For this experiment darkroom facilities
are essential. The participating relative,
or close friend of the deceased,
will have provided the facilitator, in advance,
with two selected, photographic negatives.
The first of these will be a landscape, street
or garden particularly familiar to the deceased.
(Note that should other figures be present in the shot
then as far as can be reasonably ascertained,
they should not have been known to the deceased).
The second negative will be of the deceased,
him or herself. Eye direction towards the camera
this will be a full-faced, adult portrait,
neither close-up, nor long-shot. It does not matter
if the face is smiling serious or otherwise animated
as all are capable of producing good results.
It is of the utmost importance that the close friend
or relative will have agreed to be silent throughout
and when the eyes for example are seen
to blink, or some other kind of movement
be detected this must be signalled immediately
to the facilitator. A slight nod of the head
is the recommended, agreed signal for this.
The landscape will be first negative to be placed
into the enlarger and should be exposed
onto a sheet of photographic printing paper
in the normal fashion. With careful manipulation
of the enlarger charged with the second negative
the subject’s head and shoulders will now
be exposed, or super-imposed, onto the first.
The subject re-visits, as it were,
that once familiar setting, afresh.
This serves to create a kind of shock.
Next the print must now be placed in a tray
of developing fluid. A strict silence must be
observed while attention is fixed upon this
‘double image´ as it begins to develop
in the tray and when some sort of movement occurs;
the eyes of the subject, for example are seen to blink,
the lips move, or a change of expression be observed
(subtle or otherwise) this will be the moment
for the pre-arranged signal to be given.
The white light of the darkroom
will now be turned on by the facilitator.
(A dimmer, if one is available,
can be helpful – but this is not essential).
On no account should any attempt be made to fix
the print. Such a step could have detrimental effects
upon all the parties involved – including the deceased.
The period of the print darkening, through
all the middle-tones to complete black
as a consequence of exposure to direct light
is the crux of the experiment. It is probable
that the prospect of impending loss is what
will prompt further animation for something
will now be mouthed, or spoken audibly,
directly to the friend or relative,
although the communication can also be non-verbal.
The recipient will not be asked or persuaded
to reveal or repeat what they have witnessed.
If the recipient freely volunteers to relate
what they have seen or heard without prompting
then this can be beneficial to all parties involved;
the facilitator, the friend or relative and the deceased.
Finally, this experimental procedure should not
be undertaken lightly, or publicly, and NEVER,
under any circumstances be repeated.
August 1994. London.
