Photography and the Paranormal: Origins and Early Controversy (Part 1)

This article examines the historical origins of paranormal photography and the figures associated with its early development. Interpretation of these images remains a matter of historical debate.

One could reasonably argue that photography and the paranormal became intertwined in the 19th century through the work of William H. Mumler. A simple search of the phrase “photography and paranormal” frequently leads to articles discussing Mumler, including The Man Who Photographed Ghosts, published by the Getty Center in October 2021.

Nearly every modern discussion of paranormal photography references Mumler in some form, positioning him as one of the earliest — and most controversial — figures associated with the idea of capturing spirits on film.

Photography and the Paranormal in the 19th Century

If Mumler’s name is unfamiliar, his most well-known image may not be. He is often associated with a famous portrait of Mary Todd Lincoln, taken several years after the assassination of Abraham Lincoln in 1865. In the photograph, a faint figure resembling the late president appears to stand behind Mrs. Lincoln, hands resting on her shoulders in what many interpreted as a consoling gesture.

Mumler lived and worked in Boston, Massachusetts during the mid-19th century and was largely self-taught as a photographer. According to contemporary accounts, his reputation began after he took a self-portrait and later observed, during development, what appeared to be the image of a deceased family member standing behind him. This experience marked the beginning of his association with so-called “spirit photography.”

Mary Todd Lincoln photographed by William H. Mumler, with a faint background figure commonly interpreted as Abraham Lincoln.

Belief, Skepticism, and Early Investigation

As Mumler’s photographs gained attention, they drew both devoted believers and outspoken critics. One early skeptic was fellow photographer J. W. Black, who reportedly attempted to reproduce Mumler’s results. When he was unable to do so, Black sent an apprentice to Mumler’s studio under the guise of a client to observe Mumler’s methods.

The resulting photograph reportedly showed the apprentice with a shadowy figure identified as his deceased father. The apprentice returned unable to explain how the image had been produced.

Black later visited Mumler directly, openly stating his intent to observe the process. Mumler reportedly welcomed the scrutiny, allowing Black to inspect his equipment and observe the development process. Although Black declined to personally develop the image, he later claimed to have seen a figure appear near him during the session. According to some accounts, this experience altered Black’s skepticism.

Spiritualism, Fraud Allegations, and Public Scrutiny

The 19th century was a period marked by widespread interest in Spiritualism, with many seeking ways to communicate with the dead. Within this cultural context, Mumler’s work flourished — but it also attracted sharp criticism.

One prominent critic was H. F. Gardner, a physician who publicly alleged that the “spirits” appearing in Mumler’s photographs were actually images of living individuals taken from stolen photographs. Gardner argued that Mumler’s work relied on deception rather than supernatural ability.

Facing growing scrutiny, Mumler left Boston and relocated to New York City. There, controversy followed him. He was eventually charged with fraud by New York prosecutors. Among the witnesses for the prosecution was P. T. Barnum, who was a vocal critic of spiritualist claims.

The trial lasted approximately seven days. Ultimately, prosecutors failed to demonstrate fraud beyond a reasonable doubt, and Mumler was acquitted. Despite the verdict, the trial had significant personal and financial consequences. Mumler ceased producing spirit photographs and reportedly destroyed his negatives before his death in 1884.

Legacy and Unanswered Questions

Is it therefore fair to label William H. Mumler the “father of paranormal photography”? The answer depends largely on perspective. While no definitive evidence supports the claim that Mumler captured spirits, his work undeniably shaped public perception of photography’s potential to reveal unseen realities.

One final detail often noted by historians is that when Mumler photographed Mary Todd Lincoln, she was introduced to him under the name “Mrs. Lindall.” This fact has fueled ongoing debate about whether Mumler truly recognized his subject — or whether expectation and belief played a role in interpretation.

Reflection

Photography and the paranormal have been linked since the earliest days of the medium. Mumler’s work sits at the intersection of innovation, belief, skepticism, and cultural context. Whether viewed as deception, misinterpretation, or something more, his photographs continue to influence discussions about imagery, perception, and the limits of photographic evidence.

In Part 2, the discussion shifts from history to modern practice, examining contemporary photographic tools and techniques used during paranormal investigations.

Stay well.