03: REMASTERED: Ghostly Exposure: Postmortem & Spirit Photography

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A grieving widow develops a roll of film and finds her dead mother in the back seat. A WWI airman steps into a squadron portrait two days after his funeral. A Boston photographer swears he can capture the dead — and P. T. Barnum takes the stand to prove him wrong. Tonight, the photographs that came back heavier than they went in.

Before the smartphone, before the camera roll — before there was a way to carry your dead in your pocket — people wanted to keep the faces of the ones they loved. Some of them tried very hard. Some of them, it seems, succeeded a little too well.

In this remastered episode, we’re climbing back into the strange, tender, deeply uncanny history of postmortem and spirit photography — from Victorian iron posing stands and painted-on eyes, to

William Mumler’s scandalous Boston studio, to the back seat of a quiet Ipswich car on a Tuesday afternoon in 1959.

Featuring the Mabel Chinnery photograph, the ghost of Freddy Jackson, the Brown Lady of Raynham Hall, the haunted faces in the wake of the S.S. Watertown, Mary Todd Lincoln’s most famous portrait, and three modern firsthand-style accounts that have been quietly circulating online — the kind of photograph you delete six times, and it keeps coming back.

Postmortem Photography & Victorian Death Culture

Sociology, vol. 45, no. 6, 2011, pp. 947–62. JSTOR. (jstor.org/stable/42857592)

(slate.com/human-interest/2017/10/spirit-photography-and-child-mortality-in-the-19th-century.html)

(victorianvisualculture.blog/2020/12/14/photos-of-the-dead/)

William Mumler & Spirit Photography

Freddy Jackson

(theblackvault.com/casefiles/the-ghost-of-freddy-jackson/)

Mabel Chinnery

The Brown Lady of Raynham Hall

Press, 2015 — for context on shinrei shashin in Japanese popular tradition.

Stay spooky 👻