Angel Visions

How to Recognise Spectral Forms: Survey

To My fellow Angel Aficionados,

First and foremost, thank you for taking part in this little survey. What you are about to read is an
excerpt taken from new chapters added to the beginning my forthcoming book Dawn of the Elements: Photographing the World of Angels. In the excerpt you are about to read and view, I endeavour to help
the reader to learn and understand how to comprehend and understand the more subtle radiations
captured in phenomena photographs in a ghost-like spectral state.

There are many ways in which phenomena can appear on camera, sometimes they appear as
bright lights,at other times they appear in incredibly subtle ways, almost like a faint apparition.
Where they appear brightly, there is no issue with the viewer recognising the phenomena
in the photographs. However,where they appear in a subtle fashion, it is sometimes a lot more
challenging for people to see them clearly. As such I have came up with a new colour coded
comparison to help the reader understand what is actually there.

Follow the exercises and directions as written for each phenomena image, the original
photograph is presented first after the written text on its own page. See if you can understand
the phenomena by doing the exercise, then go to the next page, which will have the same
photograph with colour coded outlines loosely scribbled over them, revealing the solution to
the phenomena. Then go back to the original photograph and see if it helped you understand
the phenomena better.

I would love to know, whether you found the text and exercise easy to follow or not, and if the
colour coding of the three main qualities of the spectral forms recorded were useful in helping
you to understand what is present in these photographs.

Once again thank you for taking the time to be a part of this survey.

Jeorge Asare-Djan

Ps. If you possibly can, try to view the photos on larger screen devices you may have available.
You will find the experience a lot easier on the eye, especially when you’re first starting to review
subtle qualities such as these.

A few helpful tips before you get to the photographs


As I was putting together the chapter from which this excerpt is taken, I had it very much in mind to make this process of learning to see the subtle radiations present in these photographs as simple as possible. It struck me that as I look at my photographs, my mind is always activate, asking questions when I am trying to understand something which isn’t immediately clear. Whenever I notice something intriguing, which is out of the ordinary like a curved wave shape, or bands of parallel streams. I would say in my mind “what is that”, “what is happening here”, and more I investigate and the more I engage, colours which appear to dull and murky, start to become clearer, brighter, and more distinct.


The reason for this is because the more I engaged in the process of mentally exploring the image, the more the rods and cones in the retina at the back of my eyes where physically been excited, making it easier to see, recognise and distinguish shapes and forms in dark light are areas of the photograph. I was developing a form of night vision.


Rods and Cones


For those of you unfamiliar with the term or idea of night vision, this is something that happens when people become accustomed to moving around in the dark, or operating in low light conditions. After been in a low light environment for a period of time, the rods in the back of our eyes start to become more stimulated, increasing our ability to use low levels of light to distinguish and make out objects and see what is in front of us with progress clarity, when otherwise you would feel that the room or environment you are in is so dark, you can’t see anything without switching on a light or making use of a torch to guide you around.


In the case of examining these photographs with subtle radiations captured, you will not only be stimulating the rods in your retina which helps us to develop night vision, you will also be exciting the cones in your retina which govern the colours we see. You will both be able to make sense of forms and shape with clarity out of the murkiness and pick up subtle shades of colours that will begin to stand out more and more.


So remember


tip 1: Try asking questions in your mind about things you begin to notice but don’t quite fully understand at the time. You can ask questions such as ‘what might this be’, ‘where does it move to’, ‘where might it source be’, ‘what shape does it make’ and so forth.


Tip 2: Pay attention to subtle tones of colour, in one area of the phenomena a subtle shade may different from another area, could this mean sometime? Could it help to inform you about what is going on?


By paying close attention to details that begin to stand out to you, and by engaging in them, rather than mentally distancing or shying away from them when you are uncertain. Will help open up pathways to understanding the patterns and wavelengths that are there right in front of you.


You will also be stimulating the photoreceptor cells in your eyes, both the rods and cones of the retina in a very unique way. Making it both easier for you distinguish near dark forms and shape out of the near pitch-black night backgrounds in these photographs. While at the same time making areas that seem flat and almost monotone in colour, brighter and full of divergent colours. It will also become lot more easier to discern varying tones within homogenous schemes of colours.


So, in a nutshell, by keeping the mind active and engaged as you explore the photographs, you will in time develop greater photo sensitivity.


Tip 3: And lastly, you can also ask the world of the Divine to assist you? What we call the Spirit world is all around us. For those of you who are more adventurous, you can call out to the Divine realm and ask it denizens to grant you access to seeing them clearly. Try it and see what happens! It need not be by words spoken out aloud, a simple thought of the mind will do. You can use the words I have written below or otherwise conjure up your own unique call. In my experience in this sense, to every expression of mind and will there is often a opposite and equal reaction produced, to every call from the physical there is usually an answer from the spiritual, an echo of sorts which if listened to can light the darkest of paths of the minds never ending journey. So, why not give it go, after all there is no harm in trying, it will either bear fruit or it won’t, and do remember to take your time, patience is not only an ideological blessing, for it is said with some meaning, all good things came …



The Call


Angels and Spirits on high,

Devas and elementals on low.

Guide and grant me access to see your true forms whole,

what is hidden must now be known,

reveal your glorious light to my inner sight.


Or simply say


Guide and grant me access, Brothers and Sisters

It's now time to look and see what is subtle an often missed...

The Faerie Lad

This one was taken in Piccadilly Circus during the Christmas season of 2013, and features a large soft hazy area with a reddish tinge in the top part of the photograph, with only a few small circular ‘orb’ like shapes around the edges of it’s periphery. This hazy field of reddish hue in the centre is the phenomena, and it’s a subtle spectral form. When examined more closely the viewer will notice short dashes of red and green lines that move in curves and waves, which seem to be articulating in combination, larger more complex shapes which defy the notion of randomness. If you follow the patterns formed by the short dashes of red and green from any point from the edges of the haze field to its centre and then repeat the exercise from an opposite end of the field, once again starting from the edge, and following the pattern to its centre.

You will not only begin to see that there is a complex pattern present, you may also begin to notice that somewhere along the centre of the haze field, there is a strong line of symmetry, where the patterns of
red and green dashes make on one side of the reddish haze field, are roughly repeated on the opposite
side of the line of symmetry.

In this particular case there is a strong line of symmetry at approximately a 45 degree angle, slanted
downward, sloping from left to right. If you orientate your view of the whole area along this line of
symmetry you will notice what appears to be an outline of a body made up of short dashes of red and
green lines. Just above the very centre, is a head wearing a square topped hat with a downward sloping
rim in outline. With the face being a more solid faint green area below the rim of the hat, with ‘his’
features, eyes, nose and mouth appearing as if etched out in negative relief. Below that in the centre
is his upper torso, with his arms extending outwards from the shoulders in bowing curves, returning
back to the central lines of the torso, as if describing his hands been on his hips. With his legs extending downward below, becoming progressively more faint descending down from the calf region to where
the feet would appear. He is also wearing a cape which is flaring out in opposite directions from the shoulders.

You can also read more on this exuberant fellow in a previously published blog by clicking on the link below:

The Faerie Lad and the statue of Eros

The Market Fae of Angel Islington

This photograph was taken at Chapel Market in Islington Angel at night. It features more examples of
clear circular orb shapes appearing throughout it then the ‘Faerie Lad’ image examined previously, and
as such serves as a clearer example of the kind of relationship orbs patterns can have with wave form radiations and structures. The orb patterns here reflect the range and extent of the field of the Fae Spirit manifesting in that moment. Within the range of orbs proliferating the sky portion of the image, there are multiple waves and streams of energy interacting to form complex emerald structures which can be understood by following the same guidelines outlined previously.

By taking your time and following the flowing lines of force, either from its extremities on the far left and right side, as well as from the top and bottom. Then repeatedly working your way from all sides towards the centre, you will come to a ‘V’ shape pointing downwards near the very centre of the photograph. Vertically along this line can be found the major axis of symmetry which is reflected more or less evenly to the left and right of this region. The clear symmetry present can most easily be witnessed by drawing your eye from the central point outwards, flowing at approximately a 45 degree angle upwards, both to the left and the right terminating in rough upward points, which arches downwards to meet at a point below the central region, creating a larger slightly curved ‘V’ shape form. This larger ‘V’ shapes quality is the intimate oscillating field, or in other words, the distinctive aspect of the aura of such beings as Angels, Faeries and Devas which are more commonly and characteristically described as ‘wings’.

By looking more closely along the central region, you may start to discern the presence of a form body, it runs directly and vertically in line with the downward pointing ‘v’ shape in the centre, which is actually where his chest is. Above the chest, near the top of the photograph, is a complex energy form which describes the shape of a wide brimmed hat. Resting beneath the hat is a bright green and very round smiling face. With his features, like that of the ‘Faerie lad of Piccadilly Circus’ seemingly appearing as if etched out in negative relief. He is also captured in an extreme pose, as if running or jumping in mid-air. His legs moving in a running style motion, while his arms are spread out on either side. With his left hand ( on the right side of the photo ) in the form of a fist with an extended upward pointing thumb. He is literally giving me the ‘thumbs up’ here!

To understand why he is doing this, you can find out more by reading the chapter on ‘The Angels of
Angel Town, Islington’. The photograph as presented here has been cropped to show the top part and
the phenomena only, excluding the lower portion of the image. I have chosen to do this here because
what is below the phenomena can be quite distracting and I want to make this exercise of learning and
understanding how to see faint spectral manifestations as straightforward and easy as possible. So that
you have a methodology which you can apply to all of the spectral forms presented within this book,
from there it will be easier for the reader to discern if they agree with my analysis or not.

In most cases the images with spectral forms will be presented with a full uncropped version of the photograph which will include aspects of the locations they are captured in, for the purposes of giving context to the images. These locations sometimes will have physical elements within them which are a lot stronger visually or brighter than the actual phenomena captured, as such those particular images can prove a challenge for those new to examining photographs in this fashion.

It will be of great benefit to the reader to take your time with this exercise and to learn not to necessarily give more attention or focus to elements in these photographs that are brighter or bolder over elements that are softer or more subtle, as the more subtle areas often can contain the most important details. This includes not giving pre-immense to the clear orb patterns and shapes over the wave-like radiations, which can be equally as bright if not more so in some cases then the streams of wave-like radiations present. Once you learn to use your eye to focus equally on all elements present within the photographs, whether physical or super-physical in nature, or whether bright or subtle in aspect, then you will start to find it easy to recognise the spectral forms when they are present. Some will find this easier to achieve then others, but if you take your time with this exercise and stay with it you will eventually find the spectral form straightforward to discern.

Getting back specifically to our Fae friend giving me the thumbs up in Chapel Market. He is actually reacting to something that is directly ( spatially speaking ) below him. It is something that is both visually charming and a little bit out there as a concept, which I simply found delightful. And the ‘Leaping Fae’ certainly seems to approve of my thoughts on whatever it is that is appearing underneath him!

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