The Case Against Spirit PhotographsPatrick, C. Vincent
History
The Case Against Spirit Photographs
Patrick, C. Vincent
Parapsychology; Spirit photography; Spiritualism
“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.
“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.
“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 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.
Public-domain text, read in full here on John Shaqi.
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