Photo Analysis from the Preliminary Investigation Report/初步调查报告中的照片分析

资讯源头:FIGU/ ‘Billy’ Eduard Albert Meier

资讯来源:「 Michael Horn」
资讯链接:「Futureofmankind. James Moore」

1. UFO Contact from the Pleiades A Preliminary Investigation Report
1.「来自Plejaren的不明飞行物接触 之 初步调查报告」:

  • Copyrights 1982, 1982, 1980, 1979, 1978 Wendelle C. Stevens
  • Copyrights©1982, 1982, 1980, 1979, 1978 Wendelle C. Stevens

The following is a reprint of information contained on pages 266 –284 of UFO Contact from the Pleiades-A Preliminary Investigation Report by Lt. Col. Wendelle C. Stevens (USAF, Ret), with information from the lead photo investigator, Jim Dilettoso on pages 380 – 400.
如下(内容),是对…由Wendelle C. Stevens中校(USAF/美国空军,Ret/退役)所著的「UFO Contact from the Pleiades-A Preliminary Investigation Report/来自Plejaren的不明飞行物接触 之 初步调查报告」中,第266~284页所含资讯,以及在第380~400页中包含的来自首席照片调查员Jim Dilettoso所述内容的…再现。

Wendelle was the lead investigator in the original investigation of the Billy Meier case from the late 70’s to the late 80’s.
从(上世纪)70年代末到80年代末,Wendelle在Billy Meier(接触)案例的初期调查中,是首席调查员。

His work was also published in UFO Contact from the Pleiades -A Supplementary Investigation Report.
他的工作成果同样也发表在了「UFO Contact from the Pleiades -A Supplementary Investigation Report/来自Plejaren的不明飞行物接触 之 补充调查报告」。

1.1 Photographs of Spacecraft
1.1 宇宙飞船的照片

A selection of photographs of the spacecraft taken by Eduard Meier and his friends are shown here.
这里展示了一批由Eduard Meier及其朋友所拍摄的宇宙飞船的精选照片。

Mr. Meier has taken over 800 color photographs of these spaceships.

He does not carry his camera on his later contacts unless instructed to do so.

Representative pictures from each series are shown.

There are often more pictures in each series than those shown here.

Wendelle Stevens(撰)
by Wendelle Stevens

1.2 Photographic Analysis
1.2 摄影分析

When we began to perceive that the large amount of evidence we were already aware of was only the tip of the iceberg we went to Switzerland to investigate the witnesses personally and to check out the sites of these remarkable UFO photographs.

We had to see how this could have been accomplished by a one-armed man alone.

We had been advised by this time dial there were others who had also photographed the same spacecraft and we wanted to verify that and see their pictures.

On site we took the pictures and matched every one up with the scenes, and identified every point from which each photograph was made, observing sequence and order of the successive film frames.

We measured identifiable distances in appropriate pictures and carefully recorded them.

We had our own pictures made on she, from the distances estimated for the positions of the spacecraft, for later comparative reference.

We viewed surviving traces of the landing tracks made as much as 3 years earlier, and verified their positions with respect to the earlier photographs when the marks were fresh.

We talked to those who took time lapse photographs of the ageing marks and recorded what they observed.

We checked the exposed film through its processing routing stages and verified the processing logs, which showed that every roll of film received from Meier and his friends was developed and returned, mostly by mail.

We were told, and witnesses supported this, that much of the exposed film, over 30% of it, never came back from processing.

Our investigation showed that the disappearance must have taken place in the mail system — an unusually high loss rate for any public service, which in itself raises many questions.

Upon returning to Tucson, we began a search for advanced computer graphics technical capabilities available on the domestic market.

We went to manufacturers and to users of these exotic devices.

We attended equipment exhibits, seminars and state-of-the-art symposiums, and we talked to hardware systems designers and engineers and to software programmers.

We found excellent computer graphics systems in production and available for use now.

De Anza Systems of San Jose, California, and COMTAL of Pasadena, California offer comparable computer graphics capability.
「California/加利福尼亚」-「San Jose/圣若泽」的「De Anza Systems/德安萨系统」,以及「California/加利福尼亚」-「Pasadena/帕萨迪纳」的「COMTAL(系统)」,提供了奇虎相当的计算机图像(处理)能力。

We chose Hamamatsu System’s microdensitometer and scanning electron microscope modules to introduce the data into the De Anza equipment Mr. Jim Dilettoso of Phoenix undertook a one-man campaign of operation between the various scientific disciplines, i.e. Lasers, Optics, Video Cameras, Computers, and Video Graphics Systems, seeking the best marriage of equipment for what we wanted to do.
我们使用「Hamamatsu System/滨松系统」的测微密度计和电子扫描显微镜模组,将(相关)数据导入「De Anza/德安萨」的设备,「Phoenix/凤凰城」的Jim Dilettoso先生,在涉及「Lasers/激光」、「Optics/光学」、「Video Cameras/摄录机」、「Computers/计算机」、「Video Graphics Systems/视频图像(处理)系统」(等)多个学科之间,进行了一次独立操作(/测试),以期找到最能满足我们需求的设备。

When we finally got alt the pieces in one place we were able to perform the following repeatable steps:

1) Microscopic examination of film, transparency or print to very high magnifications, up to 500 diameters.

2) Microdensitometric scanning of film or transparencies, using various scanning programs.

3) Scanning Electron Microscope examination o£ film and film make-up.

4) Laserscopie examination of film or transparencies, and preparation of laser holographic plates for computer work.

5) Computerization of the data for storage on discs or tapes.

6) Videographic display of stored data, examinations, and the results of various tests, also transferred to storage disc or tape together with analysis programs used,

Basically, for our initial test programs we performed the following steps:

1) Microscopic examination of the film for anomalies in grain pattern and distribution; comparative density of activated crystals in light areas, crossing outlines, and in dark areas of objects in the same picture; aberrations resulting from double exposure, etc. Everything indicated a single exposure under ambient light conditions at the time and place of the incident as alleged. No reflected images, double exposures, montages or laminations could be detected.

2) Microdensitometric scanning showed a single light source and reflections from structured objects in the picture. Light and shadow angles and patterns were consistent throughout the image frame. This scan was accomplished using special filters for both below and for above the visual range, and were entered into the computer memory.
2)微密度扫描结果显示:照片中的结构化物体仅有一个单一光源以及由此形成的反射。整幅图像构架的光影角度和阴影角度,以及图像模式是一致的。-[注] 该扫描是使用特殊的滤光器完成的,这种滤光器可以滤掉可见光范围以下和以上的部分,随后,这些扫描数据被录入计算机存储器。


3) Scanning electron microscope examination was done with photons, and X-ray and other energy particles. This data was also entered into the computer memory.

4) The Laserseope was used for 3-dimensional or holographic scanning of the film or transparency. An infra-red scan was also accomplished with the Laserseope, and all this data was entered into the computer memory.

5) Then we call up the picture originally introduced just as it was entered. If it is not sharp enough we sharpen it with contrast and brightness controls.

6) Then we identify the gray-scale value of any moisture or haze in suspension in the air and cancel it out in the computer. This further contrasts the picture and we adjust to desired contrasts again.

7) Now we blow up the whole picture in the image area of the UFO until the grain is clearly visible. Then we program the computer to average the values so that we no longer see gaps between the color granules. Now we have increased picture clarity and sharpness many fold. Then we adjust contrast and brightness to desired levels again and enter this image into the memory.

8) Now we can call up one by one from the memory, or together, the microdensitometric scan (including 300% below and 60070 above the visual range), the electron microscope scan, and the laser scan, as desired, and can manipulate these overlays as we like in our search for evidence. We can even overlay the same picture data several times for greater density, and can add or take out any overlay as we go. In the Swiss pictures we picked up some beautiful patterns around the spacecraft in the extended ranges of vibration. We are not sure yet whether this is a force field effect or possibly “noise” in the computer system. We identify and store any of these patterns desired.
8)现在,我们可以根据需要…从(计算机)存储器中逐个调用,或是一起调用(这些图像),微密度扫描的(包括低于可见光范围300%和高于可见光范围60070的)、电子显微镜扫描和激光扫描的,并可以在我们搜寻证据的过程中根据需要对这些叠层进行(再)操弄。我们甚至可以多次叠加相同的照片数据,从而获得更大的(像素)密度,并可以在我们需要时添加或抽取任何叠层。在‘Swiss pictures/瑞士照片’中,我们在宇宙飞船延伸的振动范围周围,提取到了一些美妙的图案。我们尚不确定这是否是一种‘force field effect/力场效应’,或者可能是计算机系统中的‘noise/噪点’。我们对这些(我们很感兴趣的)图案逐一进行了识别并将其存储了下来。

9) Next we begin looking for specific answers, adding or taking away overlays as desired to evaluate what is depicted as we carry out those significant steps among the following:

—(1) Digitizing at 5 microns and again at 1/2 micron to evaluate the reflected (or radiated) light.
—(1) (将照片)数字化为5微米,然后再为1/2微米,以评估反射(或辐射)的光。

—(2) Hi-pass filter.
—(2) 高通(过)滤光器。

—(3) Pixel grain distortion.
—(3) 像素纹理失真。

—(4) Spatial filtering.
—(4) 空间滤波。

—(5) Histogram.
—(5) 直方图。

——1> Edge enhancement. We now find that we can count the 1/2 micron pixels across the edges of stationary objects for relative distance estimates.
——1> 边缘增强。我们现在发现:我们可以计算到横跨静止物体边缘的1/2微米像素,从而获得(对)相对距离的估计。

——2> Color contour. We can now read the structural shapes like a contour map.
——2> 色彩等值线。我们现在据此读出该结构物体的形状,类似于一个等高线图。

——3> Color separation. We can color contrast as we choose to reveal any particular details more vividly.
——3> 颜色分离。我们可以自主选择颜色对比度,从而更生动地揭示任何特殊的细节。

10) We can remove all visible light values from the video picture and leave only those below or above our visual range or both. When this was done on the Swiss pictures we were left with an unusual pattern in the place of the spacecraft in the image array.
10)我们可以从视频图像中移除所有可见光的部分,仅留下低于或高于我们视觉范围的部分,又或者将这两部分都留下。当这些操作在‘Swiss pictures/瑞士照片’上完成时,我们在图象阵列中的宇宙飞船的位置…留下了一个不寻常的图案。

Because of the exceptional number of sharp clear photographs of structured objects, many in series and sequence, an unusual opportunity for scientific analysis was recognized.

All of the established photogrammetric and computer analysis techniques were examined and some of them tried with affirmative result.

It was then decided that what was needed was a whole new approach to the problem of analyzing photographs of Unidentified Flying Objects.
我们随后决定,需要制定一个全新的…用来分析「Unidentified Flying Objects/不明飞行物体」照片的…方法。

Discussions were held with leaders in this field of research including optical sciences engineers, aeronautical engineers, computer programmers, laser specialists and photographic technicians, and the latest state-of-the-art equipment was reviewed and evaluated.

These experts worked together, inventing as they proceeded, in an effort to come up with a procedure that would definitely prove the nature of the subject photographed in UFO cases such as this.

Basically we started by examining the sample transparency or negative with a laserscope, the same way we used to examine black and white negatives with a microscope to determine faking before computers came along, and we made preliminary judgments about factors.

Laser technology makes it possible for a skilled examiner to determine much before he ever goes to the computer.

He can set up a grid, 10,000 lines per centimeter vertical and horizontal, and go back and forth scanning the whole picture.

With the laserscope we can blow this up even further to look at individual grains or color laminations in the film emulsion and make judgments particle by particle.

Laser holography is then used to provide a 3-dimensional image from a 2-dimensional picture.

And laser projection of the hologram is so fine that a10th of a centimeter square can be blown up to many feet to view the grains and laminations in graphic 3-D.

The finest suspension threads and expert retouching overlaps should stand out graphically.

Homogeneity of the grains and color layers can be studied carefully for deviations from norm.

The next step consists of isolating, with a computer, the different planes of focus, or planes of blurring within the focus, even when all of the image field is beyond the fixed focus range of the lens of the camera.

Using the laser we make holographic plates where we go to first, the extreme depth-of-field, to the horizon, where we run verticals to get some idea of the true focus there.

Then we will come up to a closer area, to the main focus field and designate that, and then in the same way we will designate the nearest focus plane.

Then we begin to work inside these focus planes, setting up as many additional ones as we have objects in the picture to tie them to.

We will make a laser holographic plate for each of these designated planes by isolating, with a video-laser technique, things that have a particular amount of blur.

Then we set up programs to judge why an image is blurred.

It is blurred because it is out of focus or it is blurred because it is moving or because the camera is moving.

The boundary lines of things will tell us the amount of focus an object has.

An index is designated for this.

We use single digit algorithms here because the space in the computer is needed for other things.

In digital analysis we can draw certain conclusions about how distant things are by how sharp the real focus is.

This is observed and registered as blur factor.
这被被观察并记录为‘blur factor/模糊因子’。

By going to the object most in focus and then deciding where the true depth of field actually lies, we can determine the depth of field of each point in the picture, and whether it is nearer or farther than another point.

We can then set up holographic plates for each depth of field in the photograph and can create a distance scale within the computer.

Then, when we have defined the planes, we extract them out.

We now know what is farthest away and so we lift all elements of that blur factor out and store it.
现在,我们知道什么是最远的了,所以,我们将该‘blur factor/模糊因子’的所有元素都提取出来并加以存储。

We will make a holographic plate of that and save it.
我们会制作一个(这些‘blur factor/模糊因子’的)全息干版并保存它。

Then we will go to the true focus field in the picture, divided it into 3 or 4 planes and make a plate for each and save them also.

Then we go to the closest focus plane and do the same with it.

Now, we are not just making a transfer of a photograph into the computer – we are making a 3-dimensional transfer on each depth of field into the computer.

We are then able to analyze just where any object is within the actual depth of field – and then we have the computer bring it closer and move it farther away by simulating the entire photograph in 3-dimension in the computer.

The computer hologram will look at every line and really be able to scan and make judgments about what is in focus.

That’s what laser holography can do.

It is analyzing, area by area, the density, color scale, gray scale, blurring, light scatter, and any other variable in the picture.

We now run aspect size tests on the UFO image and then begin analyzing all the data.

We can now say the object is this big, it is moving this much, and it is doing this.

And we can tell within a very small percentage how far away it is in distance, and is it moving or not moving, and which direction.

We can definitely tell whether it is a small object at a slow velocity or a large object at a much higher velocity.

We can also set up programs to tell us what the shutter speed of the camera must have been and other characteristics of the snapshot and how the picture was taken.

This whole process is based on the reality that the picture field is not really all in focus from 30′ to infinity.

It only appears so to our untrained eye because the amount of apparent change of focus is so small beyond the farthest distance setting of the camera.

A new recently invented binary camera, which is a digital still camera having few moving parts, and which uses charged glass plates instead of film will facilitate the transfer of photographs into a computer.

The computer then constructs the holographic presentation and can produce holographic plates that are much finer than the finest film available today.

Another method allows us to check and verify our analysis results obtained by studying blur factor.
另一种方法,则允许我们检验和验证…我们通过研究‘blur factor/模糊因子’所获得的分析结果。

This method also requires the use of computers to separate the data.

This process is based on gray scale variations produced by moisture, haze, dust, or any other matter in suspension in the air.

With a computer we can separate the image field into levels of gray shading produced by matter suspended in the air.

The farther an object is from die camera, the more gray it will be, and this can be correlated to distance.

If we can measure any two distances in the picture and we assign those distances to the gray scale indicated for those objects, we can then extend the scale and obtain a measuring yardstick for any other factors of grey in the same picture.

This can be set up to read out directly in distance.

Now with the computer we can look at any object in the picture and read its distance from the lens.

Then, knowing the characteristics and geometry of the lens we simply calculate the size of the object from its measured distance in our gray scale readout.

We can calculate size relationships and relative distances for all objects in the two-dimensional picture.

Unless the air is extremely clear on the day of the photograph we can use one of these computer methods to confirm the other.

Use of polarization and special light filters, and diffraction and Fly’s Eye lenses would fantastically increase the data analysis potential through the use of computers.

The cruise missile detects and analyzes objects in its path by computer processes similar to these.

Its on-board computers identify obstructions in the low-level flight path ahead in time to re-program the trajectories and adjust the track to miss them.

Wendelle Stevens(撰)
by Wendelle Stevens

1.3 Portrait Quality Photographs
1.3 照片样本

The standard 35mm internegatives used in commercial copy printing of the positive 35mm transparencies produced good pictures all right, but we were searching for some revealing method to get to the real truths behind these diapositives.

We took them to a custom photo laboratory and had custom enlarged internegatives made on 4″ x 5″ film plates, and then from those we printed 20″ x 30″ enlargements.
我们将这些照片带到了一个定制的照片实验室,并在4英寸 x 5英寸的胶片印版上定制了放大版的中间底片,然后,基于这些4英寸 x 5英寸的放大版底片,我们打印出了20英寸 x 30英寸的放大版照片。

All we had accomplished that was different was to carry the depth of image in the original transparency into a larger format negative capable of recording the magnified depth of image more efficiently than paper.

Then when we printed back into larger format on paper we carried more of the original depth of image forward to the paper print, and we got spectacular results.

While searching for a computer laboratory to try some of the basic computer analysis steps, we came into contact with INTERREPRO, A. G., on the outskirts of Basel, who could apply some techniques with their equipment that we hadn’t encountered before.
当我们想要寻找一间计算机实验室…以尝试一些基本的计算机分析操作时,我们在「Basel/巴塞尔」郊区接触到了「INTERREPRO,A. G.」,后者可以使用他们的设备应用一些技术,这些设备是我们之前从未见到过的。

They could put our original 35 mm or enlarged 4″x5″ negative into their HELL Chromograph DC 300 scanning computer where an Argon laser beam scanned our negative 400 lines per centimeter, so fine that it looks between adjacent color granules and adds the average color in between in a new negative created in the computer.
他们可以将我们源版的35mm或放大版的4英寸 x 5英寸底片放入他们的「HELL Chromograph DC 300」扫描计算机中,其中有一个氩激光束可以对我们的底片进行每厘米400行的扫描,这非常精细,使之看起来介乎相邻的色彩颗粒之间,不仅如此,它还为计算机生成的新底片中…添加了平均色。

This same machine was programmed to scan the enlarged negative the same way, and simultaneously create 4 new individual color separation negatives, perfectly indexed, for preparation of plates for a 4-color printing process.

These 4-color separation negatives for Meier photo number 200 were than taken to SCHORI REPROS in Bern for set-up and making of printing plates.
这些用于Meier第200#照片的4色分离底片,随后被带到「Bern/伯尔尼」的「SCHORI REPROS」,用于设置和制作印版。

This is done at 60 lines per centimeter, standard poster print grade, (although 80 lines is possible), because printing at a greater density requires finer and more expensive plates, which can then only be printed on very hard special paper.

Even the 60-line poster print, however, was quite spectacular and revealed detail not available in the original with a strong magnifying glass.

We still find no evidence of fraud or trickery in any of these photographs so enhanced.

On the other hand, we find details revealed that tend more to establish the validity of the story told by the witness.

While this development was going on and the procedures were being worked out, another of the Meier photographs of the alien spacecraft was sent out to Design Technology of Poway, California for a conventional photogrammetric and computer analysis similar to the method used by Ground Saucer Watch of Phoenix.
就在(调查)过程正在进行且(相关)程序正在制定中时,另一张Meier的外星宇宙飞船照片…被发送到了「California/加利福尼亚州」的「Design Technology of Poway」…进行一次传统的摄影测量和计算机分析,该分析类似于「Phoenix/凤凰城」的「Ground Saucer Watch」所使用的方法。

First, they examined the image field visually and microscopically to qualitatively evaluate the sharpness of the image of the object and the scene, and they found no discernable difference in image sharpness.

Then color separation and black and white negatives were made at magnifications of 1 to 10.

The resulting negatives were processed by a scanning microdensitometer yielding density contour plots.

Examination of these plots did not reveal any details which would cast doubt upon the authenticity of the photograph.

Then the print, color copy negatives, and color separation black and white negatives were carefully examined for evidence of double exposure, photo paste-up, model at short range suspended on a string, etc., and nothing was found to indicate a hoax

Evaluation of the location of the shadows and highlights in the photograph verifies that the object and the scene were apparently snapped under the same conditions of illumination.

A surprise came when the analysts found many small black specks, apparently caused by dirt on a previous positive, or the print.

Their presence indicated that this print was either a second-generation print from a color negative copy or that the original was a copy negative from a positive transparency, and not a negative as was inferred.
这些黑色斑点的存在表明,这张照片要么是从一张彩色底片副本打印而来的二手照,要么该照片的源版是来自某个‘positive transparency/透明正片’的副本底片,但不是某张推断的底片。

I immediately got in touch with Mr. Meier to inquire about the original negative and learned that the original picture was in fact a positive transparency, and that the negative from which this print was made was produced from the original transparency by Kodak of Geneva.
我立即与Meier先生取得联系询问原始底片的情况,并了解到原始照片实际上是一个‘positive transparency/透明正片’;而制作这张照片的底片,则是由「Geneva/日内瓦」的「Kodak/柯达」(公司)基于‘original transparency/源版透明正片’制作而来的。

This tended to confirm the accuracy of the rest of the findings of Design Technology.
这趋于证实了「Design Technology」其余发现的准确性。

Design Technology concluded that the object in the photograph must have been a large object photographed some distance from the camera.
「Design Technology」得出的结论是:照片中的物体,一定是一个…在距离相机一定远的位置上被拍摄下来的…大物体。

Design Technology holds contracts with NASA, Jet Propulsion Laboratory and the U. S. Navy. they also do subcontracted work for General Dynamics Engineering, the aircraft and submarine builders of San Diego.
「Design Technology」持有与「NASA/美国国家航空航天局」、「Jet Propulsion Laboratory/喷气推进实验室」和「U. S. Navy. /美国海军」签订的合同,他(或她)们还为「General Dynamics Engineering/通用动力工程」,「San Diego/圣地亚哥」的飞机和潜艇建造项目…做分包工作。

Still another method referred to us by Ron Spanbauer of De Pere, Wisconsin was tried in judging depth-of-field or distance of objects in the picture from the lens of the camera at the time the photographs were made.
与此同时,来自「Wisconsin/威斯康星州」-「De Pere」的Ron Spanbauer还向我们提出了另一种方法,就是在拍摄照片时,尝试从相机镜头中判断照片中物体的景深或距离。

This method is based on a color spectrum study of the color granules seen in extreme magnification.

We find that the color red diminishes the further away from the camera the object is.

As the distance from the lens increases the color cast of the corona or halo seen around the color granules making up the image shifts from red to blue and then to green.

In other words, the relative distance of every object in the photograph from the camera, or with respect to each other in a straight line from the lens, can be determined by studying the color of the corona around the color granules making up the image of each object as seen microscopically in the film emulsion.

The objects closer to the camera will contain more red in the corona structure.

Objects farther from the camera will show more blue in the corona, and objects still farther will show more green.

The Meier photographs from Switzerland analyzed by this method were found to be consistent with the reported data, and with the photogrammetric and computer data generated.

A paper, “Analysis ofUFO Photographs” (included below), prepared by Mr. Jim Dilettoso, presents an overview of the methodology developed by Jim and his associates for extended evaluation of photographs of Unidentified Flying Objects.
一篇由Jim Dilettoso先生准备的题为‘「Analysis of UFO Photographs/不明飞行物照片之分析」’(包含在下文)的论文,提出了一个由Jim及其伙伴共同开发的…用于扩展评估「Unidentified Flying Objects/不明飞行物体」照片的…(新)方法论概述。

Diligent application of these methods certainly increases the potential for detecting faked and fraudulent UFO photographs.

Having involved ourselves in the photographic research in this case to the extent described, we readily admit the desirability of working directly from the original 35mm transparencies.

Any reproduction from them necessarily involves a short distance travel of tight and a degree of color shift in the whole image frame.

Knowing that this color shift is uniform however, we can compensate for it.

It is also possible when copying short focus to tilt the image plane of the print or the copying film so as to make any part of the picture go more out of focus than another part which thereby reduces the possibility of detecting a very thin suspension line of appropriate color.

Being aware also of the extremely high rate of loss of original diapositives, both in return mail from the processing laboratories, and in substitution of clever duplicates for originals during reprinting attempts, a situation which is further complicated by outright thefts of originals from both inside the witness’s circle of friends and by outright burglaries from outside, and knowing also that the witness has no personal desire to convince anybody of the reality of his experiences, and that he has become extremely wary of letting any more of the originals out of his personal possession, we have contented ourselves with inspecting the originals in his home and with working from enlarged internegatives made from the originals in our presence and that of one of his most trusted assistants by an excellent professional photo laboratory, Photo Color Studio, of Zurich.
(我们)也意识到:无论是在从冲洗实验室(即:背叛Billy的S先生的工作室)寄回的邮包中,还是在重印过程中(通过做手脚)巧妙代替源版的赝品中,‘original diapositives/源版透明正片’的损失率都非常高,这个情况,也由于牵扯到从见证者(即:Billy Meier)的朋友圈内部以及外部发起彻头彻尾的盗窃…而变得更为复杂;我们还知道:见证者(即:Billy Meier)没有个人意愿去说服任何人去相信他所经历的事实,并且他也变得极为谨慎,不再让任何更多的源版(素材)脱离他的个人掌控,(所以…)能在他(即:Billy Meier)家里检查那些源版(素材),并使用基于我们面前的这些源版(素材)制作而成的放大版‘internegatives/中间底片’开展后续工作,以及与他(即:Billy Meier)最信赖的助手之一,一家优秀的专业摄影实验室,「Zurich/苏黎世」的「Photo Color Studio/照片色彩工作室」(合作),我们已经很满足了。

The finest, most accurate custom internegatives were made on high quality expensive professional machines in 7 x 9 centimeter and 4″ x 5″ format.
最精细,最精确的定制‘internegatives/中间底片’,是在7厘米 x 9厘米和4英寸 x 5英寸格式的…高品质昂贵专业机器上…制作的。

A greater amount of data from the original can be transferred to another film medium, i.e. transparency to negative, because the image can be transferred in depth, than from either of these to paper, as may be seen from the quality of the photographs we have been able to bring forward.

And then computer processing allows us to bring up even more detail than is immediately apparent from prints made directly from the original transparency.
然后,(借助)计算机的处理(能力),我们甚至能够提供…比直接从‘original transparency/源版透明正片’制作而来的照片所展示的显而易见的细节…更多的细节。

We have accepted this degradation of capability rather than attempt to remove any more of the precious originals from the witness’s possession.
我们已经接受了这种能力(/人力)的退化,而不是试图从见证者(即:Billy Meier)的所有物中…拿走任何更多珍贵的源版(素材)。

We have no intention of being a party to any farther loss in this case.

After all, the story and the evidence are strictly his.
毕竟,这个故事还有那些证据,都完全属于他(即:Billy Meier)个人。

We are the only ones who seem motivated to tell it publicly at large.

The witness sees nothing but further problems for him coming from our efforts.
而见证者(即:Billy Meier)从我们的努力中…只看到了针对他(即:Billy Meier)更多的问题。

For analysis of the moving picture sequences of the Pleiadian spacecraft filmed in color in super 8mm format by Eduard Meier we turned to Mr. Jun-Ichi Yaoi of Tokyo, Japan, a world recognized expert in the film and television industry, now working as an officer in Nippon Television Corporation.
为了分析Eduard Meier使用超级8mm格式彩色摄像机拍摄的…Plejaren宇宙飞船的运动视频片段,我们向「Japan/日本」-「Tokyo/东京」的Jun-Ichi Yaoi先生求助,后者是一位世界公认的电影和电视制作领域的专家,目前在「Nippon Television Corporation/日本电视公司」担任官员。


Sync Material – A Preliminary Investigation Report/同步素材 – 初步调查报告

by Wendelle Stevens
Wendelle Stevens(撰)

1.4 Analysis of UFO Photographs
1.4 「UFO/不明飞行物」照片分析

Proposed broad-scale methods for analyzing and evaluating UFO photographs for the purpose of detecting and exposing fraudulent hoaxes and misrepresentation

By Jim Dilettoso
Jim Dilettoso(撰)

1.4.1 Preface
1.4.1 前言

This paper is an overview.

It is intended to give the layman and scientist a feeling for what is available for use in Photogrametric Analysis of UFO Photographs.

The techniques described have been simplified as much as possible, but are based on complex testing procedures.

The procedures have been consolidated from the methods used by NASA, principally those at Jet Propulsion Laboratory; LANDSAT, Nuclear Medicine; The US Navy, and others.
这些流程都已经过…源自「NASA」所使用的方法…进行了验证,这些方法主要是「Jet Propulsion Laboratory/喷气推进实验室」;「LANDSAT/地球资源(探测)卫星」;「Nuclear Medicine/核医学」;「US Navy/美国海军」以及其它机构…所使用的。

Hopefully, it will inspire the inquisitive mind to join others in the positive pursuit of scientific knowledge.

Anyone who asks questions and objectively attempts to answer those questions, is supplying energy to the scientific body.

Anybody wishing further information concerning these procedures, or new and untested procedures, may write to the author, care of APRO. for personal correspondence.

All letters will be answered.

I wish to thank the many individuals who have inspired the and offered their experience.

Among them, Jim and Coral Lorenzen of APRO, Col. Wendelle Stevens, Marcel Vogel of IBM, Dr. Bernard Friedlander, Bill Spaulding, & Emile Touraine.
他(或她)们中有:「APRO」的Jim和Coral Lorenzen,Wendelle Stevens上校,「IBM」的Marcel Vogel,Bernard Friedlander博士,Bill Spaulding和Emile Touraine。

Also Don Showen and Rick Coupland who are experts in their own right.
还有Don Showen和Rick Coupland,他(或她)们也都是各自所属领域的专家。

Jim Dilettoso
Jim Dilettoso

1.4.2 Table of Contents
1.4.2 目录


1. Introduction: Qualitative vs. Quantitative
1. 介绍:‘定性’与‘定量’

2-3. Questions concerning Photogrametric Analysis
2-3 有关摄影测量分析的问题

4 Diagram: System Approach
4. 图表:系统方法论

5 Equipment list
5. 设备列表

6 Image Processing System & Computer Programs
6. 图像处理系统和计算机程序

7 Overview of Examination Criteria
7. 检验标准综述

8 Examination of the Negative
8. 底片检验

9 Examination of the Edges
9. 边缘检验

10 Light Properties
10. 光属性

11 Energy Fields, Magnetic Properties, Infrared Film
11. 能量场,磁特性,红外膜

12 Composite and Enhanced Pictures
12. 复合增强照片

13 Drawing Conclusions, Correlating Data
13. 得出结论及相关数据

14 Dictionary of Terms
14. 术语注释

15 Sample Photographs
15. 样本照片

1.4.3 Introduction: Qualitative vs. Quantitative Analysis
1.4.3 介绍:‘定性’与‘定量’分析

Before the use of computers in Photogrametric analysis, the eye was the judge.

The microscope was the principal tool used to examine the film grain itself.

Those skilled in film chemistry and darkroom techniques used their personal judgment to decide if the film had been tampered with in any way.

Observation of the print itself included artists, film animators, and special effects experts who were skilled in the art of deception.

By and large they were looking for signs of the hoax.

What constituted a real picture varied from expert to expert as there were no numbers to compare picture to picture, only opinion.

It is true that a person who works with film and art techniques, day after day, develops a feeling for what is real.

Their opinion is to be respected.

Someone who is perpetrating a hoax is using the same techniques as these professionals, therefore they should be able to quickly spot the simple techniques.

But what of the authentic picture.

What can they tell us about that?

How tar away is the object?

How fast is it moving?

Are there any unusual properties about the light in the picture?

For the answers to these questions we must seek more sophisticated methods.

Applied technology from new methods in nuclear medicine, microcircuits. satellites, and optical computers have paved the way for Quantitative Analysis of UFO PICTURES.
源自核医学,微电路(学),卫星和光学计算机(领域)的新方法的技术应用,为‘「Quantitative Analysis of UFO PICTURES/定量分析不明飞行物照片」’铺平了道路。

Thorough examination requires application of a variety of procedures.

Each is aimed at answering a specific question – conclusively.

Positive results on a certain test does not prove that the picture is authentic, but supplies more information for the next test, and so on.
在某一测试(生成)的‘Positive results/积极结果’-[注],并不能(完全)证明照片就是真实的,而仅仅只是为下一次测试提供更多的资讯(即:数据积累)等。


Each test provides part of the answer in the form of a yes/no matrix and a set of numbers that can be compared to a set of reference values.

In this way the judgment of the analyst is not as key an issue in the determination of the authenticity of the photographs.


The skill of the analyst is in what questions are asked and how he applies the question to an equipment system with a quantity (numbers) as the output of the test.

1.4.4 Overview of Test Scoring Method
1.4.4 测试评分方法概述

The criteria for a pass/fail system has been widely discussed by experts from every major UFO group.

The issues over what constitutes an authentic UFO picture based on examination of the negative have been resolved to the point of a checklist.

The issues concerning the negative & print are given the bulk of the test value.

Testing for illumination values of the object itself is the principal area of non-agreement among experts.

The reason for this is that the properties of an actual UFO are still under investigation.

A craft in flight has unusual properties due to it’s advanced propulsion system that appears to involve sound and light in the creation of an electromagnetic force.

As such, illumination properties give us more information about the UFO, but are not as important in test scoring to determine if the photograph is genuine.

Overall, it can be stated that the tests are broken in two categories:

1) Determine the authenticity of the photograph.
1) 确定照片的真伪。

—a. Is the photograph a hoax.
—a. 这张照片是一场恶作剧吗?

—b. Is the object in question identifiable as a known: (i.e. bird, cloud, aircraft)
—b. 目标物体是否已被识别为已知的(诸如:鸟,云,飞机)?

2) What are the properties of the UFO (after photo is deemed authentic)
2) 「UFO/不明飞行物」的属性有哪些(在确认照片真实性之后)

—a. size, distance, speed calculations
—a. 尺寸,距离,速度计算

—b. unusual light properties; (absorption, emission, diffraction)
—b. 非比寻常的光属性;(吸收,辐射,衍射)

Test scoring exists to determine if the photograph is genuine or a hoax.

Various questions can be asked and a specific test applied to that question.

Each question can be answered by ayes/no or a set of numbers based on the output of the test equipment.

For each question, a number value equals a perfect score.

For example.

Question: Does negative show signs of airbrush technique?

Answer: NO.

A NO answer is 2 points, yes answer is 15.

In this case a No answer does not prove that the picture is real so it is only given a small N of points.

BUT, a yes is most definitely cause for failing so a high point value is given.

Some questions have no test value but are necessary in order to perform the tests; such as what was the F-stop of the camera, or what is the dynamic range of the film.

Depending on the availability of equipment for testing, certain questions are selected to test a picture.

Tests are performed and a value assigned to each.

Values are tabulated against the pass/fail scale; if genuine, proceed to part 2.

1.4.5 Questions
1.4.5 问题:

1) What type of film was used. Manufacturer, ASA, date of film?
1)(拍摄)所使用的胶片是什么类型的。 制造商,「ASA/感光度」,拍摄日期?

2) What type of camera was used, model number?

3) What are the properties of the lens used, MM, focal length?

4) What were the camera settings during exposure, shutter speed, F-stop, lens focus?
4) 相机拍摄时设置的快门速度,「F-stop/光圈值」,透镜焦点?

5) What time of day was the picture taken?
5) 照片拍摄的日期?

6) What direction was the object from the photographer?
6) 摄影师拍摄物体是在什么方向?

7) What is the depth of field of the photograph?
7) 照片的景深有多少?

8) What is the dynamic range of the film used to take the picture?
8) 拍摄照片所用的胶片动态量程有多少?

9) What generation of copy is the picture in hand?
9) 现有的照片是第几代拷贝?

10) Is this the original negative?
10) 底片是源版的吗?

11) Are there two or more types of film grain in the negative?
11) 底片中是否存在两种或两种以上的胶片颗粒?

12) Does the negative show overlapping or irregular grain patterns?
12) 底片是否显示有重叠或不规则的纹理图案?

13) Is the negative properly exposed in the camera, good contrast, focus etc?
13) 底片是否在相机中正常曝光,(具有)正常的对比度,对焦等?

14) Is the negative properly exposed, developed, in the darkroom; chemicals correct?
14) 底片是否在暗室中正常曝光,冲洗;使用的化学剂是否正确?

15) What is the density of the negative?
15) 底片的密度有多少?

16) Does the negative show signs of airbrush technique?
16) 底片是否显示有修饰技术的痕迹?

17) Does the negative show signs of double exposure?
17) 底片是否显示有双重曝光的痕迹?

18) Does the negative show signs of overlays?
18) 底片是否显示有叠片的痕迹?

19) Does the negative show signs of trick photography?
19) 底片是否显示有视觉特效的痕迹?

20) Does the negative show any unusual properties in individual crystal structure?
20) 底片在单晶体结构中是否显示出任何不同寻常的特性?

21) Has the negative been exposed to direct radiation?
21) 底片是否曾经暴露在直接辐射之中?

22) Has the film negative been exposed to other than visible spectrum light?
22) 胶片的底片是否曾经暴露在可见光谱以外?

23) Does the film grain show any magnetic or diffraction properties?
23) 胶片颗粒是否显示出任何磁性或是衍射特性?

24) Does the print show all information uniformly throughout?
24) 照片是否始终如一地显示所有信息?

25) Are all colors/grey tones consistent throughout the print?
25) 照片中的所有颜色/灰色调是否(保持)始终如一?

26) Is the sun visible in the print; what time of day is it?
26) 照片中是否可以见到太阳;(拍摄发生在)一天中的什么时间?

27) What is the angle of light on any objects in the picture?
27) 照片中任何物体的光线角度是多少?

28) Are any shadows visible; what is their angle compared to the sun?

29) If pictures are in sequence, has any information changed/remained same?
29) 如果照片是依序的,(那后来)有没有什么信息是变动了/保持不变的?

30) What is the level of picture noise?
30) 照片噪点水平有多少?

31) What is the level of picture haze/clouds?

32) What is the brightness level of light in the picture?
32) 照片中的光亮度有多少?

33) Is any object emitting light?

34) Is any object absorbing light?

35) Is any object reflecting light?

36) What is the exact shape of all objects in the picture?
36) 照片中所有物体的确切形状都有哪些?

37) Where are the exact edges of all objects in the picture?
37) 照片中所有物体的确切边缘都在哪里?

38) What are the properties of all edges: width & density?
38) 所有(物体)边缘的特性有哪些,(包括)宽度和密度?

39) Are there any objects of known size or distance in the picture?
39) 照片中是否存在任何已知尺寸或已知距离的物体?

40) How big are all objects in the picture?
40) 照片中所有物体(的体积)有多大?

41) How far away are all objects?

42) Are all distance/focus relationships proper?

43) Is there a string visible, holding up any object?
43) 是否存在可见的牵引绳,牵引住了(照片中的)任何物体?

44) Is object in question, a small or large object (model)?
44) 目标物体,是小型物体还是大型物体(型号)?

45) Is the object actually 3 dimensional, or is it a 3d drawing?

46) Do the edges show any signs of red/blue color shift?

47) Does the angle of light on object in question match angle of sun/shadows elsewhere?
47) 目标物体上的光线角度…是否与(照片中)其它区域的太阳/阴影角相一致?

48) Is object in question moving; what direction how fast?
48) 目标物体是否有在移动;向什么方向移动…以及速度有多快?

49) Was the camera moving?
49) 相机移动了吗?

50) What is the Focus Field Index for all object is the picture?
50) 照片中所有(目标)物体的「Focus Field Index/焦域指数」是多少?

51) Are there any shadows of Object in question, elsewhere in picture?
51) 照片中的目标物体是否存在任何阴影,以及照片中的其它区域是否存在任何阴影?

52) Does object show any unusual light properties?

1.4.6 Step by Step Procedure
1.4.6 程序步骤

Examination of Negative: Equip. Program

1) Take Film 1D# off edge of film; contact manufacturer for info.
1) 将「Film 1D#」从胶片边缘取下;联系制造商获取信息。

2) Log dynamic range of edge TD# into pattern recognition file.
2) 将边缘「TD#」的动态量程记录进模式识别文件中。

3) Place film in Microscope 40X power; observe grain pattern.
3) 将胶片放入显微镜中做40倍放大;观察图案纹理。

4) Place film in microdensitometer; 1.6 micron scan.
4) 将胶片放入显微光密度计中,进行1.6微米(分辨率)扫描。

5) Digitize quadrant 10 micron X 10 micron; cover complete pie.
5) 对10微米X10微米象限进行数字化(处理);覆盖全景版。

6) Tie-all vector points of quadrants; build complete picture.
6) 关联所有象限的矢量点; 建立完整的照片。

7) Dynamic range/pattern recognition program.
7) 程序识别动态量程/模式。

8) Thermoluminescence test.
8) 测试热释光(效应)。

9) Streak test.
9) 测试划痕。

10) Make infrared copy print (see appendix).
10) 制作红外拷贝照片(详见附录)。

11) Digitize Infrared copy print.
11) 将红外拷贝照片进行数字化(处理)。

12) Histogram of both negatives with microscope & microdensitometer.
12) 制作基于显微镜和显微光密度计(视像下)的直方图。

Digitize Picture/negative:

1) Place neg./print on appropriate light table.
1) 将‘neg./底片’照片放置在合适的看版台上。

2) Scan with Vidicon system minimum 5 micron resolution.
2) 使用「VIDICON/视像仪」系统以最小5微米的分辨率进行扫描。

3) Place color filters in sequence red, green, blue.
3) 将彩色滤光片以红色,绿色,蓝色的顺序放置。

4) Magnify 10X, repeat procedure; join tie points.
4) 放大10倍,重复操作;加入连测点。

5) Histogram.
5) 直方图。

Edge Identification:

1) Gradient edge identification.
1) 识别梯度变化曲线的边缘。

2) Laplacian edge identification.
2) 识别「Laplacian/拉普拉斯算子」的边缘。

3) Focus Field Index Identification.
3) 识别「Focus Field Index/焦域指数」。

4) Depth of Field calibration.
4) 校准「Depth of Field/景深」。

5) String search.
5) 搜索字符串。

6) Reference object calibration.
6) 校准参考对象。

7) Size/distance functions calculations.
7) 计算尺寸/距离函数。

8) Edge enhancement; save; calibrate tie points.
8) 增强边缘;保存;校准连测点。

9) Blur ID; movement calculations; object/camera.
9) 模糊ID;运动计算;物体/相机。

10) Color shift one on all edges.
10) 所有(物体)边缘上的色彩移位。

11) Shadow edge ID; x,y locations.
11) 阴影(区)边缘ID;x(轴),y(轴)位置。

12) Movement calculations: calibrate to shutter speed.
12) 运动计算:校准快门速度。

Light & Contour Identification:

1) Call up Histogram.
1) 调出直方图。

2) Band pass filtering; 4 bands, 10 false colors assigned each.
2) 带通滤波;4个波段,每个波段分配10种假色。

3) Histogram ID of Z scale 230 and up; find hot spots.
3) 将直方图ID的Z(波段)刻度值(调整到)230及以上;找到热点。

4) Find shadows; center line for angle of sun.
4) 寻找阴影(区);太阳(光线)角的中心线。

5) Compare sun angle (hot spot on OBJ) to shadow angles; time.
5) 对比太阳(光线)角(「OBJ」-[注]上的热点)和阴影(光线)角;时间。


6) Contour ID based on each band Z scale; topograph.
6) 基于每一个Z波段刻度值的轮廓ID;形貌图。

7) Find cold spots; Z scale under 40; focus under 30.
7) 找到冰点;将Z(波段)刻度值(调整到)低于40;焦点低于30。

8) Contrast enhancement; save tie points ID.
8) 增强对比度;保存连测点ID。

9) Identify noise level/haze level.
9) 确定噪点水平/霾度水平。

10) Match noise level on OBJ to FFI #.
10) 将「OBJ」-[注]上的噪点水平与「FFI#」相匹配。


11) Observe reflected properties craft to ground images.
11. 观察飞行器着陆照片的反射属性。

12) Band pass filter; observe edge/thermal diffraction.
12) 通带滤光片;观察边缘/热衍射。

1.4.7 Enhanced and Composite Image:
1.4.7 增强和合成图像

1) Recall enhanced images and tie points.
1) 取消增强图像和连测点。

1.4.8 Equipment List:
1.4.8 设备清单


1) Microscope 10-100 x power minimum.
1) 一台放大功率不低于10~100倍的显微镜。

2) Microdensitometer,; Recommend Joyce Loebel-Vickers PI V77 or comparable
2) 一台显微光密度计;推荐「Joyce Loebel-Vickers PI V77」(型)或与之(功能参数)相似的型号。

3) Interferometer; 0045 Tolerance with .06 micron window.
3) 一台干涉仪;0045容宽搭配.06微米视窗。

4) Infraredometer; +7 -.0001% deviation from I degree Kelvin +/-.0001% from wavelength.
4) 一台红外线测距仪;开氏度±7(K)偏差.0001%,波长偏差.0001%。

5) Digitizer; Recommend Fairchild CCD-2: 512X512 array minimum.
5) 一台数字化仪(/数字转换器);推荐「Fairchild CCD-2」(型):最小512X512矩阵。

6) Image Process Computer
6) 一台图像处理计算机。

> Any of these systems:

——De Anza Systems
——「De Anza」系统

——Ramteck Systems

——ComTol systems


——Spatial Data
——「Spatial Data/空间数据」(系统)

——FORTH Systems


1) Light table.
1) 一张看版台。

2) Copy Camera 4″X5″ with film holders.
2) 一台带胶片夹的4英寸x5英寸拷贝相机。

3) Infrared film system for copy prints.
3) 一套拷贝照片用的红外成像系统。

4) Electron Microscope.
4) 一台电子显微镜。

5) Thermoluminescence peak/streak camera.
5) 一台(能拍摄到)热释光…峰值/条纹的…相机。

6) Kirlian Photography system.
6) 一套「Kirlian/克里安」摄影系统。

7) Spectrum Analyzer.
7) 一台光谱分析仪。

1.4.9 Image Processing System
1.4.9 图像处理系统

Input sources:

  • Film negatives
  • Film positives/Transparencies
  • Film positives – paper prints
    胶片正片 – 纸质照片
  • Magnetic tapes from digitizer
  • Histogram


  • Histogram expansion
  • Histogram equalization
  • Fast Fourier convolution windowing
  • False color mapping
  • Scaling
  • Camera tilt removal
  • Aspect ratio change
  • Image addition, subtraction and masking
  • Image averaging
  • Overlay comparisons
  • Multiple scale cursor comparisons
  • Spatial filtering
  • Pattern recognition
  • Edge Identification
  • Edge enhancement
  • Contour Identification
  • Contour Enhancement
  • Image Enhancement
  • Image composite; associated points and vectors
  • Focus indexing
  • High pass filtering
  • Low pass filtering
  • Band pass filtering
  • Gradient edge identification
  • Laplacian edge identification
  • Size/distance calculations from focus indexing
  • Radiometric temperature conversion
  • General Data Base management

1.4.10 Laboratory Equipment
1.4.10 实验室设备

1) Electron Microscope, powerful close-up microscope
1) 电子显微镜,强大的近距显微镜。

2) Micro Densitometer, measures density of film grain
2) 微显像密度计,(用于)测量胶片颗粒的密度。

3) Vidicon Tube, converts picture to electronic image
3) 视像管,将照片转换成电子图像。

4) Interferometer, measures waveform/frequency of film crystals (as lenses)
4) 干涉仪,(用于)测量(作为透镜的)胶片晶体的波形/频率。

5) Infraredometer, measures infrared light not visible to the naked eye
5) 红外线测距仪,(用于)测量裸眼无法看到的红外光线。

6) Digitizer, converts Vidicon image to 300,000 computer cells called pixels
6) 数字转换器,将(一张)摄像管图像转换成300,000个(被称为‘像素’)计算机单位。

7) Image Process Computer, defines, analyzes, measures of photo
7) 图像处理计算机,对照片进行定义、分析和测量。

1.4.11 Overview of Examination Criteria
1.4.11 检查标准概述

The methods herein described are based on the following uses of the data.

QUALITATIVE Judgment by the researcher, based on observation of the evidence, opinion.

QUALITATIVE Judgment by the researcher, based on QUANTITATIVE DATA, opinion.
由研究人员基于「QUANTITATIVE DATA/定量数」据,(个人)见解,所做出的「QUALITATIVE/定性」判断


The tests to determine the validity of the photographs can be broken into two categories:

1.) Examination of the Negative, film grain & emulsion, and 2.) Examination of the picture/light structural properties.

The tests to understand more about a picture found to be valid take on a more elusive structure.

Consistently, UFO pictures are found to be either blurry or extremely clear.

There seems to be no in-between.

Pictures that are very clear are always suspect.

This seems a bit unfair since, clear pictures are what everyone is hoping for.

Nonetheless, correlations among pictures believed to be authentic is the wide open field.

Image composites, unusual energy fields, and X-ray approaches have found themselves a place in UFO photo research.

Since the phenomena ofUFOs themselves falls into an abnormal physics structure, we find that the methods of analysis must take on an unusual texture.

Studies of the non-visible light spectrum and electromagnetic radiation must be applied to understand the pictures once proved authentic.

The basis for this composite understanding comes from analysis of the following properties of the picture itself;

1) Study of the EDGES of the UFO and other objects in the picture.
1) 对照片中「UFO/不明飞行物」「EDGES/边缘」和其它物体的研究。

2) Study of the LIGHT PROPERTIES in the picture.
2) 对照片中的「LIGHT PROPERTIES/光特性」的研究。

3) Study of Energy Fields around the craft. Magnetic Diffraction, & Infrared Light.
3) 对(照片中)飞行器周边「Energy Fields/能量场」的研究。磁衍射和红外光线。

4) Building a Composite picture from pictures in sequence or similar craft.
4) 基于连续或相类似的飞行器照片,构建‘a Composite picture/一张合成照片’。

5) Devising new methods of photographing UFOs.
5) 创新一种拍摄「UFO/不明飞行物」的方法。

1.4.12 Examination of the Negative
1.4.12 底片检查

In order to accurately conduct these tests, it is imperative that the original negative or transparency be examined.
为了准确地执行这些测试,有必要对‘original negative/源版底片’或‘transparency/透明胶片’进行检查。

Since copy negatives will obscure the detail of the grain or film emulsion, we must examine the film itself that was in the camera.

Manufacturers code each batch of film with numbers that are visible on the edge of the negative.

By contacting the manufacturer, one can get information about the nature of the chemistry and grain characteristics of that batch.

Give as much information as you can, including date of processing, and conditions of exposure.

A local film processor may also be able to give you an accurate picture of what the grain should look like under normal conditions.

Using a microscope, a minimum of 40X power, examine the negative and look for even distribution of film grain.

These results are qualitative based on visual judgment.

Positive Results
EVEN film grain patterns
Separate grains in area of given grey scale

Negative Results
uneven distribution of grain
overlapping grains in area of given grey scale

Using a microdensitometer, a minimum 1.6 micron scan, with a microscope; transfer the negative to a digitizer and into a computer.

First perform a histogram function in 10 micron quadrants.

The 10 X 10 micron histogram should be a 512 x 512 x,y.

The Z scale or grey density, will be of the individual film grains.

Perform period functions and look for even distribution of spatial slope, around areas of like Z values.

Fluctuations of more than 10% indicate a negative result.

This histogram now becomes a highly accurate digitized picture that can be examined further in the computer as a positive print.
该直方图现在变成了一幅高精确度的数字化照片,可以做为‘a positive print/(一版)正片’在计算机中做进一步的检查。

1.4.13 Examination of the Edges
1.4.13 边缘检查

Edge Identification

-using the computer to identify edges is one of the most important functions of Photogrametric analysis.

First, we can clarify whether an object is indeed a symmetrical and hard edge object; or lights, reflections, or clouds.

Depending on the quality of the original picture and depth of field, we may be able to further clarify the size and distance of the object.
依据‘original picture/源版照片’的品质和‘depth of field/景深’,我们可以进一步摸清物体的尺寸和距离。

If the object is suspended by a string, we will be able to see the string as an edge, suspended in the air.

Examination of the histogram compared to the original picture will give the edges as a series of pixel values.
通过检查与‘original picture/源版照片’相比的直方图,边缘就会以一连串像素值的形式被找出。

The objective is to determine how wide the edge is.

Provided the picture has been digitized in 1.6 micron scan, we can have an array for a 10 micron quadrant transferred to a 512 x 512 display.
只要照片在1.6微米扫描(进程)中被数字化,我们就可以得到一个10微米象限的阵列,并将其传输到一个512(像素)x 512(像素)的显示器上。

This will provide us with a range for edges to be from 1 to 512 pixels.

In a 35mm negative, we found most edges to be from 5 for the sharpest images to 45 pixels for those that are at a great distance from the depth of field or are considerably out of focus.
在一版35mm底片中,我们发现绝大多数边缘(值),是由…从最清晰图像的5(像素)…到那些距离‘depth of field/景深’很远或明显脱焦(即:焦点没对准)的(最模糊图像的)45像素…构成。

This gives us a spread of 40 pixels.

With the depth of field being the area where the edges are the smallest numbers and the smallest single number being the exact center of the lens focus, we can determine how far away one object is in relation to another.
由于‘depth of field/景深’是边缘(值)数字最小的区域,而最小的单个数字又代表了镜头焦点的精确中心,由此,我们可以确定一个物体相较另一个物体的距离有多远。

This would be in %, unless we know the distance of any other object in the picture.

We then assign a distance to that pixel value and add or subtract % of distance based on the pixel scale.

The system used to perform these calculations is a Hammamatsu Array system.
用于执行这些计算的系统,就是「Hammamatsu Array system/Hammamatsu阵列系统」。

If we do not know, the distance of any reference object, then we must state that one object is further than another.

Our size/distance calculations at that point are accurate within 25%; what we can tell is if it is a model.

Light Properties

Light reflected and absorbed forms the basis for photography.

Intensity, angle, color and wavelength all provide important information about the picture.

The following programs provide us with the answers to important questions:

Histogram readout gives the light values of each pixel in a scale from 0 to 256.

With 0 representing the darkest and 256 the brightest value.

On a black and white print we would only have one Z scale as it is called.
(但)在黑白照片上,我们只会得到一个被称为‘Z scale/Z尺度’(/Z刻度)的数值。

In a color print we would have introduced the print into the digitizer using red, blue, green & sometimes yellow filters.

For each picture then, we have a Z scale from 0 to 256 for each color.
(因此…)对每一张照片来说,我们都可以得到一个对应每一种颜色的…尺度从0到256的…‘Z scale/Z尺度’(/Z刻度)值。

This gives us a highly accurate density value for each wave length in the visible spectrum.

The basic test to run first is to see if we can determine the angle of the sun on the object.

This is done by building a false color contour based on the Z scale by filtering the different intensities of light from highest to lowest, until we find the “hot spot”.
这个环节是通过…基于‘Z scale/Z尺度’(/Z刻度)构建起来的一个假色轮廓…来完成的,方法是将不同强度的光从最高(值)到最低(值)进行过滤,直到我们找出‘hot spot/热点’。

This is where the light is brightest from the sun shining directly on the object.
这(个‘hot spot/热点’),就是太阳(光)直射在物体上的光线最亮处。

Conversely, we will then look to find any shadow either from the object or any other reference point on the ground.

Matching angles means that both the object and the location were shot under the same conditions of illumination.

This does not however eliminate a model.

In the process of looking for the hot spot, we built a contour based on the Z scale density.
在寻找‘hot spot/热点’的过程中,我们基于‘Z scale/Z尺度’(/Z刻度)密度…构建起了一个轮廓。

We now in fact have a topographical map of the UFO.

This shows us the actual shape of the UFO in 3-D perspective.

By performing band pass filtering in different wave lengths, we can look at the reflective and absorptive properties of the craft itself.
通过在不同波长中执行‘band pass filtering/带通滤波’,我们可以看到飞行器自身的反射(光线)和吸收(光线)特性。

Are any objects in the ground below being reflected in the bottom of the craft?

Mere comparison of the false color scale will show this vividly.

Also we can detect any light absorbing properties that most genuine craft appear to have.

This will appear as a 0 to 30 on the Z scale.
这会在‘Z scale/Z尺度’(/Z刻度)上…显示为0到30(的数值)。

The end result is that we can determine if the illumination is correct as well as get a good topographical look at the craft.

Energy Fields, Magnetic Properties, Infrared Film

The study of UFO photographs becomes intensely exciting once the researcher has discovered that a photograph is genuine.

The study then becomes one of understanding the properties of the craft itself.

This area is one of considerable importance to those who have come to understand the Phenomena as real.

Tandem study is required in the area of UFO propulsion systems in order to relate the characteristics of the picture to the properties of flight.

It is believed that UFOs use magnetics in order to manipulate the energy of light and matter through time and space.

This manipulation would make certain craft appear foggy or transparent, at times, in our physical dimension.

Photographs that represent only our VISIBLE SPECTRUM, may not be the only information that can be photographed.
代表在「VISIBLE SPECTRUM/可见光谱」中所能见到的(飞行器的)照片,并不一定是能拍摄到的唯一信息。

This calls for methods of examining the subtle traces of non-visible spectrum light whose HARMONICS, may be minutely visible (trapped) in visible spectrum film.

The magnetic properties of the craft would show-up as areas of light absorbing light emitting, or light diffracting edges.

Through special equipment, light can be filtered to specific frequencies to examine those properties.

More on this to those who will write.

A few pictures have been taken with infrared film of UFOs.

The pictures are particularly interesting as they show thermal energy fields that are definitely not those of a tossed or suspended model.
这些照片特别有趣,因为它们所显示的‘thermal energy fields/热能场’…绝不是某个抛掷物或(某个)悬挂模型所能产生的‘thermal energy fields/热能场’。

These photographs are light filtered to further examine the narrow bandwidths within the infrared spectrum.

It is interesting to note that there are harmonic pulses in some of these spectra.

This entire area is one that interests scientists the most.

Collaboration among scientists will prove this study of magnetics to be most productive in understanding the UFO Phenomena.

Composite and Enhanced Pictures

With the use of the Image Processing Computer, we can now examine UFO Craft to much greater detail than ever before.
凭借使用「Image Processing Computer/图像处理计算机」,我们现在可以比以往任何时候都更为详细地检查「UFO Craft/不明飞行物-飞行器」。

The computer can store all of the information about a picture and IMPROVE it’s visual quality to the point where detail is now visible.

Appendages, protrusions, and exact shape are commonplace detail that can now be seen visually like never before.

Furthermore, this detail can be stored in the computer as a kind of line drawing blueprint.

It can then be classified according to tie points that describe the geometry of the craft.

With this file number, the craft can then be compared to other craft in an attempt to cross correlate sightings of the same craft in other parts of the world.

When the same craft has been photographed multiple times, these tie points can be overlapped and more detail can be added to the composite picture of that craft.

In addition, the computer can turn this picture 360 degrees and look at all sides of the craft, (now called Identified Flying Object).
除此之外,计算机(还)可以将该照片旋转360度,并查看该飞行器(现在称为:「Identified Flying Object/被识别的飞行物」)的所有侧面。

These composite pictures can be continually updated.

In this way a clear view of the types of craft can be studied like blueprints.

In this way perhaps an understanding of the propulsion systems used will be more accessible to scientists, particularly aerospace engineers.

Drawing Conclusions, Correlating Data

The objective of photogrametric analysis is to fund authentic pictures that can be studied.

Finding the fakes is necessary, but does the researcher no real service.

AUTHENTIC PICTURES are the real prize.
真正有价值的是那些‘AUTHENTIC PICTURES/真实的照片’。

For only then can the UFO Phenomena be studied.

Once a picture has been deemed genuine, then the real testing begins.

A conclusion that a picture is real is actually No Conclusion to the Scientist.

Only by correlating data from further picture analysis, correlating sounds analysis reported, radiation and burn marks, and possibly metal samples from craft can real Conclusions evolve.

The use of computers puts this data at the fingertips of the researcher.

Provided of course that the resources are available to access this technology.

Since the Government does not sponsor any open research, the responsibility must be in the hands of those who have access to the technology and the knowledge of how to investigate and cross correlate the data.

Logically then, it seems that the true advances in research will come from a marriage of industry, the universities (who have the needed equipment) and experienced UFO researchers.

Well, let’s get started.

1.4.14 Summary of Research Activities
1.4.14 研究活动摘要

I. Criteria for examination of the NEGATIVES
I. ‘NEGATIVES/底片’检查的标准

A. What equipment was used to conduct these tests?
A. 有哪些设备被用于执行这些测试?

1) Zeiss Microscope
1) Zeiss Microscope/蔡司显微镜

2) YOOL Laser System
2) YOOL Laser System/约尔激光系统

3) Simmons Gamma/Alpha Emission Tube
3) Simmons Gamma/Alpha Emission Tube/西蒙斯伽马/阿尔法发射管

4) Grinnel Computer Graphics Terminal GMR-37
4) Grinnel Computer Graphics Terminal GMR-37/格内尔计算机图形终端 GMR-37(型)

5) Tektronix Computer System 4081=peripherals
5) Tektronix Computer System 4081=peripherals/泰克尼克(公司)计算机系统 4081 =外围设备

6) Fairchild CCD-2 Digital Camera
6) Fairchild CCD-2 Digital Camera/费尔柴尔德 CCD-2(型)数码相机

7) Singer zx-2 Digital Camera
7) Singer zx-2 Digital Camera/辛格 ZX-2(型)数码相机

8) CMX-700 & 340; Computer Video Graphics
8) CMX-700(型)和CMX-340(型);计算机视频制图

9) Assorted Custom Laboratory Equipment
9) 各种实验室定制设备

B. What questions were considered?
B. (需要)考虑哪些问题?

1) All of the above tests
1) 上述所有的测试

2) Theta Wave Field emission tests (possibly Delta/Orgone sensitive plates).
2) 「Theta Wave Field emission tests/西塔波场辐射测试」(有可能是德尔塔/奥冈感光板)。

C. Further examination of the SOUNDS reported as a UFO, presently in possession.
C. 对现有的所有报告为「UFO/不明飞行物」(音频)的音频…做更进一步的检查。

D. Voice Stress Analysis of the questions posed to Edward Meier by W. Stevens 5-78
D. 对Edward Meier回复W. Stevens(向其)所提问题的回复…做语音压力分析。

E. Additional Camera & Sound equipment supplied to Edward Meier.
E. 提供给Edward Meier的附加(/补充)相机和声音设备。

1.4.15 Camera Data
1.4.15 相机数据

Eduard Meter’s Photographic Camera:
Eduard Meter(使用)的摄影相机:

制造(型号):OLYMPUS 35 ECR

Serial Number 200519

Maximum shutter speed 1 /100th Sec.

Lens l:2.8f42mm
E.ZUIKO 42mm(焦长)

Film Used-24 x 3 5mm 18 DIN Kodak Agfa Peruz
24 x 35mm(尺寸)
18 DIN(感光度)
Kodak Agfa Peruz/柯达(公司)爱克发‧佩鲁茨(品牌)

Eduard Meter’s Movie Camera;
Eduard Meter(使用)的摄录相机:


Serial Number 03320

Lens l:1.8f8-64mm

Film Used-Super 17 DIN Kodak Agfa Peruz
17 DIN(感光度)
Kodak Agfa Peruz/柯达(公司)爱克发‧佩鲁茨(品牌)

Camera data on the photographs taken by Hans Koni Schutzbach, Guido Moosbrugger, Wolfgang Wotzer and Olga Walder is not available.
此处(所示)的相机数据,并不适用于…(由)Hans Koni Schutzbach,Guido Moosbrugger,Wolfgang Wotzer和Olga Walder所拍摄的照片。

Others, unidentified, have also taken pictures in connection with the contacts.

by Jim Dilettoso
Jim Dilettoso(撰)






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