A Unique Gallery Documenting an Amazing Interdimensional Photographic Adventure

Enter the Gallery PSYCHIC PIXEL IMAGERY Psychic Pixel Imagery is the name I have given to the tiny but detailed scenes that I continue to find hidden deep within some of my photographs. By tiny, I do not just mean small, as are some of the little vignettes that sometimes appear in bubble-like anomalies on images received by some psychic photographers. I myself photograph these, and although they can be the starting point for locating PPI's, they are not what I refer to. I don't know where the psychic pixel imagery comes from, or what it represents. The images display scenes that are familiar to the viewer, so I'll presume for now that they're Earth scenes. Other possibilities are that they are of a paralell dimension, or alternate universe. Another is that they are of actual events happening here. If so do they represent the past, the present or even perhaps the future? Yet another alternative is that the images are like snapshots that have been recorded somehow, and also somehow retrieved by my camera. There is too much pixelation normally in images as small as I'm dealing with for anything to be coherently visible, the images perhaps shouldn't be there, yet you will be able to see them. If the original photographs are shown with the images you are viewing, you can go back to the beginning after you have seen the progression of imagery, and you'll see again the size of those original pictures from which I edited all the rest, and realise how tiny the sections I worked with were. As these sections were themselves very small croppings from normal sized photos, you can imagine the scale I've been working with here. I'm exploring this phenomena, which I've temporarily labeled 'Psychic Pixel Imagery', exclusively here in the 'Scenes Behind Scenes' gallery, which deals entirely with taking paranormal image editing further than you could ever dream possible, through the dimensional layers that I've discovered are truly present, and accessible, on my own and I suspect other peoples anomalous photo's. Far from shunning editing as if it in some way discredited the images, I'm not only going to edit, I'm going to take it absolutely as far as I can. I feel it will be the experimental approach and continually 'pushing the envelope' that will uncover the secrets of interdimensional contact in the end, in whatever form that contact may take place. IMAGE EDITING - UNCOVERING THE DETAILS Finding The Window When I notice an area that looks as though it contains a scene, I crop it. These scenes look like little 'windows' and are often very tiny. They have a different look or texture than the surrounding area, something that grabs my attention. Intuition also plays its part. I have learned as I go along the process which inevitably follows after I have located one of these anomalies. what happens next has some resemblance to taking apart a set of Russian nesting dolls. Methodology I treat every photograph individually, and each one has a unique identity to me. As I never know what I'm going to uncover, the work stays fresh and exciting, but there's no denying that editing can be gruelling and physically draining due to the high levels of time and concentration neccessary to do the job thoroughly. Note that I flip back and forth between negative and positive images, editing as I go, as and when I need to. This often uncovers surprising detail and appears to be in part the mechanism that allows progressive access to the layers of imagery as I continue. I also sharpen the image, usually very slightly, but almost every time I re-edit it. Sometimes I edit a picture many times and in any way that I think will reveal more of the secrets that PPI's contain. I also continually experiment with the color scale. This can bring into view previously invisible details. I regularly save my images, numbered in correct order, as I continue to work with them so that I have a visual record of the progression of imagery retrieval. The scenes will change color and texture as they are worked, so if anomalous people are visibly present in the scene, which they usually are, I attempt at some point to adjust their color as close to a skin-tone as I can manage. This often 'normalises' the image to some extent making the scene coherent to the eye. I don't consider this 'tampering' with the image, as it's a logical procedure, and I approach it rather as a detective might. Editing is thoroughly accepted and used in all other photographic situations except paranormal ones. Editing paranormal photographs is discouraged, in case it tampers with any 'proof'. It should be obvious by now that there are millions of anomalous images now in the world, and no matter how they were arrived at, none of them have ever proved anything. A thinking person might wonder why it mattered any more what anyone did with an image under circumstances that begin to seem designed to prohibit people from finding answers in the first place. And as those who consider themselves experts have by their own admission got nowhere in particular perhaps we should begin to question their methods. Most certainly we should begin to question their motives. Still, I do what I want with my own images, and in doing so have discovered something fascinating. As I'm editing a PPI I will soon discover a little 'window' within the image I'm working on. When this occurs I crop it out and save it. I enlarge it and begin the editing process all over again. I uncover the scene, bring out all the details I'm able to, and before long I see another little window, crop it, and repeat. In every photograph in which I've discovered PPI's, I've had to stop long before I recovered all the scenes available, as I can't edit the same picture for ever. I've no idea how long I could actually continue, or how many separate vignettes I could retrieve from just one of these photographs. Layering Of Imagery This is one of the most interesting aspects of my research into this phenomena. It's been my experience that editing these images usually progresses in a certain way. The first few layers pertain to the primary anomalous images, the ones you first see on the photograph. I'll use a spirit face as an example. I might see a misty spirit face hovering in front of a tree. Perhaps it's cartoon-like, a fairly common occurrence, with oversized eyes and rudimentary nose and mouth. I edit it, and the cartoon face is a little clearer. I sharpen it, and work on it again, maybe adjusting color and contrast. It seems as clear as I can get it, but I'm only just beginning. I make a negative version of this image, and I proceed to edit this picture in the same way as I did the positive one, but this one is different. The image is more sophisticated, the cartoon look has gone and a different face altogether is revealed beneath the crude outer layers, with details that were absent in the earlier version. The entity might turn out to be a different age or sex than I had first thought, and most importantly, the eyes, if visible, will contain detail that can be cropped and edited as personal proof for myself that this is indeed another living being I'm viewing, even though they exist at a different dimensional level than myself. Now when I flip the image back to positive it will be a more detailed version I can continue to edit further, with even more details revealed as I go along. At some point during this editing progression an interesting thing happens. The image being worked on is taken a stage too far, as it were, the image is lost, and another can be seen vaguely underneath. It may be just a small portion of the original scene focussed on, but it's visible, so I crop it, enlarge it and begin all over again. After a while the entire process will be repeated with yet another scene. With a lot of these kaleidoscoping images I never do reach the end, but have to quit. One interesting point is that the 'scenes within scenes' are often connected in some way. 'The Bee' gallery is a good example of this. I cropped a tiny portion from the end of a bee's wing, the bee itself being a very small image I cropped from a photograph taken outside in the dark. Within this tiny section I found a scene from inside a restaurant or bar. Each scene I later found nested within it was connected in some way to a place of eating and drinking, a recurrent theme being people with bottles at tables. Another photograph seems to pertain to hospitals and childbirth, with an actual scene of a newborn in a hospital delivery room, and later a scene of a corridor where someone with a walker can be seen making their way along. Yet another is religious in nature and seems connected to Catholicism. It includes a dove, which contains a crucifixion scene with a glowing heart area which itself nests what appears to be a church floorplan. Within specific areas of this you will see other scenes, one of which appears to be a funeral service in a graveyard with priests attending. I also have a very interesting one that concerns what appears to be the past detonation of an atomic bomb. At this point I would like to address any digital imaging analysts who might happen upon this gallery and take an interest. I need someone to give me some advice on how to proceed technically, perhaps helping me to analyze the images and understand which editors and programs are available for a task like this. Any help I get with research would have to be voluntary at this point, but anyone interested enough to help for the sake of the adventure would be fully and properly credited for their input regarding my experiments. I do intend to proceed with this experimentation on a permanent and long-term basis. What Is Going On? What does all this mean? I have my theories, but of course I don't really know. I personally think it can best be explained by Quantum Science and the theory of the holographic universe, which I believe to be as close to the truth as we can most of us presently get. This model of reality goes a long way to explaining a great variety of phenomena at present considered paranormal but possibly quite normal, if unusual. The idea of the universe as a giant and fantastical interactive hologram is being taken very seriously. This means it would contain within it both matter and conciousness, but incredibly, as a single unit, or more accurately, a single field. This certainly would explain many, many things. Somehow the information in the scenes you will see has been transferred to my photographs via some unknown mechanism (This is discussed further on this site in the 'Purple Bar' gallery, which examines a phenomena associated with my photographs that gave me a clue as to what might be happening). I suspect this mechanism is in reality made up of a certain number of factors we are largely unaware of, including the true nature of digital images (and audio files) and what they are capable of storing and also the presence of a psychic photographic medium or eqivalent sensitive equipment that performs the same function. I believe photography through time and space is perfectly possible, and also that in a few of my photographs I may have achieved this. It's possibly a matter of retrieval of data that in fact is never lost or goes away due to it's holographic nature. In other words, under the right circumstances images of the past, present and future can theoretically be recovered. I intend to share with others what I personally discover through my experimentation now and in the future. The images in this gallery are presented in reverse from the photographs shown in the other galleries. As the nature of the anomalies shown here is such that I have uncovered layers of images, all found 'nested' within each other, there are many pictures accompanying each photograph. I have created a separate sub-gallery for each one for ease of viewing. Every photograph has it's own gallery, and a new gallery will be added to this section each time I complete both the editing and the accompanying text. As many are in the halfway-stage, please bookmark the gallery and check back from time to time. I realise all these images can be confusing. I didn't build the 'Consorting With Spirits' gallery for entertainment purposes, although I hope you will be entertained. Fascinating as it can be doing this work, it has taken untold gruelling hours to edit the images and prepare the text, not taking into account the actual photography, and the galleries presented represent over two years of almost full-time work, and that is not including my very extensive art galleries. I take this work very seriously, and I believe I may have discovered something not only interesting, but important.If you wish to see a lot of individual photo's with no details, then the 'Scenes Behind Scenes' gallery may not be for you. It represents my private research and will hopefully be of use to others involved in interdimensional experiments, if only as inspiration. It in no way constitutes proof of anything at all. Jane Tripp 2007 Enter the Gallery All images are entirely the copyright property of the artist Jane Tripp and may not be used in any form under any circumstances without her written permission.