Even the Sky is not the Limit

Showcase of Pictures by Ray Jardine

There is more to everything in nature than meets the eye

Reach out

Reach out"

These are photos - not paintings or computer drawings. I took them with an inexpensive camera, without using any props.

These photos are not meant to covey anything spiritual or metaphysical. I'm interested mainly in the physics of light and colors, and the techniques for making certain phenomenon more visible to the human eye.

The spots, circles, and bands are in the photos themselves. However, I am learning how to take these pictures for the greatest effects. I can take photos like these in a controlled fashion almost any time the conditions are good. Like using a telescope to reveal details invisible to the naked eye, my photos and processing techniques (not Photoshop) bring out the un-seen details and make them more visible.

There are hidden talents and abilities in us all. Reach out and connect to them. Those who have sewn our Ray-Way Kits, for example, have connected with something greater in themselves, something everyone else cannot see. They have touched the unseen."

I took this photo of Jenny in a clear field and did not modify it in any form. As usual, my processing (not Photoshop) changes the colors and makes them more vivid, as triggered by the differing light intensities.

Most of these photos I take at night. This is because the light of day washes out the effects. Like an astronomer looking at the stars. And most of my photos are outside. But this one I took inside. This is our living room; Jenny was working on some project. You may notice several balls, or disks. There is a white one, blue, and even purple with speckles. The one that interests me the most is the yellow or gold one over the entry way. It seems to be straddling the arch. The left-hand edge of yellow disk on the arch appears to have a discontinuous left edge. The walls and ceiling are different color temperatures. And the gold circle that Jenny is sitting in, is outlined by black and then blue."

This is my favorite photo of the series. I call this effect a Matrix, and have seen it many times. Here Jenny is washed out by the flash, and there is some splash on the brick wall. But otherwise, what are we looking at here? I have no idea. The grid is like a 2-D panel that seems to follow the brick wall in perspective."

Jenny standing in an empty field. I don't know why the \"aura\" contours are not following her body."

Jenny standing in our back yard."

Once again, an empty sky (or is it empty?)"

This photo was taken in a clear field with a clear sky, and without using any props. As usual, my standard processing changes the colors and makes them more vivid, as triggered by the differing light intensities."

Aside from the technical aspects, I mean to suggest a general ambiance with these photos. There is more to everything in nature, and our minds and bodies, than meets the eye. So we should not take anything for granted. Even the sky is not the limit. When you view these images, you might think, not what are these effects, but what are the undiscovered and awesome possibilities in yourself, and how can you tap into them.

A clear sky, and Jenny is not holding anything. But she is smiling."

These effects might serve as a metaphor. I am bringing these effects to light, as an example of how each person can bring out the hidden potential in themselves."

Why have I developed this? Because I am drawn by my sense of curiosity to learn more about something unusual.

A person might be interested in Kirlian photography also. But my photo technique uses an ordinary camera. I just amplify the pixels according to their luminance, the subtle differences in the light intensities, frequencies and wavelengths.

By way of explanation, light moves spatially on an x-y-z-t axis in four dimensions as we know. But I would like to suggest an additional four-axis system which I call it's i-j-k-t system and properties thereof. These properties (or qualities) exist independently of its spatial movement. Except for the t-axis, which is shared with the t-axis in it's spatial movement and in fact I believe are the same.

The i-axis is of course frequency or wavelength. We can measure light's position on the i-axis, and even change it.

For example, we can take a photo using an infrared camera, which is sensitive to the electromagnetic wave frequencies below the visible range. Or we can use an ultraviolet camera, sensitive to the wavelengths shorter than light lying outside the visible spectrum at its violet end. We can take an X-rays photo. Or we can use a filter over the lens. And so forth. And by the same token, we can take a photo using a regular camera and later post-process the photo to change it's colors. All of these are playing with, or altering light on it's i-axis.

My photo and processing techniques begin to open up the j-axis for exploration and discovery. When we move back and forth on the j-axis, we see things never before seen.

What is the j-axis? I don't have a name for it, but I do know that it is a property (or quality) at right angles to the frequency/wavelength i-axis. How do I know? Logic suggests it follows mathematically.

My photo processing technique is proprietary. I am not saying how I do it because I don't want anyone to copy it from me and then turn around and claim they came up with it themselves. However, I will be glad when people invent the techniques for themselves, because that might open up a new branch. My humble goal is to simply show what's possible.

I will say that these photos are not photoshopped. And the reason the photos look so different from each other is I can steer the processing toward the effects I want to achieve for that particular photo. If I see something interesting, during the processing, I might be able to bring it out. In effect, I block out the ordinary pixels and highlight the un-ordinary ones in certain ways.

And I will re-highlight my feelings that nothing about this is mystical or supernatural. The j-axis effects are physical, although generally unexplored to science at the present time.

The sky was cloudless and almost dark when Jenny took the picture of me. My processing makes the sky look quite colorful because it is able to make super-fine distinctions in the levels of what little light remains."