HIGH ALTITUDE UFO PHOTOGRAPHY
by
Trevor James Constable BSRA
A significant breakthrough has been made in photographing UFOs at high altitude, by making unconventional use of conventional photographic materials and apparatus. Since the days of Meade Layne's epochal treatise "The Ether Ship Mystery", BSRAssociates have not been in much doubt about the reality of UFO presence, or of the surveillance of earth life by the controlling intelligences. Similarly well established in the consciousness of BSRAssociates are the "critters" -- the variable density organisms whose natural habitat is our atmosphere and the heights beyond. A very simple technique has been discovered by me for making color films of these two broad types of UFOs -- the critters and the constructs -- shooting directly out of airliner windows at 30,000 feet or better. Up there near the darkness of cosmic space, things happen.
Some crucial mysteries of light and color are involved in grasping this new set of findings, chief element in which is the appearance of full color on a movie film exposed through an 18A filter -- a filter designed to absorb all visible light. The method is simply to set out to take a non-photograph or movie film, by placing an 18A filter over the camera lens. Conventional opinion, based on the spectral absorption of the 18A, would hold that it is impossible to get radiant reds, yellows and blues through such a filter, let alone record pure white objects. Yet the fact is that it happens, with jarring consequences for the old Newtonian color theories. Let's look at the whole scene from the beginning.
Massive historical glamor has surrounded Newton's experiment in which he went into a totally dark room, let light in through a peephole and passed the light through a prism. Lo and behold, a beautiful rainbow appeared on the wall, as the prism broke the light into its constituent colors. Color theory down to this day has been dominated by this fundamental finding, which is perfectly valid as far as it goes.
One vital thing was overlooked in this experiment. Today it bears heavily upon the solution of the UFO mystery in the twentieth century. Overlooked was the essentiality of a boundary or edge between light and darkness to the production of the colors. In Newton's experiment, the boundary of the hole in the wall is absolutely essential if the colors are to appear. No edge or boundary, no colors. The immortal Goethe first observed this crucial element in what had already become the classic concept of colors and their relationship to white light.
Goethe also found that when the prism was used out in full daylight, looking through the prism at a discrete dark boundary or edge, the colors appeared in reverse order. As a natural scientist immersed in the polarities everywhere apparent in the living, Goethe saw the darkness as an active agent in the production of color, and not just a passive presence. From this it was a short step to conceive of the color spectrum not just as a classical straight line running from red through to violet, but as a circle. In this circular color spectrum, green is placed opposite the color peach-blossom, a pinkish, light magenta.
Goethe conceived of the "dark pole" of the color spectrum as containing blue through violet, and the "light pole" as containing yellow through red. Green arises, according to Goethe, only when the light and dark poles meet. So also with peach-blossom, produced from the mingling or meeting of red and violet. The 18A filter absorbs both the red and the violet, but passes both the infrared and the ultraviolet, i.e. the two invisible "ends" of the visible color spectrum in the linear concept of color that has descended to us from Newton. If Goethe's bipolar conception of color is correct, we should expect to find this invisible borderland a region of highly active etheric forces.
In proceeding counter to conventional theories and concepts in our experimental work, let us begin with a good Super 8mm motion picture camera. One of the new low-light cameras should be used, such as the Minolta XL-400, which is also fitted with a built-in intervalometer. The latter device allows you to expose your film at about two frames per second, instead of eighteen or twenty-four frames routinely used for motion pictures. By shooting at two frames per second, we can extend the "surveillance time" of a standard 50-foot magazine of color film to about 25 minutes. The film to use is Ektachrome 160, available at any photographic store. The camera should be used on its tungsten setting throughout.
The Tiffen Company in New York manufactures the 18A filter, which is a catalog item with them, and which your photographic dealer can order for you. When you put this filter up to your eye, you will have to strain to see even brightly lit surfaces through its heavy violet density. The filter more or less manufactures darkness out of daylight. If Newton is right, we'll certainly come out of all this with blank film, for there is seemingly no way we can get colored forms through the 18A filter and on the film. We have devised a method of taking a non-photograph, by aborting with the 18A filter the normal process cf making a colored photograph.
UFOs are a major generator of anxiety. Neurotic urgency is behind most skepticism in this field, because through their power and capabilities the UFOs that have been observed -- in the full visible [3] state and all over the world -- are a radical challenge to the mechanistic world-conception. You are dabbling here with truly staggering matters. Therefore you must be prepared to "prove" in your film that you actually were up in an airliner when you shot your UFOs. The airlines will not like this, but the Guardians will.
Pick a seat and a flight that will put you on the shaded side of the airliner. Shoot down-sun at all times to obviate spurious reflections. The rearmost seat in the plane is usually best, especially for minimal curiosity on the part of your fellow travelers. As the plane takes off, and again as it reaches cruising altitude, shoot a couple of short pieces of film without the 18A filter over the lens. This will put a completely normal color rendition of the wing and the airfield as you take off, and as you barrel along at cruising altitude, right there on your film for Mr. Skeptic.
Once at cruising altitude, slip on the 18A filter and start the camera steadily shooting at the "empty" sky outside. Two frames per second, click click click. You may evoke curious stares initially, but everyone will be stunned with alcohol before long and will forget the nut with the camera. Relax every so often. Holding the camera flush with the airliner window gets tiring. Every so often, remove the 18A filter and clip off a few more orientation shots that prove you were in the airliner when it all happened. Shoot as many rolls as you can afford or the length of flight permits.
Have a commercial laboratory process the film for you. All the necessary controls are then applied automatically and unwittingly by people who don't know you've been shooting UFOs. Use one of the smaller, local laboratories. Avoid nationally-known, "name" laboratories and processing. There are such things as government burglars and you may find that your film is reported by these outfits as "never received". You are usually in good hands with a smaller laboratory.
When your film is returned, have available an editor-viewer with a large screen. This is relatively inexpensive, and is the best method of evaluating what you have obtained. After you project the film in the normal way, you will know if there are any unusual forms and colors on the film. Periodically, your orientation footage will flash on the screen, firmly establishing the geometries of the scene. In between, you should have only dark stretches of film containing nothing... says Isaac Newton.
Here is what I have found to date: A series of four successive exposures of a beautiful red and yellow "critter" literally warping out -- or dematerializing -- while pacing the airliner at 500 mph. Several series of exposures of stark white, Adamski-type ventla UFOs accompanied by large, diffuse blue fields of force [4] adjacent to them. One series shows the airliner win silhouetted against the UFO. In every case, the colored UFOs reverse out of the black background of our artificially created darkness-in-daylight.
Another chain of 25-30 exposures shows a flying disc, yellow in color, approach the airliner from the starboard side and shaft the beam twice, receding from view each time. Two frames a second is sufficient to record unequivocally this seeming inspection. Another chain of exposures shows something off the starboard wing on the fringe of tangibility, ruffling around in that peach-blossom color for perhaps a minute of elapsed time. Then in one startling frame there appears a monstrous form replete with awful-looking spikes on its back and what looks like a beaked head.
How does all this red, yellow, blue, white and peach-blossom color get through the 18A filter? Obviously, it does not get through the filter, but is manufactured beyond it by the mingling of the two invisible ends of the spectrum. That is, the color is produced between the filter and the film, inside the camera. Obviously also, somebody, somewhere, is not quite right about the origin of color. The evidence is strong that Newton was only half-right, and that Goethe added the missing polar element.
With this simple discovery, a breakthrough has been made to one of the fundamental, bedrock problems in understanding UFOs: the polarity problem. Unseen-but-real objects constrain a complete revision of thinking as a minimum response, and ideally enjoin a completely new thinking. Today's superlative apparatus and materials have laid this unseen-but-real business bare, to the point where it is so objective, so real, that the scientist must decide whether he is going to investigate or bolt. This time, the spirit has to be let in, along with the heretofore closed subject of the etheric formative forces.
These latter forces are the transducing media for spiritual forces reaching the earth from outside time and space. Goethe's light and color theories derive from a world view in which spirit has its proper-place, and what I have found out with modern films, cameras and filters cannot be conveniently split off from the fundamental etherian physics involved. Goethe was the first fundamental theorist in etherian physics. His world conception was elaborated and carried forward in the 20th century by the late Dr. Rudolf Steiner. I am personally indebted to Dr. Steiner for the indications that led to my probing around at the ends of the color spectrum.
A new age of scientific exploration is opening under the nose of the old order. The etheric formative forces increasingly appear in the orgone energy motor and cloudbuster devices of Wilhelm Reich and in other fuelless motors now a-borning, as the prime-movers in all-new, life-sustaining and life-positive [5] technology. UFOs inevitably lead to all this if their phenomenology is openly and honestly perceived and diligently pursued in the direction in which it beckons. We can close with another salute to BSRF founder Meade Layne, who called it the ether ship mystery. Right on, ML! No ether theory, no solution.
"ETHER SHIP" at 30,000 feet -- Invisible!
"Meade Layne was 100 percent right", says Trevor James
BELL-SHAPED UFO photographed off the port wing of an airliner flying between San Jose and Long Beach, California in November of 1975 by borderland investigator and researcher Trevor James Constable. His "darkness-in-daylight" technique has plunged the full daylight outside the aircraft into an artificial darkness through the use of an 18A filter over the camera lens. The UFOs then amazingly reverse themselves out of this darkness in full color, for firm objectification on standard Ektachrome 160 Super 8mm movie film. On the original color film, the UFO is stark white, and the wingtip and navigation light faring are the lance-like black protuberance silhouetted against the body of the UFO. The diffuse area above the UFO is brilliant blue -- undoubtedly radiation of an etheric nature connected with the propulsion of the UFO. Inset is normally exposed orientation shot, showing airliner wingtip on take off from San Jose. Film was commercially processed. Investigator TJC obtained strings of exposures showing such UFOs -- invisible to airliner passengers -- buzzing and pacing the aircraft.
Looking for more on Trevor James's insights into the Ether Ship Mystery? Limited quantities of the BSRF edition of "The Cosmic Pulse of Life: The Revolutionary Biological Power behind UFOs" by Trevor James Constable are available at a storage discount price. Explore the connections between Wilhelm Reich, Rudolf Steiner, and Dr. Ruth B. Drown. Orgone, Etheric Forces, Radionics, Spiritual Science, Cosmic Electronics, and Living UFOs - all subjects expanded and explained over 470 pages. 40 pages of illustrative material. Our few remaining copies will be sold out soon.
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Further Reading
- Layne, Meade. The Ether Ship Mystery and Its Solution: A Booklet for Public Information. San Diego: BSRA, 1950. Print. [Expanded re-issue by BSRF: <#B0034, "The Ether Ship Mystery">]
- James, Trevor. They Live in the Sky. Los Angeles: New Age Pub. Co, 1958. Print. <http://amzn.to/1vCOJbg>