(c. vincent patrick)
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 journal of the s.p.r., and aroused much discussion and criticism.
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
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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!
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 did actually so enter the room. in any case it was a remarkable coincidence, but there is no proof of it being anything more.
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.
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 j.s.p.r. 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.
experiments have on several occasions been made by amateurs, deliberately trying for spirit extras, and exposing scores of plates,
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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.
