fact he came from Trinity, but I had ascertained that -nobody knew him, which was the important thing.) After suitable -preliminaries we all sat round a large table in semi-darkness, holding -hands. When the medium had arranged “the balance of the circle” -to his liking, he proceeded to go into a trance, when queer things began -to happen. A candlestick was seen to slide along the mantelpiece and -crash into the coal-box, taking a framed photograph with it; sounds -were heard from a small cupboard; the window-curtains were parted; -several people saw spirit forms and eyes; and one was favoured with a -spirit touch. The medium’s Egyptian control, Nemetra, gave us -wonderful accounts of life in Memphis in the days of the Pharaohs—accounts -which certainly made up in picturesque detail for anything -they lacked in historical accuracy.</p> - -<p>Unfortunately this meeting was not a complete success, as, immediately -the show was over, our ever-curious geologist E began -hunting about the floor, and discovered a small loop of fishing-line -(being a post-war fishing-line, the spirit forces had broken it). He<span class="pagenum"><a name="Page_27" id="Page_27">[27]</a></span> -could not very well announce his find at the time, as the medium was -not yet roused from his trance, and the others were busy feeling his -pulse, fanning him and administering cold water!</p> - -<p>By this time the results of the photographic <i>séances</i> had become -pretty generally known, and the undesired notoriety brought so many -requests to allow other visitors at the <i>séances</i> that it became evident -to me that the proceedings must terminate. So the next morning, -after seeing E, I told him and the others that the whole thing had been -a hoax, and that the photographs were frauds. I should like to add -that with one exception they took it extraordinarily well, particularly -when I explained what had been my object. They were still quite in -the dark about <i>how</i> the photographs had been done, particularly when -I told them that there was no accomplice among them.</p> - -<p>All the photographs were obtained by the general method of double -exposure and substitution, the substitution being effected at a different -point on each occasion; the methods used, or slight variations of -them, are all described in the section on “Methods of Fraud.”</p> - -<p>Now I maintain that the conditions imposed upon me were as -strict, or stricter, than any professional medium allows. If an -amateur photographer but little practised in sleight-of-hand can -under such conditions deceive intelligent observers—not once, but -several times over—how much easier will it not be for the professional -spirit photographer, who makes such frauds his business?</p> - - -<h3><i>C.—Internal Evidence of Fraud</i></h3> - -<p>Since spiritualists claim that the presence of invisible spirits may -be detected by photography, it seems reasonable to inquire how far -this is compatible with established physical facts. If a plate is -wrapped in paper and submitted to “spirit influences”—whatever -these may be—never being exposed in a camera at all, and on development -shows faces or writing, I personally can only find one explanation—trickery. -But if a plate is duly exposed with camera and lens, and -unseen faces appear on development, the matter is not quite so simple. -For it is well recognised that the camera may record what is invisible -to the eye; invisible stars are detected by the photographic plate, and -anyone who has examined a nebula or comet through a telescope, after -seeing a photograph of the same object, realises this fact to his disappointment. -Similarly a can of hot water may be photographed, by -a long exposure, in a perfectly dark room; and another well-known -instance of a similar phenomenon is Sir Robert Ball’s story of photographing -some writing on the side of the “Great Eastern,” years after -it had been painted out and rendered invisible.</p> - -<p>Light, as is well known, is now regarded as consisting of waves in -the ether. Ether waves are known to exist over a very large range of<span class="pagenum"><a name="Page_28" id="Page_28">[28]</a></span> -wave-lengths; some are comparatively long waves, some are short. -The properties of these waves depend upon their wave-length; those -visible to our eyes, which we call “light rays,” form only a small -section of the complete scale; comparing them with sound waves they -correspond to approximately one octave of the whole musical scale. -Ether waves of greater or lesser wave-length than light, <i>i.e.</i>, of lower -or higher octaves, have very different properties. Radiant heat and -ultra-violet rays are the ether waves nearest in wave-length and -properties to light; X-rays and the waves responsible for wireless -telegraphy appear to be similar waves further removed along the -scale of wave-length.</p> - -<p>Now in order to photograph an invisible object we require rays that -(<i>a</i>) affect a photographic plate; (<i>b</i>) are capable of refraction by a lens; -and (<i>c</i>) are invisible to the eye. The properties of the principal known -rays concerned may be summarised as follows:</p> - -<table border="0" cellpadding="2" cellspacing="2" summary="table"> - -<tr><td> </td><td><i>Effect on Plates</i> </td><td> <i>Refracted by Lenses</i> </td><td> <i>Visibility</i></td></tr> - -<tr><td><i>Infra-red (heat) rays</i> </td><td> v. slight </td><td class="tdc"> Yes </td><td class="tdc"> No</td></tr> -<tr><td><i>Light rays</i></td><td> affected </td><td class="tdc"> Yes </td><td class="tdc"> Yes</td></tr> -<tr><td><i>Ultra-violet rays</i></td><td> strongly affected </td><td class="tdc"> Yes </td><td class="tdc"> No</td></tr> -<tr><td><i>X-rays</i> </td><td> affected </td><td class="tdc"> No </td><td class="tdc"> No</td></tr> -</table> - -<p>It appears, then, that ultra-violet rays are suitable for our purpose; -infra-red rays, if present in an amount sufficient to affect a photographic -plate, would make themselves very evident as heat, and may -therefore be ruled out.</p> - -<p>Ordinary daylight contains ultra-violet rays, as also does the -light of the arc lamp and magnesium flash; lamplight, gas-light, and -the ordinary electric light, are comparatively deficient in them. But -are we to assume that the spirit form is dependent on finding suitable -rays in the surrounding ether, or can it produce its own? Perhaps -some spiritualist will tell me. This is a point of some practical importance -in examining a reputed spirit photograph; for if the spirit is -self-luminous its features will be evenly illuminated and without -shadows, nor will it cast a shadow on the sitter or background, but -rather the reverse. If, on the other hand, the spirit is dependent on -the presence of ultra-violet rays from other sources, which it can -reflect, then the spirit in the photograph will appear to be illuminated -from the same point as the sitter,<a name="FNanchor_9_9" id="FNanchor_9_9"></a><a href="#Footnote_9_9" class="fnanchor">[9]</a> and by absorption or reflection of -the ultra-violet actinic rays which would otherwise have passed on, -will cast a shadow on the background. Being a shadow cast by the<span class="pagenum"><a name="Page_29" id="Page_29">[29]</a></span> -removal of the ultra-violet rays only, it will of course appear as such -in the photograph, but be invisible to the eye.</p> - -<p>So if a spirit photograph is to be classed as possibly genuine, the -spirit may either appear self-luminous and cast no shadow, or may -appear to be illuminated from the same point as the sitter, and cast a -shadow on the background, if the latter be of a suitable nature to -show it. But on examining a collection of spirit photographs taken -by various professional mediums, we find that as often as not the spirit -and sitter are lighted from opposite sides; or that a spirit face with a -well-marked shadow on one cheek throws no shadow on the background. -If our reasoning be correct, we can at once write such -productions down as frauds. The photographs I produced at my -Cambridge <i>séances</i> show both these faults; two of them have the spirits -lighted from the opposite side to the sitter, and one has the spirit -lighted from the correct side but throwing no shadow, whereas the -sitters throw clear shadows on the wall behind. In the other photograph -I managed to get both the lighting and the shadow of the spirit -correct; but in order to get the shadow I had to photograph the background -with the “spirit”; hence when the sitters were photographed -on the same plate there was a double background, which necessitated -a rapid destruction of the plate!</p> - -<p>Of course the average medium does not consider these points at -all; his sitters are usually satisfied with anything they can get, so why -should he worry? But an intelligent observer examining a number of -spirit photographs with regard to these points will quickly satisfy -himself that the majority of them <i>can</i> only be frauds.<a name="FNanchor_10_10" id="FNanchor_10_10"></a><a href="#Footnote_10_10" class="fnanchor">[10]</a></p> - -<p>There are a number of other points by which a spirit photograph -may betray its method of production without reference to the conditions -under which it was taken. Many spirit extras are simply copies -of existing photographs, which are usually camouflaged in some way. -Draperies may be substituted for the hair, or the features slightly -retouched. A common method is to reverse the original photograph, -right for left; a number of Hope’s productions were recently published -in a monthly magazine, and alongside them life portraits of the -“spirits,” the letterpress emphasising that, though undoubtedly the -same face, they were different photographs. On examination with a -mirror, however, the photographs were seen to be identical, and careful -measurement of the faces showed the proportions to be exact. In the<span class="pagenum"><a name="Page_30" id="Page_30">[30]</a></span> -photographs more recently published by Mr. Bush, who laid a trap for -Hope into which the latter appears to have fallen, the spirit was not -reversed, nor was even the rather peculiar attitude of the head in the -original photograph altered. A little spirit drapery was added round -the face, and the whole thrown slightly out of focus; it is really a -most clumsy piece of work, and should deceive no one.</p> - -<p>In some spirit photographs produced by double exposure there is a -double background, as occurred in my own photograph referred to -above. There may be either two different backgrounds, or a double -outline of the same background; in either case the “spirit’s background” -is usually fainter than the “sitter’s background,” and -shows through the darker parts of the sitter. Sometimes attempts are -made to retouch these appearances on the negative, and many spirit -photographs show clumsy brush or pencil work, which must immediately -stamp them as frauds.</p> - -<p>Attempts are sometimes made to obliterate other tell-tale marks, -such as a piece of a spirit’s hat or collar, which has accidentally got -on to the plate. Other mediums, however, are less particular, especially -in America, and produce their spirits with ordinary hats, collars and -ties. But as a rule only spirit robes are permitted, apparently made of -butter muslin not quite in focus. Hands are often present: I have -seen a case in which the position of a spirit hand would have necessitated -a many-jointed arm about four feet long; but perhaps spirit -arms <i>are</i> like this. One spirit extra I have seen has two hands, but -both appear to be left hands—evidently a left-handed spirit.</p> - -<p>Frequently, again, careful examination shows that spirit extras are -not photographs at all, but resemble wash drawings. This gives the -clue to their origin, for several of the methods described in a preceding -section produce a result of this kind. It has been several times -pointed out that spirit extras in some cases show the characteristic -dots produced by the half-tone newspaper illustration process; if the -medium cannot obtain a real photograph of the required spirit, he has -to copy a newspaper reproduction. If he is clever, he can eliminate -these process marks by printing in his spirit slightly out of focus; but -very often he does not take the trouble.</p> - -<p>In many, perhaps in the majority, of spirit photographs produced -by professional or semi-professional mediums, a critical observer with -practical photographic experience can point out some such definite -evidence of fraudulent manipulation. In many other cases, where -no one particular point can be singled out as indicative of fraud, minor -points of suspicion are noticeable, which taken together leave little -doubt of the nature of the picture. But photographs <i>can</i> be prepared -by purely mechanical means, especially if no kind of test conditions -are employed, which will contain no internal evidence whatever of -manipulation. By carefully combining enlarged positives, for instance,<span class="pagenum"><a name="Page_31" id="Page_31">[31]</a></span> -and re-photographing the whole, results can be produced which -will defy the most critical examination. But such photographs are -seldom produced, even when the medium is given practically a free -hand.</p> - - - -<hr class="chap" /> -<div class="chapter"> - -<h2 class="nobreak"> -IV.—<span class="smcap">Spirit Photographs Obtained by Amateurs</span></h2></div> - -<p class="center"><b>(<span class="smcap">C. Vincent Patrick</span>)</b></p> - - -<p>Probably most people have heard, but seldom at first hand, of -unexpected ghosts appearing on plates or films exposed by amateur -photographers. On the rare occasions when such accounts can be -traced to their source, one usually finds that there is some simple and -evident explanation. Streaks and splashes of light on the plates are -comparatively common, and are usually the result of the camera, -slides, or dark-room not being light-tight; very strange results are -sometimes produced in this way. I was once puzzled by a photograph -which showed an arch, like a rainbow, across the sky, when it was -quite certain that there had been no rainbow in the sky when the -photograph was taken. When the result was repeated a few days -later, the camera quickly came under suspicion, and was found to -have developed a minute pinhole in the bellows. This was sealed up, -and the rainbow did not reappear. Many unexplained markings on -plates are certainly caused in this or similar ways; but only under -very favourable circumstances could an extra face on the plate be so -produced. Sometimes unexpected results are caused by an accidental -second exposure; but the nature of such a photograph will quickly be -apparent. The use of old glass plates may sometimes be responsible -for similar results, as has been already explained. But authenticated -cases of the appearance of unseen faces in photographs taken in the -absence of a professional medium, and which do not show an obvious -explanation, are few and far between. The classical example is that -of the Combermere photograph, which was published in the <i>Journal of -the S.P.R.</i>, and aroused much discussion and criticism.</p> - -<p>A Miss Corbet took a photograph of the library of Combermere -Abbey, Cheshire, on December 5th, 1891. She was alone at the time, -and left the camera during the exposure, as it was a long one. She -kept a note-book with records of her photographs, which afterwards -showed that an exposure of one hour had been given, namely from -2 to 3 p.m. Unfortunately she did not develop the photograph till -eight months later, and was then amazed to find a figure occupying a -chair in a prominent position in the photograph. The figure was faint -and transparent, the legs being quite invisible; the features were not -recognisable; but the presence of a head, shoulders and arm was -fairly plain. Inquiries were made, and it was found that not only<span class="pagenum"><a name="Page_32" id="Page_32">[32]</a></span> -was the chair in question the one Lord Combermere had been wont to -occupy, but that he had died a few days before the photograph was -taken, and was actually being buried some two miles from the Abbey -at the hour at which the photograph was taken. The photograph was -naturally shown to the dead nobleman’s relatives, some of whom -professed to recognise it as Lord Combermere. It was further pointed -out that he had lost the use of his legs in an accident some three weeks -before his death, and that the spirit figure was correspondingly legless!</p> - -<p>The most important contribution to the discussion which followed -was made by Sir William Barrett, who demonstrated that the result -could be duplicated by taking a several minutes’ exposure of a chair, -in which someone was seated for a part of the time. The sitter would -naturally not keep quite still; hence the outlines would be blurred -and the features indistinct. Sir William published a photograph -which he had obtained in this way, reproducing the features of the -Combermere photograph, even to the leglessness. He suggested that -someone, possibly one of the four men-servants in the Abbey, had -entered the library during the prolonged exposure. He had sat down -in the chair for a minute or so, when, noticing the camera, he beat a -retreat. The photograph showed double outlines to all the sharp -edges, indicating that the camera had been moved slightly during the -exposure, and suggesting that someone had entered the room and -jarred it. As it was eight months after the event that the photograph -was developed, it was impossible to ascertain whether anyone <i>did</i> -actually so enter the room. In any case it was a remarkable coincidence, -but there is no proof of it being anything more.</p> - -<p>A somewhat similar case is recorded by Podmore. The photograph -was being taken, this time, in a chapel. On development a faint face -was seen framed in a panel. This was described as being the likeness -of a friend of the photographer’s who had recently died—“a handsome, -melancholy lad of eighteen.” Another critic thought that the face -was that “of a woman of thirty”; it must have been very indistinct. -It may well have been caused in the same manner that was suggested -for the Combermere photograph; a visitor to the chapel standing in -the field of the camera for some moments, probably not realising that -an exposure was in progress.</p> - -<p>Several accounts have been given by amateurs of seeing spirit faces -develop, only to disappear again on fixing; one such is published in -Vol. VII. of the <i>J.S.P.R.</i> These are evidently of a subjective nature, -the finished negative showing no evidence of any abnormality. If any -reader of this article knows of any case where an “extra” has been -obtained in the absence of a professional medium, and where the plate -can be produced, I should be very grateful for particulars.</p> - -<p>Experiments have on several occasions been made by amateurs, -deliberately trying for spirit extras, and exposing scores of plates,<span class="pagenum"><a name="Page_33" id="Page_33">[33]</a></span> -usually without success. The unsuccessful attempts of Russell, -Beattie, Dr. Williams, and more recently Dr. Pierce, have already been -alluded to. Experiments of rather a different nature have been -carried out by a Frenchman, Dr. Baraduc. His most interesting—if -somewhat gruesome—result was a series of photographs taken over -the death-bed of his wife, at the time of, and for some hours after, -death. The negatives showed globes of light floating over the bed, -which gradually increased in size and brightness, and coalesced in the -later photographs. The circumstances certainly seem to exclude -fraud, and it is very difficult to understand how the progressive series -of photographs could have been obtained by accidental means, such as -a pinhole in the camera. His results are very interesting, but need -repeating by other experimenters; in any case, they have absolutely -nothing in common with the conventional spirit photographs which -show faces and figures.</p> - - - -<hr class="chap" /> -<div class="chapter"> - -<h2 class="nobreak"> -V.—<span class="smcap">The Fairy Photographs</span></h2></div> - -<p class="center"><b>(<span class="smcap">C. Vincent Patrick</span>)</b></p> - - -<p>The so-called “Fairy Photographs” recently published by Sir -Arthur Conan Doyle and Mr. E. L. Gardner do not strictly come -under the heading of “spirit photographs,” but may not inappropriately -be considered here. We have no evidence of the conditions under -which they were taken; as Sir Arthur explains, such “rare results -must be obtained when and how they can.” We have therefore to -learn what we can from an examination of the photographs, or of -their reproductions. At first sight they look like genuine untouched -photographs; their general appearance is excellent, and if frauds, they -are certainly good ones. On examining them more carefully, however, -a considerable number of points are found requiring explanation. Some -of these have no doubt been noticed by different observers; the -principal criticisms of the different photographs are these.</p> - -<p>“<i>Iris and the Dancing Gnome</i>” shows some very strange lighting. -Examining Iris’s hat, we find the strongest light is falling, probably -through a gap in the trees, from above and a little to the right; the -shadow behind her arm, and the lighting of the fingers, confirm this. -The gnome stepping up on to Iris’s knee should therefore cast a shadow -upon her white dress, below and to the left; but the photograph shows -no trace of any such shadow. On the other hand, the gnome is lighted -mainly from the <i>left</i>; this is plainly shown on the conical cap and the -right upper arm. Apart from these discrepancies, which alone are -quite sufficiently damning, several other grounds for suspicion are -evident. The whole photograph is much too carefully arranged to be<span class="pagenum"><a name="Page_34" id="Page_34">[34]</a></span> -the snapshot it is represented as being. The black legs of the gnome -are contrasted against the white dress of the girl; the lighter body, -face and wings are outlined against the shadows under the trees; the -dark cap is brought with one edge against a wing, the better to show -it up, while the other edge catches the light. A snapshot would -indeed be fortunate in securing such an admirable arrangement! The -same thing is very noticeable in the other three published photographs; -the pictorial arrangement of the figures and background is much too -good to be the result of chance, and suggests careful posing.</p> - -<p>This gnome photograph was taken under the shade of trees, we are -told, at four o’clock on a September afternoon which was not sunny; -an exposure of <sup>1</sup>⁄<sub>50</sub>th of a second was given on “Imperial Rapid” plates, -using a “Midg” quarter-plate camera. With the largest stop in this -camera an exposure of at least ten times that stated, <i>i.e.</i>, <sup>1</sup>⁄<sub>5</sub>th of a second, -would be needed to give a fair negative under these conditions; <sup>1</sup>⁄<sub>2</sub> -to 1 second would probably be more correct. The photograph in -question certainly shows signs of under-exposure; but under the -conditions stated one would expect little more than a silhouette of the -white dress and of the sky showing through the trees. Something is -evidently wrong here.</p> - -<p>The gnome’s proportions are certainly not human, as are the -fairies’ in the other photographs; he rather resembles the familiar -“Brownie” of the Kodak advertisements. Though stepping up onto -the girl’s knee, he is noticeably looking away from her, and at the -camera, which is very unnatural and likely to cause him a tumble! -Criticism has been directed against the girl’s hand, but this is quite a -common photographic distortion of a hand held rather near the -camera. In my copy, however, the elbow appears rather peculiar.</p> - -<p>The other points, taken together, can leave no possible doubt that -the photograph is a fake. It could have been produced by making a -positive enlargement from the negative of Iris on one of the bromide -papers specially prepared for working up. The gnome would then be -sketched on this—he certainly resembles a sketch more than a photograph—and -the whole would then be re-photographed on to a quarter-plate. -No doubt an entirely satisfactory result would not be secured -at the first attempt; in fact, Mr. Gardner tells us that “other photographs -were attempted, but proved partial failures, and plates were -not kept.” Surely such extraordinary photographs, even if partial -failures, would be kept—if they did not show something that was not -intended! We have known plates to be destroyed on other similar -occasions, and for similar reasons.</p> - -<p>“<i>Alice and the Fairies</i>” is of a rather different nature. The -lighting of the fairies is badly wrong; they are brightly illuminated -from a point behind the camera, whereas Alice is less brightly illuminated, -and from the left-hand side. Sir Arthur, in his article,<span class="pagenum"><a name="Page_35" id="Page_35">[35]</a></span> -points out that this is accounted for by the “fairy psychoplasm” -having a “faint luminosity of its own.” To appear brighter than -the sitter, photographed by <sup>1</sup>⁄<sub>50</sub>th of a second exposure at three o’clock on -a sunny July afternoon, the fairies would have to resemble in luminosity -a battery of arc lights! The photograph appears to have been -produced by pasting the “fairies” on to an enlargement of the original -photograph of Alice, and then re-photographing the whole. The -fairies could be obtained by taking posed photographs of children -suitably dressed; these would then be carefully cut out from their -backgrounds and pasted on to the original enlargement. The points of -internal evidence on which this statement is based are as follows:</p> - -<p>1. The very sharp (cut) outlines of all parts of the fairies. This is -particularly noticeable in the outline of the dress and hair of the third -fairy (counting from the left); compare this with the soft outline of -Alice’s hair, against a similar background.</p> - -<p>2. The same fairy’s forearm is much brighter than Alice’s wrist, -at the point where it crosses between it and the camera. Assuming -that both were equally white, and lighted from the same source, the -one further from the camera would normally photograph a little the -lighter.</p> - -<p>3. Fairies two and four appear to be photographs of the same -model, the wings being exchanged for the pipe. Note the similarity -of the attitude of the legs, and of the shape of the tail of drapery -hanging down behind.</p> - -<p>4. With the exception of one foot of each of these fairies, which -appears somewhat unnaturally amputated, <i>every part of the fairy figures -is in front of the sitter and background</i>. This applies to all four photographs, -and is of the utmost importance; superimposing the fairies -on the original photograph in the manner described must of course -produce this effect.</p> - -<p>5. One would have expected to see some blurring due to movement, -in the fairies’ wings and feet at any rate, with a <sup>1</sup>⁄<sub>50</sub>th of a second -exposure at a distance of four feet. None is visible in the reproduction.</p> - -<p>The two more recently published photographs are very similar to -“Alice and the Fairies,” and the same general criticisms apply. -“<i>Alice and the Leaping Fairy</i>” again shows the fairy illuminated from -a point behind the camera, whereas Alice is illuminated from the right -side. (Note that her right cheek, facing the camera, is in shadow.) -Fairy shows no movement-blurring, and comparison with instantaneous -photographs of jumpers shows the attitude to be most -unusual. On tilting the photograph a little to the left, the fairy -appears to have been posed kneeling on the left knee, the support -being afterwards cut away, and the cut-out figure applied to the -enlargement of Alice, in a slightly different vertical axis.</p> - - - -<p><span class="pagenum"><a name="Page_36" id="Page_36">[36]</a></span>“<i>Iris and Fairy with Harebells</i>” shows similar features. Notice, -again, the different lighting of fairy and Iris; the hard outline of fairy’s -hair, so unlike Iris’s in the same print; and the careful way the fairy -has been placed to secure a well-balanced picture—scarcely a random -snapshot! The harebells seem too large in comparison with the -hedge-leaves at the same distance from the camera. They may be the -result of combining yet a third photograph; or the actual harebells -may have been placed on the enlargement and re-photographed with it.</p> - -<p>An artist to whom I have shown this photograph, together with the -full-length photographs of “Iris” published with the earlier article -in the <i>Strand Magazine</i>, is of opinion that the fairy has the same figure -and features as Iris, and, in fact, may very well be a photograph of -Iris herself, attired in a bathing dress and some butter muslin, and with -the addition of wings! The photographs of Iris show a rather characteristic -poise of the head, which is also seen in the fairy. This is only -a suggestion, however; the photographs are too small for certain -identification. In any case, the fairy figure is certainly of human -proportions.</p> - -<p>These photographs have attracted a good deal of attention, and -seem to have been accepted as genuine in some quarters. No doubt -much reliance has been placed on the statement of one experienced -photographer, Mr. Snelling, that they show no evidence of manipulation, -disregarding the adverse criticisms of several other photographers -to whom they were shown. I consider that there is not the -slightest doubt that they are fakes, simply on the internal evidence -they provide, and I have endeavoured to explain the principal points -on which this opinion is based.</p> - - - -<hr class="chap" /> -<div class="chapter"> - -<h2 class="nobreak"> -VI.—<span class="smcap">The Reliability of Witnesses</span></h2></div> - -<p class="center"><b>(<span class="smcap">W. Whately Smith</span>)</b></p> - - -<p>The reliability of witnesses is a crucial question in the study of -psychical phenomena and has for long been a bone of contention -between spiritualists and their critics. If honesty, care, and intelligence -alone sufficed to make a man’s testimony reliable the whole -range of spiritualistic phenomena, including spirit photography, -might long ago have been taken as proved beyond all possibility of -doubt. But this is very far from being the case, and although it is -never pleasant to express flat disbelief of the accuracy of people’s -statements, the Psalmist’s dictum that “all men are liars” should be -graven on the heart of every psychical researcher, especially in the case -of those who attempt to investigate “physical” phenomena.<a name="FNanchor_11_11" id="FNanchor_11_11"></a><a href="#Footnote_11_11" class="fnanchor">[11]</a></p> - -<p><span class="pagenum"><a name="Page_37" id="Page_37">[37]</a></span>I do not propose to repeat the obvious platitudes about the ease -with which conjurers can deceive their audiences, but I should like to -emphasise the fact that such differences as exist between the circumstances -in which conjurers and mediums work are uniformly in favour -of the latter as regards the minor manipulations necessary for the -production of photographic phenomena. (One is not, of course, -concerned with elaborate “stage effects,” but rather with small -matters like the substitution of one plate for another or the distraction -of the sitter’s attention while the required extra is impressed upon the -plate.) The conjurer’s audience <i>knows</i> that it is a trick; the medium’s -does not. Even the most hardened sceptic will probably have a -lingering doubt in his mind as to whether there may not possibly be -“something in it” after all. This is all to the medium’s advantage, -and it must be remembered that not only does he work for much of his -time under lighting conditions which are peculiarly favourable to -fraudulent manipulation, but also that the great majority of his sitters -start with a considerable prepossession to the effect that they are -encountering something inexplicable.</p> - -<p>But these observations must, I suppose, have occurred to all who -have considered such matters at all impartially, and however relevant -they may be they will never by themselves prevail against what we call -“the evidence of our senses.” No amount of general considerations of -this kind will deter the credulous from accepting the <i>prima facie</i> -indications of a “successful” <i>séance</i>. The only hope of preserving -the public from the depredations of these swindlers is to show that the -“evidence of the senses” is not worth twopence unless backed by -special knowledge of the relevant technique.</p> - -<p>One would think that anyone who reads Mr. Patrick’s admirable -account of fraudulent methods and of his experiments in their application -will feel chary of claiming that he has wholly eliminated the -possibility of fraud from any photographic <i>séance</i> which he has attended. -But there may be some who will still say: “No doubt these -fraudulent methods can be and have been employed, no doubt many -people would allow a medium to substitute plates under their very -noses, or to touch them. But when <i>I</i> went to such-and-such a medium -I am <i>certain</i> that the plates were never out of my possession, that he -never had a chance of touching them....” and so forth.</p> - -<p>Of course, some of the methods described by Mr. Patrick do not -involve touching the plates at all. It would not be at all impossible -for an artist in such work to allow a sitter to use his own plates, camera, -slides, dishes, and chemicals in his own studio and dark-room, to load, -unload, and develop the plates himself without their ever being touched -by the “medium” and yet to produce a perfectly good extra.</p> - -<p>But I will let that pass and confine myself to the question of whether -the kind of positive statement outlined above is really worth anything<span class="pagenum"><a name="Page_38" id="Page_38">[38]</a></span> -at all. This question was answered once and for all in the emphatic -negative by the classical experiments of the late Mr. S. J. Davey in -“Slate-writing,” which are fully described in the <i>Proceedings of the -Society for Psychical Research</i>, vols. iv. and viii.</p> - -<p>These experiments are not nearly so widely known as they deserve -to be, but it is not too much to say that no one who has not read, -marked, learned, and inwardly digested them is competent so much as -to begin to talk about the genuineness of spirit photography; unless, -of course, he happens to have acquired a knowledge of trick methods -and the scope of deception by other means—such as Mr. Patrick -adopted in his experimental work!</p> - -<p>Very briefly, the story was as follows: Mr. Davey was an amateur -conjurer of some skill who set himself to imitate by trickery the -performances of Slade, Eglington, and other exponents of “slate-writing” -phenomena. In this he succeeded to admiration—so much -so that certain spiritualists characteristically insisted that he <i>must</i> be -a very powerful “medium”! He scrupulously denied himself the -advantage of claiming his results as supernormal, but in spite of this -found no difficulty in imposing on his sitters. The latter were encouraged -to take every possible precaution against trickery and were -instructed to write the most careful reports of what occurred.</p> - -<p>A number of reports were thus obtained from men and women of -unquestionable intelligence and acumen which, if they had been even -approximately accurate, would have established the supernormality -of Mr. Davey’s phenomena beyond any peradventure. But comparison -of their reports with the known and recorded procedure which actually -took place showed the most astonishing discrepancies. Omissions -and distortions of the first importance were abundant and the experiments -proved to the hilt that, for phenomena of this kind, the -reports of untrained witnesses are, in general, not worth the paper they -are written on.</p> - -<p>I wish that space permitted me to quote, in parallel columns, some -of these Davey reports and some of those given by witnesses of photographic -<i>séances</i> so that my readers could see how very similar the -circumstances are.</p> - -<p>But I must content myself with pointing out that whereas in the -one case everything turned on whether the “medium” had any -chance of substituting or tampering with <i>slates</i>, so in the other it is a -matter of whether there has been any chance of substituting or tampering -with <i>plates</i>. The reports of intelligent witnesses proved worthless -in the one case, and it seems reasonable to suppose that they are no -more valuable in the other.</p> - -<p>So, to anyone who thinks that in the mouth of two or three witnesses -the genuineness of spirit photographs shall be established, I would say, -“Go home and invest a few shillings in the <i>Proceedings of the Society for -Psychical Research</i>,<span class="pagenum"><a name="Page_39" id="Page_39">[39]</a></span> vols. iv. and viii.—it will be more profitable than the -same amount laid out in photographic <i>séances</i>—and when you have -carefully read their account of the Davey experiments in conjunction -with Mr. Patrick’s paper, see whether your confidence in spirit photographs -is as strong as ever!”</p> - -<p>I have drawn attention to these experiments of Mr. Davey elsewhere -and I am sorry to be obliged to insist on their importance again. -But until people learn that the reports of uninstructed observers—however -acute in other respects—are utterly unreliable, the fraudulent -medium will flourish and the unsuspecting public will be robbed and -deceived.</p> - - - -<hr class="chap" /> -<div class="chapter"> - -<h2 class="nobreak">VII.—<span class="smcap">The Value of Recognition</span></h2></div> - -<p class="center"><b>(<span class="smcap">W. Whately Smith</span>)</b></p> - - -<p>Believers in spirit photographs generally consider that they are -playing their trump card when they point out that thousands of -“extras” have been definitely recognised by sitters as portraits of -their deceased friends or relatives. But this card, impressive as it -looks, will not really take the trick. If it could be shown (i.) that a -given “extra” was <i>unmistakably</i> recognisable as a portrait of a deceased—or -even of a living—person, and (ii.) that the medium concerned -could not possibly have obtained a likeness of that person to work -from, then we should be obliged to attach great weight to this factor, -even if the conditions were not otherwise such as to exclude fraud. For -such a result could not be fraudulently produced. But in spite of the -perfectly honest assertions of many investigators, it seems very doubtful -whether this state of affairs has ever been realised.</p> - -<p>There are two ways in which evidence based on recognition may -be defective.</p> - -<p>First, the recognition may be perfectly well founded, but the -“extra” may have been derived from an existing photograph of the -deceased; second, and more frequently, the recognition is illusory -and exists only in the sitter’s imagination.</p> - -<p>As regards the first of these points, it should be remembered that -most people are photographed at one time or another, some of them -frequently, and that it is not very difficult to obtain a photograph of -a given person if one goes about it in the right way. A spirit photographer -with an extensive <i>clientèle</i> will find it well worth his while to -take the necessary steps to secure photographs appropriate to at any -rate his more regular sitters, from whom, in the course of a few <i>séances</i>, -it will not be difficult to glean enough information to put him on the -right track. It is, of course, particularly easy if they happen to be -well-known people, photographs of whose relatives may have appeared<span class="pagenum"><a name="Page_40" id="Page_40">[40]</a></span> -from time to time in the press. But although this method may sometimes -be employed where circumstances lend themselves thereto, or -when there is some reason which makes a first-rate “test” especially -desirable, I do not think that it is responsible for more than a small -percentage of the recognitions which are claimed.</p> - -<p>By far the greater proportion appear to be due to the operation of -subjective factors which lead the sitter to “recognise unmistakably” -an extra which bears no more than a vague general resemblance to the -person whom it is claimed to represent.</p> - -<p>Recognition can scarcely be assessed objectively; it is essentially -a subjective affair, and as such liable to all the distorting factors which -affect every mental process.</p> - -<p>If I had to summarise the whole of modern psychological doctrines -in one line I should quote the popular saying, “The wish is father to -the thought.” The whole of our mental activity, our thoughts, -actions, opinions, and dreams are moulded by wishes or innate tendencies -of one kind or another. Often, of course, these conflict with -one another; but that does not alter the principle involved.</p> - -<p>I believe that the great majority of the recognitions of spirit -photographs are determined either by the definite wish to find evidence -of survival or by the vaguer desire to obtain “positive” results of -some kind, for positive results are always pleasanter and more satisfactory -than negative.</p> - -<p>To attempt a full discussion of the psychological process of recognition -in general would take us very far, but I think it may be conceded -that it is based on some kind of a <i>comparison</i> between the object -(“extra”) actually perceived and a visual image of the person concerned -which is evoked for the purpose. But visual images are very -plastic, so to speak, as anyone who tries to visualise the face of a friend -accurately will be able to verify for himself. The general impression -may be clear enough, but details of proportion and the like are very -elusive. We all know, too, how faces get distorted in dreams (though -by somewhat different causes from those which we are considering -here), and it may well be that it is for reasons of this kind that recognition -is so often unreliable even in ordinary life. Which of us has not -been struck by the likeness of a press photograph to someone whom we -know, or who has not been momentarily misled by the slight resemblance -of a passer-by to his contemporary inamorata? In my -judgment it is entirely in conformity with modern psychological views, -or, indeed, a necessary consequence of them, to suppose that the -process of recognition is as subject to the influence of emotional wish-tendencies -as are all the other mental processes which have been -studied.</p> - -<p>This supposition is immensely strengthened by a consideration of -the actual material dealt with. I have seen a good many spirit<span class="pagenum"><a name="Page_41" id="Page_41">[41]</a></span> -photographs, and I am sure that those who have seen more will agree -with me that the number which are clear enough to be <i>capable of -definite recognition at all</i> is extremely small. They are almost invariably -blurred, out-of-focus, indistinct things, frequently so covered -in “spirit drapery” as to leave no more than two eyes, a nose and a -mouth visible, while the shape of the head and the hair are quite -indistinguishable. In the great majority of cases it seems to the unbiassed -observer nothing short of absurd to claim that such vague and -indefinite effigies can be “unmistakably” recognised. And when it -comes to recognition being instantly claimed <i>from the negative</i> and before -a print is made—as in a case I heard of not long ago—one almost -gives up hope!</p> - -<p>One need hardly point out that, although a medium who merely -trusts to luck will probably score a good proportion of “hits” by -ringing the changes on a few common types of face, he can greatly -increase this proportion by a little adroit “pumping” of the sitter -which will give him a guide to at least the general type of face expected, -thus enabling him to “deliver the goods,” at any rate approximately, -at the next <i>séance</i>.</p> - -<p>It should also be remembered that in everyday life recognition is -a much more sketchy affair than might at first be suspected. Experiments -have shown that in reading, or in viewing a drawing, we do -not take cognizance of each individual element; on the contrary our -attention flits, so to speak, from point to point, skipping altogether -the intervening matter. We thus obtain an outline or skeleton -impression which we fill up from our own resources. We actually -notice a few salient features and interpolate the rest; hence, for -example, the well-known difficulty of “spotting” mis-prints in proofs. -This process is perfectly satisfactory for ordinary purposes such as -reading, and seldom results in our misinterpreting the symbols before -us, and when it does the context usually puts us right. But in dealing -with spirit photographs the context, if there can properly be said to -be any, is much more likely to put us wrong. The “salient features” -which “leap to the eyes” are, in this case, those which suffice to locate -a face as belonging to a certain general type, while the details which -we fill up for ourselves are just those which are necessary for the -identification of a particular individual. Consequently, false recognition -is easy provided the general type is all right. The “beauty” is -emphatically “in the eye of the beholder.” As “M.A. (Oxon),” a -famous spiritualist and a believer in spirit photographs, well said:</p> - -<blockquote> - -<p>“Some people would recognise anything. A broom and a sheet are quite -enough to make up a grandmother for some wild enthusiasts who go with the -figure in their eye and see what they wish to see.... I have had pictures -that might be anything in this or any other world sent to me, and gravely -claimed as recognised portraits; palpable old women authenticated as ‘my -spirit brother, dead seventeen years, as he would have been if he had ...’ etc.”</p></blockquote> - - - - -<p><span class="pagenum"><a name="Page_42" id="Page_42">[42]</a></span>But, as usual, the empirical test of experience is the best. Considerations -such as those outlined above may be valuable in establishing -<i>a priori</i> probabilities, but it is far more important to ascertain -whether <i>as a matter of fact</i> people actually do make false recognitions -with any frequency. The answer to this has already been given by -Mr. Patrick in his account of the Buguet case above.<a name="FNanchor_12_12" id="FNanchor_12_12"></a><a href="#Footnote_12_12" class="fnanchor">[12]</a> The most striking -feature of the case, as he rightly points out, was the way in which -witnesses swore to having “unmistakably recognised” the extras -they obtained, <i>and stuck to their recognitions in spite of Buguet’s own -confession of fraud and his description of the methods employed</i>. In the -face of this sort of thing, who will be bold enough to maintain that the -recognition factor can be assigned any appreciable weight?</p> - - - -<hr class="chap" /> -<div class="chapter"> - -<h2 class="nobreak">VIII.—<span class="smcap">Recent Literature</span></h2></div> - -<p class="center"><b>(<span class="smcap">W. Whately Smith</span>)</b></p> - - -<p>Recent contributions to the literature of spirit photography are -not very numerous. I may first mention the very thorough exposure -by Dr. Walter Prince of the Keeler-Lee-Bocock photographs; this -appeared in the <i>Proceedings</i> of the American Society for Psychical -Research, vol. xiii., part <span class="smcap">II</span>, March, 1920. Keeler is a photographic -medium who has practised in the United States for a number of years. -For the benefit of Mrs. Lee he produced, at a price, a long series of -“spirit” photographs purporting to represent the deceased Mr. Bocock -in a variety of situations. Test conditions were either wholly -absent or absurdly inadequate, and the photographs are, on internal -evidence alone, so palpably fraudulent that it is surprising that they -were ever accepted at all. The most obvious indication of fraud is -the fact that through a whole long series of photographs Mr. Bocock’s -facial angle remains the same and identical with that of one of the only -two extant photographs of him, no matter what his posture may be or -on what occupation he may be represented as engaged. This circumstance -clearly points to the use of a single photograph of Mr. Bocock -as the basis of all the fakes. The case is not of sufficient importance -to be worth discussing at length, but it is an interesting example of the -art of critically studying internal evidence and of the almost incredible -effrontery of fraudulent mediums.</p> - -<p>More important is Mr. Edward Bush’s “Spirit Photography -Exposed,” a small pamphlet published by the author as a contribution -to the “Nehushtan Crusade.” The object of the latter movement, -of which one gathers that Mr. Bush is the leading spirit, is to show that -all the physical phenomena of Spiritualism are fraudulent and to<span class="pagenum"><a name="Page_43" id="Page_43">[43]</a></span> -expose dishonest mediums. This last object, at least, is admirable, and -Mr. Bush is certainly entitled to consider himself “one up” on Hope -in the matter of spirit photographs.</p> - -<p>Briefly, Mr. Bush laid a trap for Hope by writing to the latter under -an assumed name and enclosing a photograph of a living person which -he represented as that of his deceased son. Hope returned the photograph -and gave Mr. Bush an appointment for a <i>séance</i>, which he -attended, still under his assumed name (Wood). He duly received an -“extra” in the form of the face portrayed in the photograph which -he had sent,<a name="FNanchor_13_13" id="FNanchor_13_13"></a><a href="#Footnote_13_13" class="fnanchor">[13]</a> together with a “psychograph” beginning “Dear friend -Wood”! Any reasonable person will say that Mr. Bush has proved -his case, that he laid a trap for Hope and that Hope fell into it as -completely as possible. But an apologetic will doubtless be forthcoming -from those to whom Hope’s integrity is a cardinal article of -faith.</p> - -<p>Mr. Bush appears, I may add, to be almost wholly ignorant of -fraudulent methods, but he has successfully made good his deficiency -in this case by the exercise of a little diplomacy.</p> - -<p>Finally, I must touch on certain articles which have recently -appeared in the well-known spiritualist paper, <i>Light</i>. It is with -considerable reluctance that I do so, partly because the candid expression -of my opinion cannot fail to bring me into sharp conflict with -a number of people whom I respect and with whom I would much -prefer to remain in harmony, and partly because exigencies of space -compel me to adopt a brief and almost dogmatic mode of treatment -which is likely to provoke accusations of superficiality and prejudice. -To thrash the matter out thoroughly would necessitate an interminable -discussion to which circumstances do not lend themselves and which -would certainly be fruitless.</p> - -<p>For there is an attitude of resolute credulity which is quite proof -against reason. I do not for a moment suggest that spiritualists enjoy -a monopoly of this quality; they do not, for it is equally to be found in -other quarters, among materialistic scientists and party politicians, -for example, who constantly ignore the plain implications of evidence -if the latter happens to conflict with their cherished beliefs.</p> - -<p>But however hopeless the task may be, it seems none the less to be -a duty to protest from time to time against this state of mind, of which -several striking examples are to be found in the articles in question.</p> - -<p>The conviction of the genuineness of spirit photographs is a -conviction which is founded on purely negative evidence (namely, that<span class="pagenum"><a name="Page_44" id="Page_44">[44]</a></span> -on very many occasions no fraud has been actually discovered), and -held in the face of definite positive evidence (namely, the occasional -actual discovery of fraud, as by Mr. Bush). But once formed it seems -impossible to shake it, and just as always happens when emotion -rather than reason is responsible for an opinion, every adverse indication -is distorted into an additional corroboration. Just as a lover -distorts the faults of his mistress into virtues—frivolity being regarded -as gaiety, dulness as profundity and intransigeance as strength of -mind—so the plain indications of fraud which leap to the eyes of the -unbiassed student are gravely put forward as evidence of the wonderful -ways in which the spirits work.</p> - -<p>Thus in <i>Light</i> for January 29th I find advanced as “most evidential” -the fact that whereas a plate which had been in the possession of the -medium for several days showed an “extra,” others, simultaneously -exposed, which had <i>not</i> been in her possession, did not. (Note.—I -am well aware that the plates sent to the medium for “impregnation -by the psychic influence” were in a sealed packet which was certified -intact when returned. But as anyone who has studied the subject of -sealing knows, it is extremely difficult to devise a really fraud-proof -method. Certainly no ordinary arrangement of strings and knots is -reliable.)<a name="FNanchor_14_14" id="FNanchor_14_14"></a><a href="#Footnote_14_14" class="fnanchor">[14]</a> Mr. Barlow, who writes the article, correctly argues that -this result indicates that the lens of the camera used “had nothing to -do with the formation of the psychic images which appear to have been -printed on the photographic plate.” But instead of drawing the -obvious conclusion that, in spite of the sealing, the plate which showed -the “extra” had been tampered with, he adopts the view that a -“psychic transparency” is used, that this is at some period applied -to the sensitised surface of the plate by spirit agency and exposed to -spirit light! Comment is needless.</p> - -<p>This theory of the psychic transparency is very popular just -now and is being freely invoked to account for the obvious indications -of fraud which even a superficial study of spirit photographs reveals. -It is expounded at some length by the Rev. Chas. L. Tweedale (<i>Light</i>, -January 22nd, 1921), who carefully describes the various indications -which show clearly that the extra is often produced by a transparency -of <i>some</i> kind, in terms which could be used almost without alteration -as proof of the fraudulent nature of the productions. Thus the edges -of the “psychic” transparency are said to be clearly visible on many of -Hope’s negatives, and we are told that “in some cases when ‘the -cotton-wool effect’ is introduced, this ring of nebulous whiteness -probably forms the edge of the transparency and ... may conceal -its use.” Most astonishing of all, perhaps, is this author’s credulity -in accepting as genuine a spirit photograph showing two portraits of<span class="pagenum"><a name="Page_45" id="Page_45">[45]</a></span> -the late Mr. Stead of which one was an exact duplicate of the other, -but larger, and clearly showed the “screen effect” of small dots which -one can observe in any printed reproduction of a photograph.<a name="FNanchor_15_15" id="FNanchor_15_15"></a><a href="#Footnote_15_15" class="fnanchor">[15]</a></p> - -<p>Certainly there is ample evidence to show that some kind of transparency -is frequently used in the production of extras (<i>Cf.</i> p. 18 -above), especially by Hope, but there seems no reason to suppose that -it is in any way “psychic.” On the contrary, a friend of mine who -enjoyed the privilege of a sitting with this artist not long ago tells me -that when he went to focus the camera (as one is frequently invited to -do), he clearly saw a wholly gratuitous face already projected on the -ground-glass! Now either there was some kind of an objective -apparition present in the camera’s field of view which reflected light -which only became visible after passing through the lens (which is -absurd), or there was a transparency of some kind between the lens -and the ground-glass. Of course it <i>may</i> have been a psychic transparency -born before its time—one cannot possibly say definitely that -it was not, but the more mundane inference seems very much the more -probable. In fact, all this talk of The Problems of Psychic Photography -is no more than an orgy of hypothetising from a mass of -utterly unreliable data.</p> - -<p>If only believers in spirit photographs would take the trouble to -learn a little more about fraud and tighten up their control accordingly, -instead of inventing strange hypotheses to bolster up their imperfect -observations, we should hear less of photographic mediums and fewer -people would be duped in this deplorable fashion.</p> - - - -<hr class="chap" /> -<div class="chapter"> - -<h2 class="nobreak">IX.—<span class="smcap">Real Test Conditions</span></h2></div> - -<p class="center"><b>(<span class="smcap">W. Whately Smith</span>)</b></p> - - -<p>To the last sentence of the preceding section someone will probably -retort, “If only critics would stop talking about fraud and examine the -phenomena at first hand, they would be convinced and we should have -a chance of getting on with the war and finding out all sorts of interesting -things.” It is not really a fair retort, because it is always -perfectly legitimate to point out sources of error in any experimental -work without being called upon to repeat the faulty experiments -oneself. But although all the evidence seems to me to point one way, -I freely admit that I may be wrong and that genuine spirit photographs -may be produced. If so, I should very much like to be able to -convince myself of the fact and to give the utmost publicity in my -power to any positive results I might obtain. But it is no use my -attempting to do so under the conditions which normally obtain at a<span class="pagenum"><a name="Page_46" id="Page_46">[46]</a></span> -photographic <i>séance</i>. I know, to be sure, a certain amount about -fraudulent methods, and might, perhaps, be not quite so easy a prey as -others who know less. But I am not so conceited as to flatter myself -for a moment that I am a match for a really competent trickster. I -know just enough to realise how very great an advantage the latter -always has and how hopeless it is for any but the very elect to pit -themselves against him. I do not imagine, as apparently do many -worthy spiritualists who do not even know the first word about fraud, -that my not extraordinary powers of observation are a match for the -adroit and experienced medium, and I would no more back myself to -spot fraud every time it was tried than I would back myself to win -money off a cardsharper!</p> - -<p>If one were allowed <i>real</i> test conditions, it would be quite another -matter. But one is not. One is allowed to watch—when one’s attention -is not distracted by some natural-seeming incident; one is -allowed to perform for oneself all kinds of operations which are quite -irrelevant to the <i>modus operandi</i> of the trick; one is allowed to bring, if -not always to use, one’s own plates. But as already pointed out, the -loopholes left for fraud are so numerous that it is vain to hope to guard -against them all. In fact, the most suspicious feature about the whole -of psychic photography is the fact that a procedure is insisted on which -<i>must</i> give these innumerable loopholes and the obvious “safe” procedure -is never, so far as I know, allowed at all.</p> - -<p>If the account of fraudulent methods given above is referred to -again, it will be seen that of the twenty-two varieties there noted, no -less than eighteen depend on either (<i>a</i>) the use of the medium’s faked -camera or slides, or (<i>b</i>) the fact that the plates are loaded into slides, -the slides placed in the camera, the plates removed from the slides and -also developed “on the premises.” The only methods to which this -does not apply are the first of all and those involving preparation of -the studio or dark-room and noted in Group II., Section A, to which -might possibly be added the X-ray method. These three last can -easily be eliminated by working in one’s own or a “neutral” studio, -while the former eighteen could all be prevented by using the investigator’s -own magazine or roll-film camera, loading it before the -<i>séance</i>, taking it away immediately afterwards, and developing the -plates in private without the medium.</p> - -<p>I may very well be wrong, there may very well be methods which I -do not know and cannot imagine which would get round even this -degree of control, but I am inclined to think that this procedure would -be “fraud-proof.” Nothing less rigorous can be so, at any rate for a -single-handed investigator, and even if several were present no confidence -could be felt in the results unless (<i>a</i>) they were well versed in -fraud, (<i>b</i>) they had planned and rehearsed everything in advance, (<i>c</i>) -the medium were completely docile and willing to keep right away from<span class="pagenum"><a name="Page_47" id="Page_47">[47]</a></span> -the plates at the critical moments, and (<i>d</i>) the studio were known to be -unprepared.</p> - -<p>I shall probably be told that the conditions mentioned above as -being apparently fraud-proof would automatically inhibit the phenomena -as would insistence on full light in the case of telekinesis. I -am well aware that many attempts to lay down test conditions in the -past have rightly met with this retort; but apart from the fact that <i>if</i> -the phenomena are such that real test conditions can never be applied -then their genuineness can obviously never be established, I honestly -cannot see that there is any essential difference between the conditions -I suggest and those under which photographic phenomena <i>ostensibly</i> -take place.</p> - -<p>If and when these simple conditions are allowed (the plates being -bought, of course, under circumstances which prevent collaboration -by the vendor), I shall be prepared to admit that the scent is getting -warm and that there may be something in spirit photographs after -all. Until then I must reluctantly maintain my view that they are -the most obviously fraudulent of all spiritualistic phenomena.</p> - -<hr class="tb" /> - -<p>In conclusion we must confess that we have little hope of influencing -convinced believers by the preceding discussion. It is just possible -that here and there someone may realise that there is more scope for -trickery than there appeared to be at first sight, may scrutinise procedure -more carefully, may have the courage to distrust his own -powers of observation, may even—if he is lucky—catch a swindler out. -But this is unlikely. “Once convinced always convinced” seems to -be the rule. “What matter if all appearances and all reasoning are -against our beliefs? Did not Satan put marine fossils on the tops of -hills to shake our faith in Genesis? Did not stupid spirits carelessly -leave false beards and dirty muslin in the pockets of Williams and -Rita—those wonderful materialising mediums? Do not even the -greatest psychics resort to fraud when the Power fails?”</p> - -<p>No! Some people’s faith could never be shaken, not though we -gave them two hundred methods of fraud instead of twenty and not -though a medium were exposed a hundred times instead of but -twice or thrice.</p> - -<p>But it may be that there are some who still have doubts and still -halt between two opinions. We hope that to these this paper may be -of some service as a contribution to the evidence available for their -study. It is also possible that it may in some measure act as an antidote -to the unreliable matter which is now so freely disseminated and -which does so much to bring Psychical Research and the better aspects -of Spiritualism into undeserved disrepute.</p> - -<hr class="chap" /> - - -<p class="center"> -PRINTED BY THE<br /> -ANCHOR PRESS LIMITED,<br /> -TIPTREE, ESSEX, ENGLAND.</p> - -<hr class="chap" /> - -<div class="chapter"> -<p class="ph2">FOOTNOTES:</p></div> - -<div class="footnote"> - -<p><a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">[1]</span></a> I am assuming, for the purposes of comparison, that these later phenomena -actually occur—a point on which I am doubtful.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_2_2" id="Footnote_2_2"></a><a href="#FNanchor_2_2"><span class="label">[2]</span></a> I exclude, of course, the very rare instances when photographs of apparently -supernormal origin have been obtained by amateurs of unimpeachable -integrity. I have yet to meet with a convincing case of this kind.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_3_3" id="Footnote_3_3"></a><a href="#FNanchor_3_3"><span class="label">[3]</span></a> Hereward Carrington, <i>The Physical Phenomena of Spiritualism</i>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_4_4" id="Footnote_4_4"></a><a href="#FNanchor_4_4"><span class="label">[4]</span></a> <i>E.g.</i>, to verify the “speed” of the plates.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_5_5" id="Footnote_5_5"></a><a href="#FNanchor_5_5"><span class="label">[5]</span></a> <i>Cf.</i> trick slates used by slate-writing mediums.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_6_6" id="Footnote_6_6"></a><a href="#FNanchor_6_6"><span class="label">[6]</span></a> This method will probably be scoffed at by some enthusiasts, but it should -be remembered that the simpler and more audacious methods are the most -likely to succeed, just because they are so obvious that no one thinks of them. -The sitter <i>must</i> keep still and <i>must</i> look at the camera for some seconds while the -exposure is being made, and provided the accomplice is revealed by a carefully -silenced mechanism the chances of detection are negligible.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_7_7" id="Footnote_7_7"></a><a href="#FNanchor_7_7"><span class="label">[7]</span></a> <i>E.g.</i>, on the back with a diamond.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_8_8" id="Footnote_8_8"></a><a href="#FNanchor_8_8"><span class="label">[8]</span></a> This may have been true, but was certainly not the principal reason that I -had to have the plate destroyed! I had over-exposed my spirit, and I feared -this plate would not bear closer inspection (I did not sign the minutes of the first -three meetings).</p></div> - -<div class="footnote"> - -<p><a name="Footnote_9_9" id="Footnote_9_9"></a><a href="#FNanchor_9_9"><span class="label">[9]</span></a> Unless, of course, there happens to be in the room a source of ultra-violet -rays other than the ordinary illuminant by which the photograph is taken but -which does not emit visible light rays. This possibility may be disregarded for -practical purposes.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_10_10" id="Footnote_10_10"></a><a href="#FNanchor_10_10"><span class="label">[10]</span></a> <i>Note.</i>—Some believers in spirit photography will dissent from this view on -the ground that experiment has shown that when a photograph is taken the -extra is not produced by the reflection of ultra-violet light from an “object” -(partial materialisation or the like) but by the use of a “psychic transparency” -applied to the plate and exposed to “spirit” light. With the first part of this -we cordially agree, but the hypothesis of the “psychic transparency” seems to be -no more than a resolute attempt to evade the plainest indications of fraud. <i>Vide -infra.</i>—[<span class="smcap">Ed.</span>, P.R.Q.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_11_11" id="Footnote_11_11"></a><a href="#FNanchor_11_11"><span class="label">[11]</span></a> Readers should refer to Mr. E. J. Dingwall’s interesting article on “Magic -and Mediumship” in the January number of the <i>Psychic Research Quarterly</i>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_12_12" id="Footnote_12_12"></a><a href="#FNanchor_12_12"><span class="label">[12]</span></a> Cf. pp. 11-12.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_13_13" id="Footnote_13_13"></a><a href="#FNanchor_13_13"><span class="label">[13]</span></a> <i>Note.</i>—This is a case where recognition <i>is</i> possible because (<i>a</i>) the “extra” -and the original portrait can be laid side by side and directly compared, (<i>b</i>) -careful measurements can be made of the facial angle and other characteristics, -and (<i>c</i>) independent witnesses in any desired number can make the comparison -for themselves.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_14_14" id="Footnote_14_14"></a><a href="#FNanchor_14_14"><span class="label">[14]</span></a> Similar observations apply to “The Hunter Test” (<i>Light</i>, Feb. <i>19th</i>.)</p></div> - -<div class="footnote"> - -<p><a name="Footnote_15_15" id="Footnote_15_15"></a><a href="#FNanchor_15_15"><span class="label">[15]</span></a> <i>Cf.</i> p. 30 above.</p></div> - -<hr class="chap" /> - -<div class="chapter"> -<div class="transnote"> -<p class="ph2">TRANSCRIBER’S NOTES:</p> - - -<p>Obvious typographical errors have been corrected.</p> - -<p>Inconsistencies in hyphenation have been standardized.</p> - -<p>Archaic or alternate spellings have been retained.</p> -</div></div> - - - - - - - - -<pre> - - - - - -End of the Project Gutenberg EBook of The Case Against Spirit Photographs, by -C. 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