While we waited outside Martin spent about eight minutes in the dark room. Then he came out and we went into his studio, a simple room with a black background. He had me sit down and placed Collins behind me on my right. As a test I told Collins to step over to the other side as it might look better. Then when he had done so I turned to Martin and asked: “Is that all right or is it better to have him take the original position?” “I think it would be nicer if he stood where he was in the first place,” Martin replied. This led me to think he was keeping that side of the plate clean for something to appear. There was considerable light in the room and Martin pulled a dark screen on our right explaining that he did not need much light for the psychic stuff, then putting a shade on his eyes he turned to us and said: “Now keep quiet and I will try and do something.” When he uncovered the lens I counted the time of the exposure which was about fifteen seconds. As he covered it again he said to us: [Illustration: HOUDINI AND ALEXANDER MARTIN] “That is all I can do to-day. Now I must hurry away.” We thanked him and as we were going out I asked him if he had any photographs we could see. He went into an adjoining room but closed the door so we had no opportunity to look in. When he came out he had four photographs which he allowed me to keep but he would not write on them who they were of. The next day I went to see him again and he gave me another seance. This time he said he would have to cut a plate and he gave me a book to read while I waited. In looking for a piece of paper on which to write my address he picked up a lot of newspapers and I noticed some scientific publications systematically inserted between the leaves which led me to think he was trying to hide his knowledge and wished to appear as a simple minded old man who knew but little about photography. I have not the slightest doubt that Mr. Martin’s Spirit photographs were simply double exposures. I think his method was to cut out various pictures, place them on a background and make an exposure. His plates were then ready for his next sitter, which in the above instance was myself. Being an expert photographer he might have used the original wet plate method of making an exposure, developing it, washing the emulsion off the plate and refinishing it with a new emulsion but I am convinced that the two Spirit photos which he made of me were simply double exposures.