Michael Crichton - Dragon Teeth

“Yes, Professor.”

“Good. Now then, we depart June 14, from Grand Central Depot in New York. Returning no later than September 1 to the same station. See the museum secretary tomorrow and he will give you a list of provisions you are to provide—in addition, in your case, to your photographic equipment. You will allow supplies sufficient for a hundred photographs. Any questions?”

“No, sir. No, Professor.”

“Then I will see you at the platform on June 14, Mr. Johnson.” They shook hands briefly. Marsh’s hand was damp and cold.

“Thank you, Professor.” Johnson turned and headed toward the door.

“Ah, ah, ah. Where do you think you are going?”

“To leave.”

“By yourself?”

“I can find my way—”

“No one, Johnson, is permitted unescorted movement through this office. I am not a fool, I know there are spies eager to look at the latest drafts of my papers, or the latest bones to emerge from the rock. My assistant Mr. Gall will see you out.” At the mention of his name, a thin, pinched man in a lab coat put down his chisel and walked with Johnson to the door.

“Is he always like this?” Johnson whispered.

“Lovely weather,” Gall said, and smiled. “Good day to you, sir.”

And William Johnson was back out on the street.

Johnson wanted nothing more than to escape the terms of his wager and this impending expedition. Marsh was obviously a lunatic of the first order, and conceivably dangerous as well. He fixed on having another meal with Marlin, and somehow extricating himself from the bet.

Yet that evening, to his horror, he learned that the wager had become notorious. It was now known broadly throughout the College, and all during dinner people came to his table to talk about it, to make some small comment or joke. Backing out now was inconceivable.

He realized then he was doomed.

The following day he went to the shop of Mr. Carlton Lewis, a local photographer, who offered twenty lessons in his craft for the outrageous sum of fifty dollars. Mr. Lewis was amused with this new pupil; photography was not a rich man’s pursuit, but rather a shifty business for people who lacked the capital to embark on a more prestigious livelihood. Even Mathew Brady, the most famous photographer of his day, the chronicler of the Civil War, the man who photographed statesmen and presidents, had never been treated as anything but a servant by the eminent subjects who sat for him.

But Johnson was adamant, and over a period of weeks he learned the skills behind this method of recording, introduced from France forty years earlier by the telegrapher Samuel Morse.

The process then in vogue was the “wet plate” photographic technique; in a darkened room or tent, fresh chemicals were mixed on the spot, and sheets of glass coated with a sticky, light-sensitive emulsion. The newly made wet plates were then rushed to the camera and exposed to the scene while still wet. Considerable skill was required to prepare an evenly coated plate, and then to expose it before the plate dried; later development was easy by comparison.

Johnson learned with difficulty. He could not carry out the steps fast enough, with the easy rhythms of his teacher; his early emulsions were too thick or too thin, too wet or too dry; his plates had bubbles and dripped densities that made his pictures amateurish. He hated the confined tent, the darkness, and the smelly chemicals that irritated his eyes, stained his fingers, and burned his clothes. Most of all he hated the fact that he couldn’t master the craft easily. And he hated Mr. Lewis, who tended to philosophize.

“You expect everything to be easy because you are rich,” Lewis would chuckle, watching him fumble and swear. “But the plate doesn’t care how rich you are. The chemicals don’t care how rich you are. The lens doesn’t care how rich you are. You must first learn patience, if you wish to learn anything at all.”

“Damn you,” Johnson would say, irritated. The man was nothing but an uneducated shopkeeper putting on airs.

“I am not the problem,” Lewis would reply, taking no offense. “You are the problem. Now come: try again.”

Johnson ground his teeth and swore under his breath.

But as the weeks passed, he did improve. By late April his plates were uniform in density, and he was working swiftly enough to make good exposures. His plates were crisp and sharp, and he was pleased as he showed them to his teacher.

“What are you pleased about?” Mr. Lewis asked. “These pictures are wretched.”

“Wretched? They are perfect.”

“They are technically perfect,” Lewis said, shrugging. “It means merely that you know enough to begin to learn about photography. I believe that is why you came to me in the first place.”

Lewis taught him now the details of exposure, the vagaries of f-stop, focal length, depth of field. Johnson despaired, for there was so much more to learn: “Shoot portraits wide open with short exposures, because the wide-open lens has a soft quality that flatters the subject.” And again, “Shoot landscapes stopped down with long exposures, because people wish to see a landscape sharp both close and at a distance.” He learned to vary contrast by changing exposure and subsequent development time. He learned to position his subjects in the light, to change the composition of his emulsions on bright and dull days. Johnson worked hard and kept detailed notes in his journal—but also complaints.

“I despise this little man,” observes one characteristic entry, “and yet I desperately want to hear him say what he will not: that I have learned this skill.” Yet even in his complaint one notices a change from the haughty young man who a few months earlier could not be bothered to learn to sail. He wanted to excel at his task.

In early May, Lewis held a plate up to the light, then inspected it with a magnifying glass. He finally turned to Johnson. “This work is almost acceptable,” he allowed. “You have done well.”

Johnson was elated. In his journal he wrote: “Almost acceptable! Almost acceptable! Nothing said to me was ever so sweet to my ears!”

Other aspects of Johnson’s demeanor were changing as well: despite himself he was beginning to look forward to the trip.

I still regard three months in the West in much the same way I would three months forced attendance at the German Opera. But I have to admit a pleasurable, growing excitement as the fateful departure approaches. I have acquired everything on the list of the Museum Secretary, including a Bowie knife, a Smith & Wesson six-shot revolver, a .50 caliber rifle, sturdy cavalry boots, and a geologist’s hammer. With each purchase, my excitement grows. I have mastered my photographic techniques passably well; I have acquired the eighty pounds of chemicals and equipment, and the hundred glass plates; I am, in short, ready to go.

Only one major obstacle now stands between me and departure: my family. I must return to Philadelphia, and tell them.

Philadelphia was the busiest city in America that May, nearly bursting with the vast crowds that flocked to attend the Centennial Exposition of 1876. The excitement that surrounded this celebration of the nation’s hundredth anniversary was nearly palpable. Wandering the soaring exhibition halls, Johnson saw the wonders that astonished all the world—the great Corliss steam engine, the exhibits of plant and agriculture from the states and territories of America, and the new inventions that were all the rage.

The prospect of harnessing the power of electricity was the newest subject: there was even talk of making electrical light, to illuminate city streets at night; everyone said Edison would have a solution within a year. Meanwhile there were other electrical wonders to puzzle over, particularly the curious device of the tele-phone.