RILEY RAINS / ARTS & CULTURE  EDITOR

Since the camera’s patenting in 1839, photographers have captured treasured moments through  a    snap  of    their  lens. As the art form evolved, daguerreotypes became increasingly popular: a style of photography   which  utilized  a  long  exposure  time  to   gather more light  for  a  photo or  in  some cases, blur the image. Daguerreotypes have the effect of creating ghost-like photographs, especially  when the sitter moves or the camera is shaken. These unique images sparked the term “spirit photography” to describe an eerie, or immaterial presence in photos. 

By the mid-19th century, commercial photography exploded globally. Whispered rumors began to spread that a camera’s lens could capture both living bodies and immaterial souls. In other words, daguerreotypes gave humans insight into the supernatural. Artists began to capitalize off this phenomenon, and thus spirit photography was born. 

In light of Halloween coming up, USD hosted “Spectral Presences: Spirit Photography, 1865 to the Present” to survey the evolution of this spooky practice that flourished in the Western world. A. Vassiliadis Director of the Humanities Center Brian R. Clack collaborated with Associate Professor of Art History Derrick R. Cartwright to put on the event in the Humanities Center. In a combined statement, the professors explained the modern-day relevance of experimental art on a plaque posted in the exhibit. 

Olivia Viggio’s ‘Haunted Reflections’  is displayed in the Humanities Center. Photo courtesy of @usdhumanities/Instagram

“As this small exhibition shows, artists today avidly continue [experimentation] sometimes tongue in cheek, other times not,” Clack and Cartwright stated. “Presences  both  seen  and unseen, real and   imaginary suggest   that    photography   remains ‘haunted’ by this unique history.”

Throughout the gallery, Toreros saw  spooky photographs paired with a historical description of the particular time period. Max  Erler & Thomas Foster’s “Family Portrait with Deceased Face in Cameo,” a man posed with his ghostly wife, is placed next to Clack and Cartwright’s explanation  of the  effect capitalism had on spirit photography.

“As photographic technologies spread from professional studio spaces into the hands of amateurs, public fascination with spiritual manifestations broadened,” Clack and Cartwright wrote. “These strange inclusions —  inexplicable flashes of light, phantom figures, ghostly blurs and emanations —  were proof of spiritual activity. Today we might characterize these disappointments as nothing more than ‘photo bombs.’”

The suddenly popular art form enticed viewers from the beginning. Spirit photography began capturing what the human eye could not. However, the uniquely spiritual images did not appeal to everyone —  many were skeptical of the supernatural claims that artists were making. 

William H. Mumber, who was discovered double-exposing a photography plate, was put on trial for fraud because he sold images he said contained ghosts and spirits. The spiritualist was later dropped from court: the judge claimed a lack of evidence.

Alongside the gallery’s historical explanations and famous daguerreotypes, student work was displayed to show a modern take on spiritual art. USD junior and biology major Olivia Viggio created a charcoal piece, titled “Haunting Reflections,” in her   Introduction to Drawing class, taught by  Professor  Remi Dalton. Viggio described her work.

“I wanted to capture something that felt eerie and mysterious (a ghostly presence with no clear person underneath),” Viggio continued. “The assignment was technically a self-portrait and I approached it with introspection. By naming it ‘Haunted Reflection,’ I wanted to suggest that it’s not just about how “I”/the ghost looks, but about what lingers within, the parts of ourselves we confront in silence or don’t always reveal. I think there’s so much to learn through art about culture, history, people and yourself.”

The Humanities Center encouraged students from all backgrounds to explore visual arts, even pre-med students like Viggio. The exhibit   was not created strictly for USD’s artists, but with the entire student body in mind. USD senior Audrey Koenig explained her impressions of the event. 

“I’ve definitely heard of spirit photos before, you know, deep dive YouTube videos down the rabbit hole late at night,” Koenig said. “It is really cool because you’re sort of seeing the photography science behind it. There is this ambiguous aspect, is it real? Is there something else? It’s just really cool.”

The Humanities Center has hosted the “Spirit Photography” exhibit  in the   Humanities Center gallery  since  Sept. 12, and it will remain open until Nov. 7.

The ‘Spirit Photography’ exhibit showcases daguerreotype-style photography in Saints Hall. Riley Rains / The USD Vista