Then and Now: Lewis Reed’s 1915 Photograph of the Lake House Hotel in Saylorsburg
In 1915, Lewis Reed pointed his camera toward the Lake House Hotel in Saylorsburg, Pennsylvania, capturing a quiet roadside scene that would take on an entirely different meaning more than a century later.
Today, the historic building is associated with the Hotel of Horror and the legends that have grown around it. But Reed’s photograph preserves another chapter of its history, when the Lake House was a well-established Pocono destination welcoming travelers long before anyone came there looking for ghosts.

Saylorsburg Lake House Hotel, Saylorsburg, Pennsylvania, 1915. Photographed by Lewis Reed. Long before the historic building became home to the Hotel of Horror, it welcomed travelers to Pennsylvania’s Pocono Mountains.
Lewis Reed and His Camera
Lewis Reed was photographing people and places throughout the early decades of the twentieth century, leaving behind an extraordinary visual record of a rapidly changing America. His photographs include family gatherings, farms, automobiles, roads, businesses, buildings, and scenes encountered during his travels.
The Lake House photograph is particularly interesting because it takes Reed beyond his familiar Montgomery County, Maryland surroundings and into Pennsylvania’s Pocono Mountains.
Rather than concentrating on individual people, Reed positioned himself across the roadway and photographed nearly the entire hotel. The result is a remarkably clear record of the building as it appeared in 1915.
The tall Victorian structure dominates the scene. Dormer windows rise from the roof, a large chimney towers above the building, and mature trees frame the property. Near the road stands a circular sign identifying the Lake House Hotel. Several people can also be seen around the building, small figures preserved almost incidentally in Reed’s view.
More than a century later, details that probably seemed ordinary when Reed pressed the shutter have become part of the photograph’s historical value.
A Hotel From an Earlier Age of Travel
The property had already been serving travelers for generations before Lewis Reed arrived with his camera.
According to the history published by the present-day Hotel of Horror, an earlier inn known as the Saylorsburg Hotel was built by Charles Saylor in 1847 on a site associated with stagecoach travel dating even farther back. The property was substantially enlarged during the late nineteenth century, and a major expansion completed around 1895 produced much of the imposing hotel Lewis Reed photographed twenty years later.
By 1915, the Lake House was part of an established Pocono tradition of hotels, boarding houses, lakeside recreation, and summer retreats.
Historic postcards from the early twentieth century show the Lake House being promoted to visitors during the years immediately before Reed photographed it. Travelers came to the Poconos for cooler summer weather, scenery, recreation, and a temporary escape from increasingly crowded cities.
Reed captured the hotel at a particularly interesting moment in American transportation history.
The automobile was beginning to give ordinary travelers greater freedom to explore destinations away from railroad lines and fixed schedules. Roads were improving, automobile ownership was growing, and Americans were discovering an entirely new way to travel.
For Lewis Reed, 1915 was significant for another reason. It was the same year in which he became involved in the Rockville Garage in Maryland, the business that would eventually become Reed Brothers Dodge.
His Saylorsburg photograph therefore comes from the very period when the automobile was beginning to shape not only his own future but the way Americans traveled.
The Hotel Reinvents Itself
The Lake House survived while the world around it changed dramatically. Its traditional hotel years eventually came to an end. The property was purchased in 1990 and converted into an antique co-op, according to the building’s published history. Then came the transformation that would give the old hotel an entirely new identity.
In October 1992, a haunted attraction opened inside the historic structure. More than three decades later, the Hotel of Horror and Altered Nightmares continue to operate there during the Halloween season.
What makes the attraction unusual is that the old hotel is not simply a theme created for entertainment. The historic building itself remains part of the experience, with its original rooms, corridors, staircases, upper floors and lower-level spaces forming the setting.

The former Lake House Hotel in Saylorsburg, Pennsylvania, as it appeared in 2025. More than a century after Lewis Reed photographed the building in 1915, the historic structure still stands, preserving a visible link to the Pocono region’s early era of hotels, roadside travel, and tourism. Google image, 2025.
History, Folklore and a Haunted Reputation
As the building aged, stories and legends naturally accumulated around it. Some accounts associated with the property have included tales of unexplained deaths, wartime events and other disturbing episodes. Such stories have contributed greatly to the building’s modern reputation, but folklore should not be confused with documented history.
That distinction makes Lewis Reed’s photograph especially valuable. His camera gives us something legends cannot: a direct visual record.
There are no ghosts, theatrical effects or Halloween decorations in Reed’s 1915 photograph. Instead, we see the Lake House as travelers of his generation would have known it, a substantial roadside hotel serving visitors during the early years of automobile travel.
A Moment Preserved in 1915
Lewis Reed could not have known what the Lake House would become when he photographed it more than a century ago. He simply recorded a place that caught his attention.
That is one of the remarkable qualities of his surviving photographic collection. Many of the buildings, roads, farms and communities he photographed were not necessarily considered historic when he stood before them. They were part of everyday life.
Time changed that.
Buildings disappeared. Roads were widened. Landscapes were transformed. Businesses closed and communities expanded. Places once considered ordinary became pieces of history.
The Lake House Hotel followed a somewhat different course. Remarkably, the building survived.
Today, visitors travel to Saylorsburg for reasons Lewis Reed could never have imagined. Yet beneath the haunted-house reputation remains the same historic hotel that stood beside the road when he raised his camera in 1915.
His photograph allows us to see beyond the legends and return, if only for a moment, to an earlier era in the Pocono Mountains.
More than 110 years later, that single photograph has become a historical record of its own: one photographer, one roadside hotel and one moment in 1915 preserved long after the world around them changed.
Manipulated Photography: The Artful Illusions of Lewis Reed
Long before modern editing tools existed, Lewis Reed was already experimenting with ways to reshape a photograph. He layered exposures to place the same person in two places at once, coaxed ghostly figures to appear in broad daylight, sketched new landscapes directly onto his negatives, and teamed up with his daughter Mary Jane to bring soft color to black-and-white scenes.
His collection of manipulated photographs showcases his extraordinary creativity and versatility, employing methods such as hand-tinting, double exposure, applied handwork, and surreal ghost-like effects.
This special spotlight explores the imaginative world of Lewis Reed’s manipulated photography, a body of work that reveals his curiosity, sense of humor, and remarkable skill with the photographic tools of the early 1900s.
The Art of Double Exposure: Two Worlds on One Plate

Lewis Reed and the same two ladies with bundles of flowers appear in this photo twice: standing on a bridge over Seneca Creek at Black Rock Mill, and again on the left at the foot of the bridge. The photo was taken in 1905.
Among his most striking techniques was double exposure. With precision and careful planning, Reed could layer two images onto a single glass plate.
A favorite example is a photograph where the same person appears twice in the same scene–once on a bridge, and again at the foot of it. The slight vertical seam where the exposures meet is still visible today, a reminder of the handmade magic behind the picture.
Without the benefit of modern editing tools, Reed achieved what we would now call a “clone effect”–over a century before Photoshop.
Ghosts in the Frame: Early Special Effects

Surrealistic, ghost-like effect of Lewis Reed (right) standing next to a tree in the middle of train track.
Reed also created what he called “ghost photographs.” To produce them, he pre-exposed a faint figure onto a glass plate and then photographed a second subject over it. The result: an incompletely exposed ghostly image as well as a ‘sitter’ looking perfectly unaware.
Hand-Drawn Fantasies: Adding Scenery by Pencil

Lewis Reed himself drew on the glass negative, using a hard graphite pencil, to create the illusion of a couple gazing out on a mountain range, which was not part of the original photograph.
One of Lewis Reed’s most artistic manipulations involved hand-drawn backgrounds. He sometimes sketched new landscapes directly onto the negative–mountains, cliffs, or textured skies–before printing the final photograph. The finished piece blends photography and illustration in a way that feels surprisingly modern, reminiscent of today’s mixed-media art.
A Collaboration in Color: Hand-Tinting by Mary Jane Reed

Amanda Reed after hand-tinting by Mary Jane (Reed) Gartner. Pastel was apparently a good choice for coloration.
Color film did not exist in the early 1900s, but Reed’s daughter, Mary Jane Reed, added life to his images with delicate watercolor hand-tinting. She brushed pale blues into skies, warm tones into skin, and soft greens into landscapes, giving Reed’s photographs an entirely new dimension. This father-daughter collaboration bridges technical skill and artistic intuition, two generations creating together.
Lewis Reed’s masterful use of hand-tinting, double exposure, and detailed handwork reveals not only his artistic creativity but also his technical skill in an era long before digital editing tools. These techniques allowed him to transform ordinary photographs into captivating visual stories full of playfulness and surreal charm. His work stands as a testament to the time, patience, and imagination required to manipulate photos by hand. For those intrigued by Lewis Reed’s fascinating photo manipulations and the art of early 20th-century photographic editing, the full series is available for exploration on this blog under the “manipulated photography” category.
For more on manipulated photography, visit the series: https://reedbrothersdodgehistory.com/category/manipulated-photography/.
The Day Auto Racing Came to Rockville: Rare Photos from 1923
On Saturday, August 25, 1923, spectators gathered at the Rockville Fairgrounds for something never before seen there: automobile racing.
Professional drivers brought their high-powered racing machines to the half-mile dirt track for the first automobile races ever held at the Rockville Fair. Standing trackside with his camera was Rockville automobile dealer and photographer Lewis Reed, who captured a remarkable series of photographs of the action.
More than a century later, his images preserve the day auto racing came to Rockville.

Rockville drew a large crowd for its first automobile races at the Rockville Fair, August 25, 1923. Photo by Lewis Reed.
Rockville’s First Auto Races
The automobile races were the featured attraction on the final day of the 1923 Fair. Contemporary newspaper accounts described them as an innovation for Rockville and confirmed that they were the first automobile races ever held there.
Seven high-powered cars competed in events ranging from one to ten miles, driven by some of the leading professional racers of the day. Canadian dirt-track racer Frank Ripple was among the featured drivers and was expected to attempt speed records in a powerful machine equipped with a 140-horsepower airplane engine.
The new attraction proved popular. Except for Thursday, traditionally the Fair’s biggest day, the Saturday automobile races reportedly drew the largest crowd of the five-day event.

Five racers charge around the dirt track at the Rockville Fairgrounds, August 25, 1923. Photo by Lewis Reed.
Racing on the Dirt Track
Lewis Reed’s photographs show just how exciting early automobile racing could be. Cars raced closely together on the unpaved oval, their narrow tires throwing enormous clouds of dust into the air as drivers fought for position around the sweeping curves.
Spectators stood remarkably close to the action.

Race cars disappear into a cloud of dust while rounding the Rockville Fairgrounds track. Print made from a Lewis Reed glass negative.
One of Lewis Reed’s most interesting photographs from the races shows a car carrying two men. The passenger was a riding mechanic, once a familiar figure in early automobile racing. In addition to watching the mechanical condition of the car, he served as an extra set of eyes for the driver, keeping watch on competitors approaching from behind.

Driver and riding mechanic on the dirt track at the Rockville Fairgrounds, August 25, 1923. Photo by Lewis Reed.
A Future Indianapolis 500 Driver Raced at Rockville
Years after I first published these photographs, the story took an unexpected turn.
I received a message from John Snowberger, whose father, Russ Snowberger, raced at the Rockville Fairgrounds during the early 1920s. John told me that he had photographs of his father in his race car and believed that my grandfather, Lewis Reed, may have taken them.
Russ Snowberger, born in Denton, Maryland, raced throughout the region before going on to become a nationally known driver and a veteran of the Indianapolis 500.
Although I have not been able to establish that Snowberger competed specifically in the August 25, 1923 races, his son’s recollection provides a fascinating connection between Rockville’s early dirt-track racing and a driver who would later compete on one of the world’s most famous speedways.
It also raises an intriguing possibility: somewhere among Lewis Reed’s surviving photographs of early race cars and drivers may be an unidentified image of a young Russ Snowberger.
A Moment Preserved in Photographs
More than a century later, Lewis Reed’s photographs provide a rare visual record of the day automobile racing first came to the Rockville Fair.
They capture speeding cars, clouds of dust, spectators lining the track, and an era when automobile racing was still new enough to be a major local attraction.
And thanks to a message received nearly a century later from the son of an Indianapolis 500 driver, we now know that the old Rockville dirt track had connections extending well beyond Montgomery County.
For one dusty Saturday in August 1923, Rockville became a racing town.
104 Years Ago, Six Men and Five Motorcycles Launched Montgomery County’s First Police Department

The first Montgomery County Police Department Motor Unit, photographed outside Reed Brothers Dodge in Rockville on July 4, 1922. Chief Charles Cooley (center) stands with Officers Earl Burdine, Lawrence Clagett, Guy Jones, Leroy Rodgers, and Oscar Gaither beside their Harley-Davidson motorcycles on the day the department officially began operations. Photograph by Lewis Reed.
On the morning of July 4, 1922, a small group assembled outside Reed Brothers Dodge in Rockville to mark the beginning of a new era in Montgomery County’s history. Chief Charles Cooley and five motorcycle officers had been appointed to form the county’s first organized police department. Before they departed on their inaugural patrols, local photographer Lewis Reed preserved the moment with his camera.
The photograph captures Officers Earl Burdine, Lawrence Clagett, Guy Jones, Chief Charles Cooley, Leroy Rodgers, and Oscar Gaither standing beside their Harley-Davidson motorcycles. More than a century later, it remains one of the earliest surviving images of the Montgomery County Police Department and a remarkable record of law enforcement in its infancy.
New Police Force Installed
As reported in the Montgomery County Sentinel, July 7, 1922
The officers of the Montgomery County Police Department were installed in office at the Court House on Tuesday, July 4, 1922. A goodly number of persons were present to witness the ceremony. This new force is a novelty now upon trial, introduced by an Act of the last Legislature for Maryland, and it is the general impression that it will prove to be a worthy innovation in behalf of peaceful government.
The force is composed of six members: Chief Charles T. Cooley and Privates Oscar T. Gaither, Leroy Rodgers, Earl Burdine, Guy L. Jones, and Lawrence Clagett. They filed into the courtroom wearing their new uniforms of gray whipcord cloth and their weapons, taking their seats in a line facing the Judge’s bench.
The program began with the police officers taking their oaths, administered by Mr. Ray, followed by the presentation of certificates of appointment by President Benjamin Perry of the Board of County Commissioners.
The ceremony concluded with brief speeches by Judge E. C. Peter and State’s Attorney Thomas L. Dawson.
Judge Peter addressed the new force, congratulating them on their appointment but warning them sternly against bribery, petty jealousy, and “winking at crime.” He encouraged them to uphold order, peace, and dignity in the county by strictly enforcing police laws against all offenders without fear or favor. He emphasized that the State stood behind them in their work, and that their duty was to maintain their honor and make the laws “masters of this land”.
State’s Attorney Dawson advised the officers to keep detailed records of all dates and circumstances in cases they dealt with, which he noted would lead to the “economizing of time” and the “swift and indubitable conviction of offenders”.
It was established that the new police force would work in harmony with, rather than interfere with, the work of the Sheriff’s office. Regarding compensation, the Chief of the force was to receive $1,800 a year, while each private was set to receive $1,500. Additionally, each officer was allowed $300 a year for the upkeep of his motorcycle.
The Montgomery County these officers served was a rural community of fewer than 35,000 residents. Modern police communications did not yet exist. Officers relied on telephones at the courthouse and local firehouses, while a flashing signal light atop the Red Brick Courthouse summoned them when emergencies arose. It was a simple but effective system for an era before radios and patrol cars became standard equipment.

The Red Brick Courthouse in Rockville, photographed by Lewis Reed in 1914. Just eight years later, the courthouse became the headquarters of Montgomery County’s newly established Police Department, where officers reported for duty and received emergency calls before the era of police radios.
Lewis Reed’s 1922 image records the birth of Montgomery County’s Police Department at a time when motorcycles replaced horses, rural roads linked isolated communities, and professional law enforcement was becoming an essential public service.
Today, this remarkable photograph remains an enduring testament to both the officers who answered the county’s first call to duty and the photographer whose work continues to preserve Montgomery County’s rich history.
A Field, a Gun, and a Trap

Early 1900s field trap shoot in Darnestown, Maryland, captured by Lewis Reed, showing one man poised with a shotgun while another readies the simple wooden trap amid farmhouses and open pasture.
In this photograph, two men stand in an open field bordered by modest frame houses and fenced pastures, a scene typical of small crossroads communities like Darnestown in the early 1900s. One man holds what appears to be a long gun, while the other sits beside a simple wooden rig that resembles the framework used to cock and release early manually operated target throwers or live‑bird traps
The proximity to grazing livestock suggest that this is not a formal gun club range but an improvised shooting ground on private farmland, which was common before purpose‑built trap clubs spread widely. Rural shooters often practiced in meadows or behind farmhouses, using homemade equipment and relying on a friend to work the trap while the shooter took position in front.
Darnestown in Reed’s era was a small but important crossroads in western Montgomery County with farms, mills, and the Andrew Small Academy serving the surrounding countryside. Later roadside historical markers that use Lewis Reed’s images emphasize how thoroughly he documented the community’s buildings and daily activities, making it likely that he also recorded local recreations such as shooting, fishing, or horse‑related events.
Clay target shooting gained popularity in the United States after the introduction of standardized targets and simple spring‑powered traps in the late 19th century, and Maryland farm communities were no exception. Scenes like this one, with neighbors gathering in an open field to test their marksmanship, reflect how shooting sports blended workday skills with weekend socializing in a largely agricultural landscape.
This image captures a rare glimpse of informal trap shooting at the moment when traditional rural life was beginning to intersect with modern leisure and sport. The combination of farmhouses, fence lines, cattle, and improvised equipment tells a layered story: of a county still rooted in agriculture, of residents embracing new pastimes, and of a photographer committed to preserving unscripted moments as carefully as grand events.
For historians, collectors, and local families, the photograph is more than a quaint scene; it is a visual document that anchors memories of people, place, and pastime in a specific landscape. As additional Reed negatives are identified and researched, images like this may help flesh out the early history of shooting sports in Montgomery County and deepen understanding of how communities like Darnestown spent their rare hours of leisure.








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