The figure in the bottle would in the middle ages have burned its creator at the stake, but there is no witchcraft in it in reality. Indeed, it is one of the simplest photographic freaks to produce. In this case the figure is printed somewhat deeply on paper in the usual way, except that a mask of paper is cut to fit all round it to keep the remaining portion of the sensitive paper from contact with the light. When the print is deep enough it is taken out of the printing-frame, then placed behind a negative of the bottle, and a light print is made, with the result that the effect shown in the illustration is produced.
AN EXTRAORDINARY MIXTURE.
Few, save those who have had practice in instantaneous photography, realise the enormous rapidity necessary to the successful portraying of rapid movement by means of the camera.
One of the most interesting experiments in trick photography is that devoted to the evolving of composite portraits. The production of a successful composite practically means the creation of a new face. The method is similar to that employed in the making of ghost pictures. It is necessary to obtain, say, four portraits—the more used the greater the difficulty. These are all photographed one over the other on the same plate. The difficulty consists in regulating the exposures, that photographed first requiring a longer exposure than the next, and so on through the series. The example we give is a composite of photographs of well-known actors, and the face contains portraits of Sir Henry Irving and Mr. Forbes Robertson.
The composite photograph has been of great scientific value in determining the characteristic predominant features of different types of physiognomy. Our illustration is an excellent example of the typical actor's face.
A well-known professor recently composed a series of these types. One was a face containing the portraits of twelve eminent mathematicians; another contained portraits of sixteen notable naturalists.
Very extraordinary photographic freaks often result from mere accident. On the next page is given a picture of Hastings pier in a storm. A very good negative was obtained in the first instance, but unfortunately when developed it was placed on the oven to dry. The heat contracted the sensitive film of the negative, and when printed it presented the curious appearance seen in the illustration.
As a picture of a storm it is splendid, surpassing in exaggeration anything ever invented by the resourceful Munchausen.
