Spirit Photography
Spirit or ghost photography is but a modification of these methods. The chief element of success is to ignore the caution of the preceding paragraph, and render the ghost figure as transparent as possible. The first exposure should be an adequate one of the human model, who has twisted himself into an attitude of groveling terror compatible with the fright from which he is supposed to be suffering, whilst the background behind him must be dark and indistinct, if he is next to impersonate the spook. The latter’s surroundings, on the contrary, may be as detailed and well-lighted as convenient, because the white-robed figure is to appear transparent.
A sheet will be fit apparel for the “spirit,” and must be large enough to drape entirely the gliding form with outspread arms.
The second exposure must be abnormally short, so as just to obtain a faint impression of the sheet and its folds. Finally, if the terror-stricken person can maintain his attitude of fear during the first exposure, and also for the photograph of the ghost, whose rôle may be taken by some one else beneath a sheet, there is no necessity to have any part of the background unusually dark. Still, darkness is said to favor spooks, so the background is perhaps entirely a matter of choice.
With such dash toward the borders of the spiritual realm, this series of photo experiments must conclude. The most ardent camera fiend can scarcely denounce them as embracing too narrow a field when he considers that ghosts as well as mundane matters—psychical and physical alike—have been approached. Even if his finger-tips do not resemble ebony with silver nitrate, he may still rightly term his hobby the “Black Art.” And his friends! Well, if present at the researches, may their remarks be unheard. Doubtless they will ponder deeply, and conclude that the camera does sometimes lie.
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Sun pictures of the earliest types had been no long time in existence before a rumor spread that photography could not lie. Critics and admirers of the new process rightly enough concluded that a knight of the camera must be constrained to narrow interpretations by his instruments as no artist is by his brushes. But this conclusion, held widely now as then, is only in part correct. The camera records the relative position of objects absolutely, but may on the other hand ruthlessly destroy all sense of perspective, or render globular images of rectilinear buildings. Nor are these the only peculiarities which, in themselves disadvantageous, may frequently be turned to account by the photographer.
Sensitive plates are seldom correctly exposed. They either suffer under- or over-exposure, and when there is a gross error the resulting picture either lacks detail and is blotchy, or else presents the light gradation of a London fog. But, as a set-off to these failings, it might be noted that moonlight pictures are obtainable by excessively short daylight exposures, which give only the outline of the objects, and a contrast between light and shade appropriate to night scenes, whilst photographs of flowers, portraits, and cloud studies may mostly receive full exposure with advantage, the softness of lighting engendered lending additional charm to such subjects.
Fig. 10.—Slanting screen (C) with circular aperture to equalize exposures of sky (A) and foreground (B) in landscapes.