Book of Monsters. David Fairchild
diameters, they are not enlargements from small photographs, but views taken directly from 5 × 7 photographic negatives.
Then too, these creatures have been posed with considerable care in order to give them a lifelike appearance, and this work was done immediately after they had been anesthetized, and in some cases while they were still alive.
The whole art of taking these large photographs of insects is so simple that thousands of amateurs ought to be able to take them.
The outfit consists of the camera, which is just a long box, a long-focus lens, a piece of ground glass and a focusing glass, a flash light, a pair of pincers, some needles mounted in handles or else some small dental tools, a few little blocks of wood, a candle, a piece of glass covered with tissue paper, and a long hollow cylinder made of stiff black paper or cardboard. Add to these a great deal of patience and you have all that is needed.
I made my camera box out of thin quarter-inch whitewood boards and pasted black paper over the joints to keep out the light. Into one end of this box I set the front board with the objective screwed into it. Squaring off the other end of the box, I carefully fitted to it a 5 × 7-inch ground glass holder, exactly the size of an ordinary 5 × 7 plate holder. I framed this in with pieces of wood so that I could slip out the ground glass holder and put a plate holder in its place. For purposes which will be explained later, the ground glass was not fastened into its holder, but a narrow slit through one end of the frame was made just large enough so that it could be slid in or out without taking out the frame itself.
The object to be taken, having been mounted on a little block of wood and fastened there with candle wax, is placed in front of the long focus lens by an assistant, who stands ready to move it back and forth, or sideways, or up and down, according to directions.
Getting to the far end of the camera under the focusing cloth, I begin to hunt for the dim image on the ground glass, and, by directing the assistant to move the object in various ways, am quickly able to bring it into view, but not into sharp focus. In order to do this, I slip the ground glass itself half way out, take up the focusing glass, holding it against the edge of the ground glass in order to steady it. I am thus able to see every detail distinctly without looking through the ground glass at all and can make sure that they are in focus. With the focusing lens, one is able to see the image in the air very plainly, even when the diaphragm is nearly closed and when only the faintest shadow could be seen on the ground glass.
Having made sure that the image covers the plate well and is in good focus, I put in my plate holder, my assistant places the cap over the objective, I draw the slide and walk down to the front of the long camera. Wills, my assistant, then prepares a charge in the Prosch flash lamp and puts the tube of black paper in front of the lens to protect it from the glare of the flash. With one hand I hold up a pane of glass on which thin white paper has been fastened to protect the insect from the direct sunlight; with the other hand I remove the cap of the camera and expose the plate for from 50 to 80 seconds, depending upon the lightness of the object, the brilliancy of the sunlight and the stop employed, 16, 32 or 64. In the meantime, Wills blows off a full charge of magnesium powder in the flash lamp, so holding the lamp that the rays from it will light up the shadows which are underneath the creature’s body. The cap is then put on again and the plate holder closed in the ordinary way. Only the freshest obtainable orthochromatic double-coated plates are used.
The friends who visited us on holidays helped make the long camera, and it was made at three separate times, an eight-foot length at a time. When the creature is very small I use the twenty-four-foot length, but when it is large the twelve or eight-foot one. Each length fits into the one in front of it and is covered with black cloth to make it tight.
The taking of the photographs is not, however, the hardest work of monster photographing, although perhaps the hottest, for in summer it is no joke to swelter under a focusing cloth for half an hour at a time, and the focusing itself is hard on the eyes. It is the mounting of the beasts which wears upon one’s nerves, and here is where the woman’s skill comes, for Mrs. Fairchild learned the art of insect taxidermy and many of the most lifelike photographs in the book were mounted by her.
It has been a source of keen satisfaction to find, upon showing the results to professional entomologists, that many of them did not realize that the insects were not alive when photographed. But, although they were not alive, they had just recently been put to sleep with ether, for we soon discovered that to get a lifelike photograph one must photograph a monster at once, within half an hour after death, the sooner the better.
Many ways of mounting were tried, but none were so successful as the following: Cover the top of a small block of wood with a thin, even coating of paraffin or ordinary candle wax by letting the drippings of the candle fall upon it. Pick a large leaf and turn its upper surface down upon the wax, before it cools, and let it stick there; this will give a natural looking ground for the insect to stand upon. Hold the insect over the block of wood and arrange the legs in as natural a position as you can with a long needle or fine dental tool. Then fasten each foot in place by heating the needle in the candle flame and pricking a hole in the leaf just under each foot so that the wax will come up through the leaf and hold it fast.
This mounting is not so simple as it seems, and, until one has actually experienced it, he can have no idea of the perversity of these six-legged beasts. The way the contracting muscles of a grasshopper’s back legs will pull the other four legs loose, or the way the hornet will refuse to hold its head up, or the way long flexible antennæ will droop are exasperations which lead straight to profanity, unless one is very careful.
The whole thing is a game of quickness, ingenuity and patient skill, for so many things must be watched at once. The wilting insect cannot wait, the sunlight shifts, clouds drift across the sun and then, just as everything is in readiness, a breeze springs up which stirs the creature’s wings and the whole thing has to be given up.
The pioneer in this field of photography is Dr. N. A. Cobb, for it is he who first showed what the face of a fly looks like. His suggestions are what first encouraged me to take up the work, although the method finally used by me is quite different from that which he employed. I substituted the long horizontal camera and the long focus lens for his vertical bellows and short focus lens, believing that for larger creatures I get a greater depth of focus and more lifelike appearance.
After my first mild success, that critical period beyond which so many experiments never go, three friends came to the rescue with their enthusiastic approval and encouragement and I desire that their names be connected with this book which they have helped to make, Mr. and Mrs. Alexander Graham Bell and Mr. Barbour Lathrop.
THE LONG CAMERA WITH WHICH THE MONSTERS WERE TAKEN
The camera, consisting of several long boxes which fit into one another, is stretched on a table made of board and a number of posts set in the ground. At one end is the lens and at the other, the ground glass plate to focus the image on. The monster is mounted on a small wooden block and set up the proper distance in front of the lens. It is moved back and forth in response to directions from the operator, at the other end of the camera, who is watching the image on the ground glass. Lying on the camera above the lens is a black paper cone which, when everything is ready, is put over the lens between it and the monster to prevent the smoke from the flash powder from drifting between the lens and the insect during the exposure. Wills, the assistant, is holding the Prosch magnesium blow lamp, and the insect is shaded from the direct rays of the sun by a large pane of glass covered with a thin sheet of tissue paper. Direct sunlight is reflected from the hairs and polished surfaces of the insects and makes spots on the negative.
SOME OF THE MONSTERS AS THEY APPEAR WHEN MOUNTED ON PINS IN AN INSECT BOX
It has always seemed a pity to me that these beautiful forms of life should be so evanescent. We look at their dried remains in collections and are impressed by their colors and grotesque forms, but we should not forget that after all these are nothing