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  SPIRITUAL PHOTOGRAPHS   page 9  

                                                                     

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A Trance Franek Kluski sitting in a cabinet. With the help of the Spirit World produced a spread winged bird perched on his shoulder. He often produced Spirit Human forms and many different types of animals. Proving that animals survive after they leave the confines of their bodies [in other words, what we know as die].

 

Medium Kathleen Goligher producing ectoplasm, which is levitating a trumpet ready to be used to form an etheric amplifier (some might know it as a voice box, BUT the Spirit World does not like that word as it is not technically a voice box)

Medium producing ectoplasm which is starting to form an etheric amplifier.

Photograph by Edouard Isidore Buguet [France] of Monsieur Leymarie & Monsieur C the Spirit is of Edouard Poiret. 1874.

BUT through this photograph being published Buguet and Leymarie were both taken to court and sentenced to go to prison, BUT on appeal the judge said there  was not enough evidence and the charges were dismissed.

William Stainton Moses who was a Medium, and a man of the cloth, an Anglican Christian Minister, considered this image was one of the most important Spirit photographs ever made

Photograph by Frederick A Hudson UK,  of Lady Newenham the extra was said to be her Spirit daughter. 1872.

June 4, 1872
Hudson had a studio at 177 Holloway Road, London. He is credited with producing the first Spirit photograph made in Britain on March 4, 1872, just three months before this image was made.

 
Inscription on verso:
"June 4th 1872/Mrs. Olive (?) and Mr. Herne, Mediums. Lady Helena Newenham and the Spirit of her daughter."

Frank Herne was a prominent Medium who began giving seances in January, 1869. Witnesses reported he was capable of levitation during seances and was even miraculously transported from place to place by Spirits.

Bibliography
Cyril Permutt, Beyond the Spectrum, A Survey of Supernormal Photography (Cambridge: Patrick Stevens, Ltd., 1983). p. 89

 

Photograph by Frederic A Hudson from the UK Subject being photographed is Mr Raby, the Spirit forms are The Countess and James Lombard, Tommy, also Mr Woottons mother. 1875.

Obtained by Messrs. Raby Wootton & Rutherford at Hudson's Studio.
At a Seance at Mr. Wootton's the Spirits desired him to go to Hudson's promising they would try to produce their likeness.

Mr. W. did so, accompanied by his friends. The gentlemen operated [i.e., took the photograph] themselves without allowing Hudson to take any part in the manipulations. The result was exactly as the Spirits had told beforehand it would be. Mr. Raby sat and the Spirits "Countess," "James Lombard," "Tommy," and Mr. Wootton's mother appeared when the plate was developed.

Frederick A. Hudson was England's first Spirit photographer. His earliest results were obtained in 1872. The editor of the British Journal of Photography investigated the following year, bringing his own plates and chemicals, and could not come up with an explanation. Dr. Alfred Russel Wallace, who shares credit with Charles Darwin for the discovery of evolution, was a client of Hudson and obtained two different photographs showing his deceased mother.

Hudson was occasionally caught in the act of faking his images, and was even found dressing up to play the role of the ghost. Nevertheless, he "became the best known British psychic photographer and was known for producing supernormal extras on his plates under the closest of scrutiny." (Cyril Permutt, Beyond the Spectrum [Cambridge: Patrick Stephens, 1983], p. 17. )

 

Photograph taken by F M Parkes  from the UK. Mrs Collins with the Spirit of her husbands Father, who was recognised by many friends and relations at the time.1875.

Parkes was one of the first Spirit Photographers in Britain, beginning his work in 1872, the same year as Frederick Hudson. His earliest images were made in partnership with the proprietor of a restaurant, who served as medium. Following directions from the Spirits, Parkes required that photographic plates be placed in his control in the darkroom before they were inserted in the camera--so they could be "magnetised." If that aroused suspicions, Parkes tried to compensate by cutting a hole in his darkroom wall so that his patrons could witness the processing of the negative.
The vertical line running through this photograph is caused by a break in the glass negative. Perhaps this was intended as a visual distraction, or served as evidence of paranormal vibrations.

Mrs. Collins' husband was an amateur photographer, who wrote a letter to the spiritualist journal Human Nature in which he hedges a little on the accuracy of this spirit likeness of his father. Judging by appearances alone, the late Mr. Collins could have served as the model for the Edvard Munch painting The Scream.

Bibliography
A note on the back of this photograph makes reference to an article by M. A. Oxon in the journal Human Nature for April, 1875 (see text below). "M. A. Oxon" was the pseudonym of William Stainton Moses (1813-1892), an Anglican minister and teacher who was a noted English medium.

Cyril Permutt, Beyond the Spectrum, A Survey of Supernormal Photography (Cambridge: Patrick Stevens, Ltd., 1983). p. 18

 

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