Jane Tripp Has Opened a Door into the Time/Space Continuum - Learn How
From Jane Tripp
First Published 2009, Updated July 7, 2018
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I would like to tell you about the photographs, how I take the pictures, and why they do not make good ‘proof’ even when the images I capture are very clear. I would also like to tell you about why I think the images, and my discoveries regarding them, may be important to both researchers and psychic photographers in the future. This article will also give you many clues about setting up similar experiments for yourself as well.
Repeating what I wrote in ‘How to Look at the Photographs’:
‘The average digital camera is able to ‘see’ much better than the human eye when it comes to the subtleties of color. We only ever see from between thirty and fifty shades of gray, with the numbers sliding down the scale as we age.
This is just gray, however, and we find that the human eye can detect even fewer subtleties and nuances when it comes to color. There are a stupendous amount of color variances, over sixteen million in fact, and we can only see some of them. Images registering off the scale of our eyesight limitations will never be seen by most people without electronic help. Even an average digital camera can recognize over two hundred and fifty variations of the color gray alone.
I am psychic as you might have guessed, and I’ve seen a lot of phenomena, including a few apparitions with my own eyes; but truly I have only seen a tiny fraction of what I’ve been able to record with a digital camera.
We have a much better chance of recording and then being able to actually see a spirit by examining a digital photograph containing an anomaly than we do with the naked eye alone.
It’s the perfect opportunity to capture, record and retrieve visual data. What better way than using photographic mediums such as myself to gather the initial material? This is what I am doing, and what I have discovered, and also what I’m experimenting with.’
You can see there are advantages to using a digital camera that are not just concerned with costs of film and developing. A digital photograph is capable of recording more than the eye can see. This alone makes it an invaluable tool in the hands of the investigator. It may mean that even if a person’s not particularly psychic, they still stand a fairly good chance of capturing an anomaly on a photo. Another bonus is that you can take literally hundreds of shots in one session and then put them all onto a disc. Do not re-size the originals. They can then be looked at in an editing program and any promising photos can be saved in a folder. You can edit them as many times as you wish. If you find anomalies, edit and save the results. Put these onto disc as well. Label and date everything, including separate folders. This way you will always have the original full-sized, unedited photographs.
This means that when someone tells you that you ‘Photoshopped’ an image (a horrible term that seems to have become a verb and probably isn’t fair to Photoshop) then you can show them your editing process from start to finish if you want to.
This way you will be able to demonstrate that, although you uncovered the anomaly and examined it in different ways (as you might if working on an archeological dig) using an editing process, you didn’t add it to the photograph after it was taken, or indeed at any point, as it was already present. You can show people how you uncovered it and even let them do it for themselves with your original photo by following the same steps as you did. For this type of editing I suggest you use the ACDSee Photo-Editor [currently (July 2018) on sale for $24.99, reg. $59.99 or Try for 30 days Free. All ACDSee Products here...Editor] as it’s excellent and the best for the purpose that I know of. If you would like to get a month’s free trial, visit the ‘Links’ section from where you can go directly to their site and download it. If you like it the price is very reasonable to buy and well worth it.
[Editor's Note: Also download the FREE IrfanView photo manager to quick view and manage storage of photos. It's super fast, works great, and doesn't take a lot of memory.]
Now I’m going to share some unorthodox secrets with you. I would be happy if more people experimented in this and similar ways.
Don’t Even Try to Take a Good Photograph
Understanding what constitutes a good photo will not ordinarily help you to take a good ghost photograph. Although anomalies do show up on technically good photographic compositions from time to time, if you are taking shots with the sole object of capturing paranormal activity, there are things I have discovered that you can do to try and maximize your chances.
The most common experiment I perform is also the most enjoyable for me, but if you want to do this you have to have someone who is willing to drive you around, preferably in rural wooded areas. It’s an excuse for an outing.
This is what happened to me: One day I discovered a way to get material in a manner that seemed accidental, but I don’t believe there is any such thing as a true coincidence. From the time I received the camera at the end of 2005, I would take it with me whenever we went for family outings and drives. By now, I was actively taking photographs for the sole purpose of capturing anomalous images. If we passed somewhere in the car that I sensed was a good place to try and ‘get’ something, I would ask my husband to stop so I could take photos. This he willingly and good-naturedly did and I got some great shots, but after a while I began to feel guilty about interrupting every drive.
One day, itching to take photographs, I let the window down in the car and began aiming into the forested area that we were driving through. I got a little carried away and took dozens of shots before realizing that the car was freezing cold.
When I got home, I immediately checked the images, as I usually do. A lot of them had speed blurs on them, naturally, but that was not all I noticed: Superimposed over the blurs were shapes and faces – quite a lot of faces. This had occurred on many of the speed blurs. Very many, in fact!
I was astounded, but also elated. And I had the strange feeling I was beginning a huge adventure. Sometimes there were large anomalies on the photos, faces or shapes that took up a large part of the image, and sometimes I found very tiny ones that only became visible upon magnification. I began to edit these photographs, cropping areas of activity and enlarging them, adjusting the color and light to see them as clearly as I could.
At first, I listened to some misguided advice about sizing photos so they didn’t take up so much space on the computer. After sizing my photos down for a couple of months – without saving them first as full-sized and untouched on disc – I realized my mistake.
I had lost the unedited full-resolution originals, and I couldn’t edit them properly anymore. Some of them were so interesting that it still bothers me. I now always kept the original untouched photos on disc after those early mistakes, and I have many thousands of them on file in case of any future and legitimate interest from either paranormal investigators or individuals with personal curiosity, as well as for my own on-going personal research.
I decided to experiment. My camera was a Sony DSC-P73 Cyber-shot. My husband John drove, and sometimes he would stop for me and I would take ordinary still photographs. He altered the speed we drove at when I requested him to as well, so that I could attempt to get varied results in the form of different types of photographic anomalies. Every time I went out like this I took at least 300-500 photos, usually in an hour to an hour and a half.
It‘s always been obvious to me that many entities of many varieties, including human, exist. They can apparently see and interact with us far more easily than we can do so with them.
Yet when some people take photographs, they can appear for us all to see on the image produced. Why? Sometimes this occurs due to the mediumistic abilities of certain photographers, but there are ways that anybody, psychic or not, can maximize their chances of capturing anomalies using a digital camera.
Sending a Message
Before I left the house, and while we were driving, I put out the mental message that I would be taking photographs interdimensionally and anyone who wished to appear could do so. I made it clear that discarnate humans, elemental spirits, local spirits of place, animal spirits, ET’s and any other life-forms I might be unaware of were all welcome to appear in my pictures.
I asked that this be a co-creative effort to make the generally invisible, visible for everyone to see, if people were open and willing to do so. This may work for you too. See the section titled ‘TIPS’ further on in this article.
I thought about the phenomena I was receiving a lot. I had noticed that often faces appeared in a more or less straight line right across a blur. This was very interesting to me. These faces seemed to be appearing by actually using the light created by the blur to manifest in, and in that case they might be painting their own portraits with the actual light, as I suspected.
This might mean that they were aware of what I was attempting to do, and were actually arranging for it to happen outside of our own space-time continuum. That could point to an ongoing co-operative experiment, leading to a much better understanding of many things, for me at least. This was new and exciting and something I was (and am) more than happy to continue investigating.
Week after week I took photos – in the house, from the car, on walks, through my open windows, of pets, friends, relatives, sky, rock, trees and plants. And on and on came the seemingly endless stream of anomalous images. I bugged everyone who lived in the house or visited, calling them to the computer or camera to show them that they too could see what I could see so clearly. They could, and I was elated with every new batch of exciting images.
After I had been doing this work almost every day for a year, it had got to the point where I was very familiar with the subtle nuances and textures of these photographs. I could tell when a face tried to form, but didn’t quite ‘make’ it. Sometimes they were identifiable to me as faces, but not clear enough to show to other people as examples, although many of them were. These visible faces would appear not only on speed blurs but could also be seen over grass and trees and many other surfaces, and most would be looking straight at me. Some just stared, some looked a little angry, but a lot were smiling. The quality of these anomalous photographs did vary enormously even within the same picture. Some images were almost as they would have appeared photographically in physical life, to the point where they might be recognizable to the people who knew them.
Quality of Faces
Others were mistier, cruder or incomplete, but still very obvious faces. The third main category of face looked very strange. Instead of displaying realistic qualities, they looked like very basic drawings or paintings, or even simple cartoons of faces, so that although they were clearly faces, they seemed more like poor quality artwork.
I was later to find another category that was far more sophisticated and had the appearance of having been executed by fine artists. This is because they looked more as if they were created with pencil or pen strokes and were very cleverly composed.
This all tied in with my idea that spirits were ‘painting’ their portraits with light. It stood to reason, in my eyes, that some entities would be more accomplished at appearing than others. A lot would depend upon their visualization skills, and a continuing awareness of what they looked like in embodiment (that is, assuming that these human faces are actually formed by discarnate humans, and that they are attempting to appear as they once looked while here in third density).
It would seem reasonable to also assume that any spirits deliberately taking part in the creation of these images (in what would have to be an interdimensional experiment) must also have an understanding of time and space that is obviously advanced by our own standards.
I decided to accept this premise for the moment, and try to work with all these spirit beings who seem so eager to appear. Sometimes an entire or almost complete figure appeared. One of them even stood by the side of the road waving to me. He was smiling and wore glasses, and I have since often been surprised at how many people appear still wearing them. I quite frequently see eye glasses in my photos.
I spent a lot of time thinking about the way light seemed to be used by some spirits for manifestation. Others appeared on images taken while still with no apparent need to utilize the speed blurs. I noticed that it was mainly human faces that manifested through the blurs, as though making a conscious effort to do so as an experiment or method of communication while the non-human entities were easier to capture on a photo while they observed my actions as I photographed them within their own sphere of activity.
Longer Exposure Time
It was around this time that I decided to play with the different settings on my camera. I used a moonlight setting for night photography that had a longer time exposure. The indoor candlelight setting is also for low-light and I used this as well. I realized immediately that they were going to be an asset to my experiments.
It became obvious to me that the longer exposure time gave me more detailed, prolific, and clearer anomalous images. I realized that this type of camera setting might allow entities a longer time to ‘create’ with the light and perfect the appearance of their manifestations. I began to use these low-light settings in the daylight as well, both in still photograph and while moving (either manually or being driven), and got results beyond my best hopes.
I believe this may hold a great clue for paranormal photographers, and a starting point for future, more creative experimentation both in my work, and hopefully in the work of other people as well. Entities can apparently, at least under certain circumstances, see and interact with us far more easily than we can do so with them. Yet, when some people take photographs, they can appear for all of us to see on the image produced.
The explanation that this happens can be due to the mediumistic abilities of some photographers, but it does not explain how it occurs. I think that it could be an unknown constituent of the aura or electro-magnetic field of the medium or psychic, combined with elements of space, time and light that allows for the retrieval of residual visual data with the possibility of photographing anomalies more prolifically and in more categories.
This would also apply to the retrieval of sound via electronic voice phenomena (EVP, see the ‘Glossary of Psychic Terms’) experiments or while using any other electronic system to recover, record and store data so it can later be researched. But how does that, which is not usually seen by the human eye, become suddenly visible on a camera image, for all to see?
I have an inkling of how this may work, but it is obviously hypothetical. It involves many factors, not properly understood, but I want to deal with the most obvious: time, motion and light
Time is largely an unknown quantity, but what we do know about it only makes it more intriguing. Time, understood to be the fourth dimension, is a fascinating subject that is far more complex than we might imagine, perceiving it as we do as a largely unknown quantity that measures duration. Slight time variations are normal under certain circumstances. These variations are so small as to be almost immeasurable, yet they exist. Buildings with several floors are one example. The basement is closer to the centre of the Earth (time is measured in reference to the rotation of the Earth and the vibration of certain atoms). On the higher floors, clocks actually run faster. This difference is genuine but so minute that it doesn’t noticeably affect us.
In Einstein’s Theory of Relativity it basically states that if two people are moving at different speeds they will experience time differently. For the person who is travelling faster time will elapse more slowly than for the one who is moving more slowly. This effect is known as time dilation, but is unobservable to us as it is measured in nanoseconds.
Such tiny time differences are usually inconsequential to us as we go about our everyday lives, but there is at least one area where they could prove useful, and that is paranormal photography. In my photographic experiments I brought several factors involving movement into play, although accidentally at first, the camera setting, the movement and speed of the car, the earth’s rotation and my own deliberate physical movement being the most obvious.
Earth is slowly moving in a rotation around its own axis as it also travels around the sun on an elliptical path. The camera, being set to either the moonlight or candlelight setting, means that the slower shutter speed allows light to enter for a longer period of time. These settings are obviously useful for night-time and low-light photography, but I use them in daylight because they get results. The car I am in is also moving, as slowly as is possible, under whatever circumstances arise on the road. I try to work when the speed of the car is slow in an attempt to gather as much available low and high-level light as possible. This is because both the infrared and ultra violet areas of the light spectrum enable phenomena of the sort I am seeking – literally opening windows onto other worlds.
All of us, all events, indeed all of life and the process of living, leave living records of light and sound. There is nothing that is not recorded. The theory is that this information of light and sound, stored in some as-yet-unknown-way, doesn’t disintegrate with time and is permanent. This seems to hint at the information being somehow stored ‘outside of time.’
This seems similar to the records of local events stored in surroundings such as walls, stone, furniture and other objects, but it isn’t quite the same. These local residual records do deteriorate over time, and can be released or altered by change or destruction occurring to the places and objects they are stored in and around.
As such, they are like semi-permanent temporary localized databases that eventually expire. Some are stronger and remain for very long periods, even many hundreds of years. Quartz crystal lenses and antenna were a necessary component of at least one time-camera due to the fact they didn’t block ultra violet rays as ordinary glass does. This is why it’s impossible to get a sun-tan behind glass.
It is ultra violet radiations that contain the records of the past, both as light and sound waves. This is an absolutely vital key to a more complete understanding when researching anomalous images.
The ultra violet frequency is literally a carrier wave for recordings of the past, both of light and sound. These can all theoretically be retrieved. Each life form has a unique frequency, similar to an electronic ‘fingerprint’ that is encoded in the DNA.
Landscapes geologically rich in quartz and certain other minerals are likely to retain residual data more powerfully and completely and also for longer. Quartz does record, store and transmit data beautifully, which is why it has always been used for various types of paranormal work. It is also why it is used in technology today, and why it will continue to be used on into future generations with more advanced technology, either for great good or great evil.
Our technology is rather cumbersome and barbaric at present, but it stands at the threshold of new worlds and astonishing discoveries. Some of them have already been made and suppressed. Some were used commonly and then forgotten, lost or suppressed in pre-deluge civilizations. Many secretly know that the technology most people are aware of is about seventy years behind that being constantly and covertly worked on behind the scenes. It is a shame that a high level of technology does not mean that a society, country or planet also can enjoy a high level of civilization. That is obviously not the case anywhere on this planet [but it could be].
Whether we are as individuals or societies behaving in either a negative or a positive and beneficial way, everything we do is permanently and perfectly recorded in a flawless way that takes the form of ultra-sophisticated holograms of light and sound. This is truly Nature in action in a way that we can only barely understand.
It’s also why at the end of a lifetime we are able to view our actions and the results of them and can then assess our progress. These perfect and interactive holographic records also contain the emotions, senses and feelings of all who were involved in our life at the time, every single soul we had contact with, no matter how little.
What other system could enable a complete understanding of our own and other people’s actions and reactions, and their overall results on everyone involved and the planet itself? Life is consciousness, and everything is in reality alive.
Further down this article, I describe a colored bar-like anomaly that I find in my pictures. If I‘m correct about the function of the ‘purple bar’ that I discover in my night photography (see my article ‘How to Look at the Photographs and Discover what is Really There’) then I may have a ‘built-in’ access to the ultra violet frequency that in some way enables me to take such astounding photographs.
George De La Warr invented the Radionic Camera during the 1950’s. He was not by any means the only person to develop an instrument capable of photographing outside of time and space. There have been quite a few of these fascinating creations, but De La Warr has left us good photographic examples and his amazing experiments are repeatable, with Radionic Camera plans readily available. He claimed to have photographed both the past and the future. In De La Warr’s opinion “Time is a vector of the magnetic spectrum and that spectrum has a place in itself for events…There is a pre-physical world in which the camera might be expected to operate”. (A vector is a combination of two inputs.)
When a spirit or an image from outside what we consider to be our time and space continuum appears on a photograph, it manifests at the vector of the camera’s speed of recording, or shutter speed, and the spirit’s linear travel speed, which must to some extent match our own at the time the image is recorded in order to be visible to us.
There is always a little bit of ‘dimensional crossover’ occurring, but we miss most of it as it usually happens just outside the range of our physical senses.
A Variable Property of Time
Perhaps this is partly because time exists throughout the universe simultaneously and yet seems to have a density or ‘texture’ that responds to certain things, accelerating and condensing itself accordingly. There is a variable property of time, a thickness and thinness that is most intriguing. For instance, it is now widely believed that thought can influence time. It’s very possible that an evolutionary leap in consciousness would make us multi-dimensional beings, masters of time and space, able to contract or dilate it for our individual purposes. Many people believe this is beginning to happen.
My photographic experiments have yielded different results, but low light are the most successful. In many woodland settings the light is low anyway, and sometimes I deliberately take photographs just before dusk. Then I shoot into areas where trees meet sky, especially when the sky is gray. This has led to me receiving many, many images that are like pencil sketches or artwork, with people as subjects. These are sometimes quite complex, with personal and clothing details.
I believe my results are due to the low intensity of visible light. Psychics have always known that manifestations happen more easily when our ordinary visible light is low. Not only are spirits easier to see in the dark, the likelihood of an occurrence is increased.
Visible light detracts from the ability of paranormal phenomena to manifest fully, which is why the threshold times of dusk and dawn have always been associated with psychic and magical events.
Most psychics understand the effectiveness of these times of natural low light, but a darkened room can also serve a similar purpose. The idea is to facilitate a dimensional shift. An example can be seen below
The mirrored artwork above also contains a mirrored spirit image. A woman from a different age, time and place stands staring ahead. Her body is slightly angled to the side. She is wearing a shawl over her shoulders. Under that there is possibly a jacket is hung with feathers all around the bottom edge, although only three are completely visible. They look like hawk feathers.
The mirrored artwork above also contains a mirrored spirit image. A woman from a different age, time and place stands staring ahead. Her body is slightly angled to the side. She is wearing a shawl over her shoulders. Under that there is possibly a jacket is hung with feathers all around the bottom edge, although only three are completely visible. They look like hawk feathers. The picture is examined in further detail in the ‘Mirari’ digital art gallery
Below is the image of this lady cropped out. The feathers suspended from her clothing suggest that she might be a wise-woman of some description or perhaps even a faery. She seems to be European rather than North American. These pictures do not necessarily reflect the environment, country or time period that the photographs are taken in. This is one of the mysteries of the photography work that I’m doing and points once more to a possible holographic factor at work. The mirrored artwork above also contains a mirrored spirit image. A woman from a different age, time and place stands staring ahead. Her body is slightly angled to the side. She is wearing a shawl over her shoulders. Under that there is possibly a jacket is hung with feathers all around the bottom edge, although only three are completely visible. They look like hawk feathers.
This cropped image is taken from the left side of the piece of photographic spirit art shown above.
This woman had long hair past her shoulders. She’s looking slightly off towards the right. She is wearing a short shawl and has on a long skirt to the ground. The feathers can be seen suspended from a long upper garment of some sort.
This picture is dealt with more thoroughly in the ‘Reflections from a Magic Camera’ gallery
On some of these photographs, the light has the appearance of being sectioned into vertical or horizontal folds across the entire image. Sometimes each fold contains the image of a separate person, although the perspective is often unusual.
The entities are captured on the image within their own layer of time and space, or vibrational level. An interesting point is that the images sometimes have to be rotated 180° to be viewed correctly with the spirit images displayed upright.
The ‘folds’ of light that bend the images seem to represent a frontier between one vibrational level and the next, revealing what is usually concealed from our eyes. This cropped image is taken from the left side of the piece of photographic spirit art shown above. This woman had long hair past her shoulders. She’s looking slightly off towards the right. She is wearing a short shawl and has on a long skirt to the ground. The feathers can be seen suspended from a long upper garment of some sort.
This picture is dealt with more thoroughly in the ‘Reflections from a Magic Camera’ gallery
Viewed ‘edge on’ these folds look very much like the pages of a book and contain retrievable visual data found stored in each one separately as though the vibrational frequencies were stacked in tunable layers. Occasionally a spirit will be captured in movement, creating a very interesting visual Doppler effect on the photograph. This visual and auditory data is always available, but conditions must be agreeable and it can’t be discounted that the photographer should be a photo-medium possessing the special and unique configurations that allow the manifestation of the visual information in the photograph. It has been noted that the presence of a physical medium standing near to or touching a photographer with no developed psychic abilities while she or he takes the photographs will sometimes enable the obtaining of paranormal images in some degree.
The presence of a medium might not be necessary at all with the use of specialized equipment, much of which has already been invented and subsequently suppressed. There are myriad reasons why certain factions don’t like the idea of this kind of technology becoming publically available.
Another way that the spirits are able to ‘speak’ with us is through the use of art. Wonderful art is sometimes created by mental mediums on paper or canvas as paintings channeled from the spirit world, and this is a lovely form of spirit communication. Music, poetry and literature have been created in the same way.
I have discovered a new way of producing spirit art using a camera and the cooperation of many entities in a precise and coordinated experiment in communication that produces stunning visual effects and art of a very beautiful and mystical kind. Very often scenes are captured that when put into a mirroring program make startling imagery that records mythic imagery and spirits of many types and species in paintings of light. The careful placement and juxtaposition of these photographic subjects are so exact and deliberate as to point to extremely precise pre-organization and planning that would necessitate technical understanding regarding the true nature of time and space. This often creates meaningful spiritual art of astounding and exotic beauty. I have many hundreds of beautiful pieces, one of which can be seen in miniature below. An explanation of this and other examples can be seen in the ‘Just the Other Side of Here’ photographic art gallery, ‘Reflections from a Magic Camera’.
The amazing thing is that all of this digital art is created from photographs of rural landscapes and shouldn’t in fact exist at all in the form exhibited. Despite the fact that mirrored pieces are bound to contain interesting simulacra, many of the images in my art are obviously so much more than that. They are always slightly misty and out of focus, bearing the signs of the movement that often enables this activity. Ectopasmic mist and vapor also cover the images like a fine mist, sometimes interacting with the movement to form folds and veils that burst into vivid rainbow colors as soon as I adjust the exposure of the images.
I always adjust lighting, color and contrast etc., but I never add anything to this art by introducing an element that wasn’t there in the first place. It’s an exciting experience to look at a new batch of photos just put on disc and find the hidden treasures, whether they are scenes from the past or future, the spirits of many different types of beings seeking contact or beautiful art full of messages that I am co-creating with otherworldly beings.
|Here are the eyes that belong to the face in the mirrored image. The middle image is slightly sharpened and the color values have been slightly enhanced. The bottom image has had glowing edges in black applied. I included it because it makes it look like an illustration. If you didn’t know it was part of a photograph you might assume that it was an enlarged section of a picture taken from a comic book|
An Example of a Photograph Containing Time Anomalies
I experimented with night photography around areas of the town I reside in and picked up quite a lot of anomalous images, including what appears to be a complex image of a motorcycle accident that possibly occurred in the past (I am very interested in the possibility of photographing past or future events and I believe I have done so in this case).
The shot was actually taken on a still quiet street late one night in the industrial section of Mission, and there was no-one present but my husband and myself. There was certainly no accident. I have included this fantastic photo and the amazing edited imagery from it in this CD presentation so you can experience it for yourself. See ‘The Mission Motorcycle Accident’ gallery. Here are the eyes that belong to the face in the mirrored image. The middle image is slightly sharpened and the color values have been slightly enhanced. The bottom image has had glowing edges in black applied. I included it because it makes it look like an illustration.
If you didn’t know it was part of a photograph you might assume that it was an enlarged section of a picture taken from a comic book
The Purple Bar
While I was going through some of these night images I noticed something very strange that I mentioned earlier on. On several photo’s I could see a purple section, a bar that ran vertically down the picture, taking up approximately one third of it. I freely admit to knowing next to nothing about photography. I thought it might have been a natural phenomenon of some description, but no-one I talked to had ever heard of it before. I started to check all my night photos. By playing with the light and gamma settings, I soon found that each and every photo contained what I have come to call ‘the purple bar.’ I eventually found it on a few of the darker photos I had taken in the day. In other words it is probable that this ‘purple bar’ is present on each of my photographs, even if invisibly. More surprising was my discovery that in each bar I checked, if only vaguely visible, a pair of eyes looks back at me (see my article ‘How to Look at the Photographs and Discover what is Really There’ for a photograph of this phenomenon). I don’t know if these are my own eyes, reflected back from the bar, but they look familiar and I think they are.
Anyhow, I have to wonder what this bar is. Is it present in the photographs of other psychic photographers? Is it photographing through this unknown agent that allows the anomalies to appear, or is it in itself an unrelated anomaly? I feel intuitively that it may be an important factor. I think it’s a great shame that people do not take their anomalous photographs into a good image editor and have a proper look so that people can share and compare information.
Here are My Reasons, and My Advice to Other Photographers
There is a whole world of difference between taking your photo into Photoshop and ‘creating’ a fake anomaly, and taking it in to adjust light, exposure, color, contrast and sharpness settings in order to bring out the image more clearly. Always keep the original, untouched image, that’s only common sense, but please experiment with copies of that image. As light settings and color values are subtly changed and tuned, often anomalies do become clearer and new anomalies appear that were unnoticed before. I have examined many dozens and dozens of internet galleries full of ‘ghost’ photos over the years, as well as countless paranormal images in books and other publications long before I had a camera myself, because I’ve always eagerly studied this subject. There are so many good photos out there, apart from the mistakes and, much more rarely, the fakes. Thousands of people are getting results, especially using digital cameras.
Most people get orbs, the most questionable and controversial of anomalous images. Unfortunately, many natural conditions mimic the appearance of orbs. I personally believe that good examples are quite prolific, but it would be difficult to impossible to prove at present. As most of the anomalies captured on camera are orbs, this doesn’t end up telling us very much. I have only recorded a very few possible orbs in my own work. For some reason, I don’t seem to get them often, and I’m glad, as it would cause a lot of extra work for me and I already have enough. They don’t interest me nearly so much as manifested entity forms, and they are a lot harder to categorize as anomalies than a clear, recognizable face or figure, at least for the photographer. I have found, however, several websites owned by people who are doing very serious and impressive work researching and categorizing orb activity and there are books available that have been written about orbs and related phenomena.
Examining other people’s photos has enabled me to learn a lot when comparing them to my own. I sometimes find pictures that look very much like mine, with similar textures, imagery and overall appearance.
Several times I have lifted someone’s image and taken it into an editor to satisfy my curiosity. These photos usually have one visible anomaly that a person has discovered and excitedly sent in to one of the major paranormal photo-sites. The untouched photograph is usually displayed as is, with no editing. If you are lucky, the significant area will be magnified. Examining them and editing them often reveals other anomalies unnoticed by both the photographer and the host paranormal site. This is particularly amusing if the photo has been deemed a possible fake, and I find a lot of anomalous activity on an image that neither the resident ‘digital imaging specialist’ nor the photographer had noticed themselves. Of course, there is nothing I can do about this as these photos are not my copyright property and when I’ve finished checking them I have to delete them, but I am constantly surprised that no one, not even most paranormal photographers, are more thorough in editing and checking these exciting images
Too ‘Good’ To Be Real
Once again, scientific research has put the dampers on experimental research, making people scared of accusations of hoaxing. No-one will ever discover anything under this stultifying regime. That is not how psychic energy works. It is playful and interactive! I ran into trouble with ghost hunters myself when I foolishly joined a ghost-hunters research group online so that I could discuss my own and other people’s experiences and results. After introducing myself, I added a link to a website I had opened temporarily to display some of the photographs I had taken. I was immediately inundated with negative and sarcastic mail. There were some who ridiculed my work because I hadn’t followed the criteria they had set for taking paranormal photographs after I had explained my methods. Because I had changed settings and taken some of the photos while moving, they were not ‘valid.’ The fact that there were very clear and identifiable images on a lot of them that could not possibly be caused by movement, weather, or any of the many other supposed enemies of paranormal photography, went right by them. The main objection from most people, though, really surprised me. The general consensus was that my photographs were ‘too good’. They couldn’t possibly be paranormal images because they were too clear, varied and prolific. I must have created them in Photoshop. No one was taking photos like this, and in so many categories as well. If I was for ‘real,’ I was told, it would be too amazing.
I was too good! I couldn’t believe they wouldn’t give me a chance, and every time I tried to state my case the hostility grew. If I was real, they said, people would want to study me, but as my photos appeared too good, I couldn’t be for real, so they weren’t interested. Circular thinking is certainly one of the enemies of progress.
For a start, they claimed that I couldn’t have captured that many spirit faces. It didn’t happen (I beg to differ – I have seen this phenomena before on other peoples work, even if not often) and therefore my images couldn’t be real. I assured them that it did, and that I had before got a dozen or more on one photo. I was ‘told off’ by a young and very arrogant researcher who had personally racked up many, many frozen hours hanging around cemeteries in the dark with his group. He had spent hundreds on sophisticated equipment (I’m not knocking this specialized equipment, it has great value and I would like to own some of it myself) and had also painstakingly recorded times and dates, weather conditions, temperatures, the people present and all the other data necessary for a careful scientific experiment to be carried out.
After many months this group had captured a single possible orb. They were deadly serious about their research and approached it with absolutely no pleasure, lacking any sense of wonder or humor. Disappointing as this was for them, I do believe an open mind and a willingness to experiment would have enhanced their attempts to record phenomena, and advertising for someone from their area that had a genuine psychic gift to be present at their shoots would have helped them to capture more and better anomalous images.
But it seemed to me that their self-imposed work was joyless and barren, and anyway their hostility towards me was uncomfortable and unproductive. They were not able to think outside the box, and besides, even if they had captured a hundred orbs on film, what would it have proved to anyone else? They would simply have joined the other many thousands and thousands of orb photo’s that can be found all over the place.
I withdrew from the group (a sure sign to them of my ‘fakery’, I’m sure) and resolved to join no more. I might start one of my own in the future that is dedicated to open and creative experimentation.
As well as these obvious drawbacks to joining this kind of experimental group, I was studying these subjects long before most of the people involved were born, and I wasn’t impressed with their overall lack of general education where paranormal subjects were concerned. I don’t expect from their attitudes that they will be taking any initiative in the near future.
My own experiments are open and free. I am not trying to prove anything. I believe that would be a fruitless and unproductive task. My hope is that my work, both in the form of paintings, writing and paranormal photographs, will speak to people through heart, mind and spirit. If what they said was true, might my interdimensional photography be that ‘good’? Good is an uncomfortable word, really. I work very hard when it comes to my paintings, even though I enjoy it, and if people say I am talented or good, that’s fine.
My photos are a different matter, however. As I have continued to receive these images, I have become more psychic generally and photographed in more categories. Like an exercised muscle, things become more enhanced and finely tuned, and yet I wouldn’t call it the kind of talent that is learned and worked at in the normal sense.
There is not much work in devising and setting up my experiments and sessions with the camera. Apart from that, I literally only point and click. The work that comes afterwards however is a different matter. The sorting, writing and editing can be grueling, even if it is self-imposed.
There is no photographic or compositional skill required. A lot of it is random. So, I’m not ‘good’, but I do believe I have been given a psychic gift to use and experiment with. I see this as a way to show others who are open to exploration the realities of other worlds and dimensions, and also to give them the knowledge that they will not cease to exist at the death of their physical bodies. So maybe I have that talent, and I’m willing to work with others who recognize that possibility. Many people have sat with me and seen the instant results of my photography within minutes of pictures being taken.
I suspect that a lot of people will soon be taking many more anomalous photos as time goes by. I think some people already are and either don’t know it or don’t wish to tell people. I encourage everyone to check their photos very carefully. A lot of people are not aware that they have a psychic gift and an anomaly can often appear at first sight to be a film or camera glitch. This means, especially with so many digital cameras about, that a lot of these unusual snapshots get erased.
After all, most people are looking for perfect pictures, not anomalies. My daughter and several of her friends have sometimes shown me strange photos that they have taken that appear to have paranormal content. They seem unconcerned and take it as almost natural that this should occur sometimes, and I agree. It is becoming more prevalent, and will continue to do so as time progresses. This is partly because of the popularity of the digital camera. I think that digital cameras are very good at aiding people in capturing anomalous images. They have the ability to ‘see’ or record more of the electromagnetic spectrum than the ‘visible spectrum’ we can normally see with eyes alone
As I was explaining at the beginning of the article, we can in reality only see a very small portion of this electromagnetic spectrum. We visibly miss most of what is actually going on, which is good, because it would be very confusing trying to function here on this planet with the limited understanding we at present have if we could see everything that was really there. So a photographic psychic medium may in some way be a ‘translator’, the go-between who electronically enables what is recorded digitally to appear for all to see. The possibilities for experimentation and research seem rich and varied.
As a self-taught artist, I have been very experimental, learning techniques from books and then developing my own techniques and style almost immediately. I have approached paranormal photography in a similar intuitive way. This wasn’t exactly planned; it is just the way in which I approach things naturally. I get more done that way and what I do is unique.
I have not yet been able to retrieve anything from a still photograph that anyone has taken unless it already contains visible paranormal anomalies. In my own experiences, I have found that psychic information cannot be retrieved from a still photograph unless it already contains recorded paranormal content in it. In other words, an ordinary photograph with no extra content remains just that, and no amount of editing will discover any extra data. This is to be expected.
I did however, discover something else that seems incredibly exciting that I never expected at all. One Saturday morning, I was up very early as my husband had to leave for work at 6.00 a.m. that day. Feeling a little under the weather and slightly bored, I turned on the TV. The wedding ceremonies of Prince Charles and Camilla Parker Bowles were being televised live on several channels. I am not particularly interested in British royal affairs even though I am English. I often lose interest while watching television anyway, and this was no exception, so at one point I got out my camera, opened a window and began taking photographs of the sky and trees outside.
When I had finished I sat down again, and, just for the heck of it, began photographing the ceremonies. I took numerous shots. This was the first time I ever took photographs directly off a TV screen and when I looked at them, I saw that a very exciting event had occurred. There were strange anomalies on quite a lot of the shots, but one in particular was so amazing that I couldn’t believe my fortune. In a picture of both Prince Charles and Camilla Parker Bowles, a large, very clear image of a man’s head appears, glaring and malevolent. It certainly wasn’t a scene-change, double image. He looked very angry. I include the photo on this site in the interest of sharing this information due to the highly unusual circumstances surrounding the image. This photograph is presented in the ‘A Selection of High Strangeness’ gallery.
After this happened, I began photographing such TV fare as ‘Britain’s Most Haunted’ and other documentary programs dealing with psychic phenomena and hauntings. I taped these programs first and then replayed them, making sure I avoided all scene shifts and those extremely annoying special effects that some of these documentaries use as useless and sensationalized filler. When it comes to programs about ghosts and haunting, spirits are often right where various psychics say they are seeing them at the time. I have enough photographic evidence to convince myself that Derek Acorah is a genuine medium, for instance. Great fun!
To my great interest, I found I was picking up a seemingly endless array of anomalous images. I have also photographed such things as documentaries and news programs with similarly successful results. Since that time, I have reached some interesting tentative conclusions with fabulous implications for researchers of paranormal phenomena everywhere.
The exciting thing I discovered is that:
1. Video footage invisibly records any paranormal activity occurring at the time the footage was shot, whether or not the camera operator was psychic. And because video footage to one degree or another records these paranormal phenomena, even though they are usually invisible, a photo-medium or psychic photographer can take photos of the recording off the screen as it plays back and the psychic data can be retrieved, becoming visible on the photographs of the photo-medium.
2. This is a potentially stupendous discovery and the implications are far-reaching. My CD ‘TV Ghosts & ITC Experiments’ explores this subject fully with photographs and text accompaniments. Imagine the psychic activity surrounding great or dramatic world events. One exciting thought is in regards to history.
I recorded and then photographed a documentary about the last days of Pompeii. A lot of readers will have seen it, I’m sure. I captured several spirit faces and figures that I believe to be of ancient origin and dating from before the disaster, which is hardly surprising under the tragic circumstances.
This seems a very exciting possibility to me.
Black Bag Shots
I have also captured anomalous images from old black and white newsreel and similar vintage footage, although I haven’t yet had access to very much. Since then, I have taken my experiments one step further. I have a folder on my computer that is labeled ‘Black Bag Shots’, my name for a curious method of collecting anomalous images in ITC experiments.
This is how these photos came about. I had completed a painting that was too large to fit inside the storage folder where I usually keep them. It was still mounted on one of the pieces of hard clear acrylic sheeting that I tape them to during painting. To protect it I wrapped it in a black garbage bag and stood it upright against a bookcase until I could find a better place for it.
Later on I was taking photographs inside the house. I happened to pass the camera over the bag, and as I did so I noticed that the reflections and wrinkles on the bag made interesting patterns of light and dark. I took a few shots on the night setting, moving the camera slightly and deliberately as I did so. When I looked at them, the clear image of a man’s face was looking back at me from one of them. If spirits do use the light to manifest in, as I firmly believe, then it seems to me that it shouldn’t make much difference when or where the photography takes place, as long as a suitable background and light source are provided for manifestation purposes. I have a lot of ‘black bag shots’ that show clearly defined anomalous images. I have included in the photo galleries on this CD some examples for your consideration
I think that there are a lot of spirits who are looking for an opportunity for some kind of communication, and some of them may even be cooperating with certain psychic individuals in an experiment between this and the spirit world to reveal not only the fact that life continues after so-called death, but that it also exists on many more levels than most people think. I also believe that at this time other dimensions are again becoming more generally interactive with our own as they once were a long time ago, and that this effect will continue to expand. Many people will begin having more psychic and spiritual experiences. For quite a few this is already occurring, especially where children are concerned.
The prolific nature of my photography seems to point to many of the places I take pictures in being badly haunted, photos of elementals excluded. This isn’t true. The difference between a true haunting and some of these photographic anomalies is explained in the ‘Glossary of Psychic Terms’ under ‘Haunting’
I may be leaving myself open to ridicule and accusation from some areas, but I’m willing to live with that because I truly believe in what I’m doing. Nothing happens without a reason, and I will continue to experiment because I know that it will be a voyage of discovery, an ongoing journey. I’m also not claiming that I never make a mistake about an image. Out of the many hundreds I have now edited, along with the thousands I’ve seen but have not had time to edit, I must have made some. But from the sheer amount I have now amassed, I am also getting a very large amount of genuine paranormal imagery. I hope that some of you will be encouraged to experiment also, and if you do, I would love to hear about it. Your experiments are only really limited by your interest combined with your creativity. Of course, there are also many more ways to experiment paranormally than just with photography, and it’s all of great and on-going interest to me.
Protection: Before you attempt an experiment, ask for personal protection in a way that is familiar to you, whether it is through prayer or some other spiritual exercise. If you don’t know how to ask for protection there is a section you can find in the CD menu that will explain how to do this and you can practice until you feel familiar with any exercise you select.
Making Contact: You can ask that this be a co-creative effort between yourself and spirit before you begin your photography. This may work for you. Spend a few minutes quietly tuning in to what you wish to achieve.
Digital Camera: Use a middle of the road to good digital camera with at least one low light setting (such as candlelight). A fairly high resolution is best, if you wish to pursue this seriously. If you don’t have access to a good camera, take heart, anomalies are frequently captured even on cell phone cameras.
Movement: Experiment with movement, taking pictures with varying speeds and types of movement. You’ll find if you move too swiftly you’ll get nothing but a blur. Details such as the angle the camera is held at and the amount of available light make a difference also.
Camera Settings: This is also an area to experiment with, but I have discovered that low-light and night settings facilitate the manifestation of anomalies in photographs.
How Many Shots: Take as many as you are comfortable with. The more photographs you take the higher your chances of finding an anomaly. I usually fill my memory stick, both when I go out and when I shoot a TV program. If I’m performing ITC experiments with reflective surfaces I may take less, but that’s my personal choice.
Experiments: This is where you can become creative in your approach to obtaining paranormal material. ITC experiments involve attempting to establish and record spirit contact electronically. Experiments can be elaborate or simple – it’s up to you. One thing to remember, if you are going to photograph the TV, record your selected program first and photograph it as you play it back. This way you’ll be able to check that the big ghost in the corner isn’t actually someone’s coat hanging on a peg in the corner of a room, or a superimposed image from a scene change.
Save To a Disc: Always save your original photographs to disc at full resolution. Make copies to edit and experiment with.
Edit: It’s simple really. If you don’t edit your photos you will never see what’s really on them. It’s up to you. Write: Record your experiences in some way. I use notes, articles and text to accompany my photographs, but I could use audio files if I wanted to, and so could you.
Remember: Nearly all the anomalies I present are clear to see – for anomalies. Unless the content on your suspected psychic photo is recognizable in some way, especially after editing, it’s probably best not to present it as an anomaly.
Success: When you are successful, be brave and share your results. The more people who experience this phenomenon for themselves the sooner the fear and disbelief surrounding this subject can be dispelled. And the more people who experiment and share their results the more discoveries will be made. If you find you get a lot of results, consider building a website to display them in.
Good Fortune to You!
Email Jane Tripp at: [email protected]
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