Garden of the Gods – Dare to Believe

In the latter part of this feature I shall be presenting some quite spectacular findings from The Garden of the Gods ::  https://en.wikipedia.org/wiki/Garden_of_the_Gods  ::         I hope you will agree they were worth waiting for 🙂

The results come from pictures shared a long time ago with thanks to F.B. USOKS ::      Bob Newton  (click for page) :: Recently Bob tagged me to a pic of one special area of this Colorado location. His investigations had identified seemingly deliberate ancient forms carved into the rocky landscape. My limited photo-analysis validated Bob’s observations.

However the picture seemed too distant and grainy to perform a forensic examination. This time I was prompted to look deeper as I knew the years of photo-analysis practice had improved my eye and technique. This time I was able to see where apparent distortions actually concealed deliberate form. The surfaces were artificially sculpted and were covered with hidden illustrations.

This led me to spend a very long time on the target pic, analyzing, delineating and shading in order to get the results you will soon see. Doing the work takes supreme concentration, which gives an ideal frame of mind to meditate on the great questions that surround these carvings and hidden illustrations. Who created them? When and How? …before finally Why?

We have discovered them in locations all over the world. They have a generic style. They are staggeringly sophisticated and intense. They have clear meaning and purpose.

They so often have depictions of ships and boats foundering amid the chaos of people and animals in storm, as if memorializing a common event of catastrophic inundation. (Clue)

This time my mind wandered to the How? The results repeatedly show three-dimensional depictions as if looking at the detailed representation of a photograph. But the embedded surfaces are often uneven rock faces! How can this be reconciled?

Then new thoughts came to me… Let’s consider a few of them….

Unless carved or etched, the images can rarely be discerned with the naked eye. They are often exquisitely detailed at micro level but can also be hundreds of feet large. After playing with all digital adjustments, the target photo arrives at optimum settings which ‘bring out’ the best of any embedded imagery.

Then it takes literally hours of working on PS Elements with a single pixel point to delineate every blemish and every change of shade or colour across the entire surface.  For example I have been working on another special target from a friend/colleague in Australia off-and-on for weeks. It is so detailed and intense at micro level that it boggles the imagination, and its difficulty factor is off the scale.

A picture may only be from a low camera setting – taken badly with camera shake or lighting glow and bad positioning, and may be badly lacking High Definition. The rock surfaces producing the image may be soft or hard rock. They may be severely unprotected and eroded. They may be suffering from calcification or other natural detritus like bat guano underground. So many factors fight against the techniques which nevertheless have revealed the presence of these lost images.

I thought about Mandalas! These were always meant to be the flattened (two dimensional) representations of real life places. Someone reaching a high state of mind through meditation upon the Mandala could expand the image to become one with its original holy form.  Could this be a clue?

Looking at an uneven rock face triggers the brain to make sense of the three dimensional differences in the three dimensional scene. But…..when a photograph is captured, although the eyes and brain perform according to their conditioning the picture is in fact a flattened two dimensional representation of the scene captured……. which we still perceive.

Then my thoughts turned to the delineation process. In Photoshop Elements, if work is to be done on a photo, the software creates an extra frame aligned to the original, where the alterations are preserved. Further work may mean a series of similar new frames.

Before the final result can be saved, the work has to be given a command to flatten the image to merge all the working frames together… When delineating, the eye and the pen point is not following the natural representations of the original three dimensional image. It is defining the differences between all the things already described; ie. blemish, shade and colour boundaries… Therefore if by some means in the distant intelligent ancient past there was a technique which enabled images to be embedded to the surface, the process of delineation replaces our conditioned brain and eyes …to allow the re-emergence of the embedded image.

This presents a further problem because when delineating, the pixel pen point maintains the same density for all delineation lines. In a natural picture or illustration our perception is aided by the fact that 3D is enhanced by natural softening or hardening of lines, edges and shadows. The delineated illustration lacks these subtle definitions, but there is a final stage of preparation which helps to redefine depth. By the way, while doing the analysis at greater enlargement it is impossible to even see what is being produced, so modifying the pen point as you go is a non starter.

When the whole picture is delineated the next stage is to stand back and allow the brain to see past the consistent lines in order to recognise whatever surviving original images may be present. Bear in mind the artists employed a generic technique. They filled any blank parts of the canvas with a myriad of micro or fractal images as if to disguise and preserve the original study. In order to make the revealed picture ‘pop’ there is only one more thing to be done. The frame has to be given additional new colour shading.

Finally, by reverse engineering, instead of the original three dimensional image, it is possible with a discerning eye to recognise the recovered ancient original  three dimensional scene… For us, the technique will improve by miles when we are able to obtain superior camera equipment so that target images can be captured under testable and repeatable conditions.

The only burning question that remains from this is the How ???  If there is a grain of truth in my reasoning then these images were rarely painted on to the surfaces. We know from spectacular results found ‘behind’ date-measured cave images to beyond 10K years, we are considering a time when primitives were supposed to be in charge!

It seems  almost as if the images were photographically imprinted to the surface… but oops that would be probably be a step too far away of our 20 century supremacy and would be bloody inconvenient to history as it has been taught….

Your own sensible thoughts please in the comments below…

Many thanks, Richard and Judith.

Here then is the latest picture sequence from The Garden of the Gods ::: First the primary target pic, followed by the first adjustment… Then delineated/shaded plus additional versions where the target pic was cropped into three for enlargement… and finally a couple of closeup crops. As ever before…. Detail can only be studied by the serious investigator via a (copy/save as) to your own computer for greater enlargement.

TEMPLATE

Violet prime

Violet prime.Z1

Next are chopped left, middle and right hand sections

Violet prime.Z1.left

Violet prime.Z1.middle

Violet prime.Z1.right

Next – A closeup of the window section

Violet prime.Z1.window

Finally for now… a mega closeup/adjusted version of the r/hand adjoining rocks

Violet prime.Z1.crop

Happy hunting yourselves….. but just consider what results will emerge from the L16 Light camera at several times the power, quality and definition – when they are finally in production 🙂  It is agony waiting.

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