April 24, 1994
The problem I am having with providing data for independent assessment is that it is a time-consuming process with expenses. I will be more than happy to share with you my data if you are willing to reimburse me for cost of reproduction, postage, etc.. Otherwise, I would suggest that you purchase one of the videos available for the two 90 minute and one 45 minute talks that I have given:
"Spaceship view of alien technology never before revealed
103 S. Court St., Suite 116,
Cleveland, Mississippi 38732
$24.95 (VHS) each ($5.00 S&H).
[Or ask for catalogue - svj]
"New revelations about UFOs at Pine Bush, New York"
by Dr. Ellen Crystall and Bruce Cornet from Omega Communications,
P.O. Box 2051
Chesire, CT 06410-5051
$29.95 (includes P&H).
I enclose 13 color copies of photographic plates showing plasma light performances in the Wallkill River Valley. It is not possible with the equipment I have to get images of the craft, because they are almost invisible against the night sky. Yet, it is the movements and patterns that the lights make which distinguish them from conventional aircraft lights and maneuvers. I have had numerous debates as to whether or not I am photographing military aircraft, or military craft with alien assisted technology. I can say unequivocally that these are not conventional military aircraft, but I cannot rule out the possibility that I am photographing hybrid technology. My question is why would the military put on displays for my camera, unless I am in some way linked to a secret government program to gradually inform and educate the public? I prefer to think that the aliens are using hybrid technology or conventional facsimile as a means of camouflage, and that they want to educate the public through a controlled outlet of information. Conventional sounds, craft with unfoldable wings, and running lights are used to compromise interpretation in order to lessen or eliminate conflict and shock, and to provide escape from an unacceptable conclusion, i.e. plausible denial. I have met numerous witnesses who cannot accept these craft as alien, and who will quickly use facsimile sounds and light patterns to conclude that it was just conventional aircraft that flew over them. You can tell when a person is having a problem when he looks at the details. But the truth is in the details, as my photographic analysis below will indicate.
Figure 1 (121k) (63k) shows the aerial and map layout of the Pine Bush UFO hot spot. The outline of the trees in the photograph, a copy of which is also provided, is shown on the map. (see color photo) (26k) It resembles the outline of the United States. On the photocopy flight paths are drawn for some of the incoming and outgoing craft to show where they originate and disappear into this area of trees and rural farmland. There are two circular features, one outlined in part by trees in the upper right part of the photo, and the other outlines by swamp, trees, and a six sided, eight foot tall, 300 foot diameter permanent mound (diagrammatically shown) in the lower right part of the photo. These circular features are shown in orange on the map. Interestingly, the upper one may correspond to the Blakes Plateau crater-like feature of the Georgia coast, and the lower one may correspond to the Chicksalup [sic] crater off the significance for this concentration, or if their relationship to the USA outline has any relevance.
Figure 2 (173k) (75k) shows the flight paths of four unconventional craft that lifted off from on or near the ground, and made runs at or near our positions. The circled X's represent the positions of observation. Note how the activity is limited to the valley, with each craft disappearing below a distant tree line. The 24 October performance ended with the craft spiraling down into the wooded area in the shape of the United States. Its lights on the photographs can be seen going down through trees to the ground!
Figure 3 (40k) (20k) represents data from both time exposures and video. The time exposures are numbered 1-6. The vibrations apparent in the light traces were measured and computed to oscillations per foot travelled. Those numbers are given over the flight path (0.64 to 0.10). When graphed the oscillations show a geometric decline consistent with a controlled maneuver during a transformation from high intensity plasma lights to the intensity of conventional aircraft lights as the triangular craft flew over us. That curve (upper box) is contrasted with oscillations from turbulence for a commercial jet over a distance of 2.5 miles. There is no comparison. Note computed elevation, speed, and distance travelled. This craft sounded like a big jet thundering over us. but sound was not recorded on the video until the craft was about 500 feet away.
Figure 4 (57k) (27k) compares the light intensities of three UFOs and one conventional jet as they approached the camera. The typical flaring of the plasma lights at the beginning of the runs is so apparent and distinct from the slight increase in intensity of the jet lights (due to orientation) that a conventional explanation is effectively disproven.
Figure 5 (59k) (22k) shows a diamond-shaped craft making a run at the camera starting from a half mile to the north (about 20 feet off the ground, and then veering off to the west. The left light appears to be malfunctioning as its intensity varies, while the right light is unbroken. For a better image see my business card. An enlargement of the negative is shown in Figure 6 (53k) (21k) One can see clearly plumes of ionized brown gas (oxides of nitrogen) coming off the lights because of the discontinuities in brightness, and the plasma bubbles forming in the light train. This craft may have had engines mounted on its bottom to produce the turbine sound (recorded on video) Figures 7 (36k) (18k) and 8 (33k) (17k) show the shape of the craft and positions of the lights as taken from the video. Note the speed and movement of the point light down to along side the lower belly light - highly unusual. Also note the possible response in engine pitch to Ellen's comment, "Nice sound."
Figure 9 (46k) - (23k) Figure 10 (36k) (17k) show a spectacular performance made by a similar diamond-shaped craft as it came across the field from the center of the hot spot towards the camera crew (for Sightings), Ellen and me. The craft made a sweeping turn in front of us about 100 feet off the ground about 500-800 feet away from us, turned on banks of lights on its belly, rotated sideways, and returned to the forested areas where it again disappeared. Prior to its run another craft made a higher altitude run at us while this craft drifted in place - evident on my time exposures. The craft flared one of its lights in typical UFO fashion as it crossed the field at a calculated speed (conservative) of only 30 mph. At the Ozark UFO conference I showed the video, and a pilot who had flown C5s came up to me afterwards to say that he thought that all I was seeing was a low flying C5 making a turn and putting down its landing gear with landing lights as it turned in front of us. He was convinced that the sound on the tape was that of a C5, even though Ellen and others commented on the video that it did not sound like a C5. Yet what pilot would put down landing gear as he banked the plane, only to retract them once the turn was completed? The pilot argued that the plane was much higher an further away than I had calculated or observed, even though one can see it clearly passing tree landmarks and house lights close to the ground less than half a mile away during its run! Once again, those who want to be fooled will be fooled, but the details prove otherwise. I even had one person comment that if the craft produced a jet-like sound it had to be military. Such a statement doesn't give the aliens much credit for intelligence, does it!
Figure 11 (91k) (34k) shows a probable diamond-shaped craft making a spectacular S-shaped maneuver less than a mile away. Note how the lights are flared with the ionization of the air and production of an orange red aura. During the nearly vertical rise the outer red and green running lights were turned off while the central white lights did unusual circuloid motions. The whole performance took 108 seconds, with the S-shaped part taking about 90 seconds. That's slow! Note how the pilot turns on both white lights, then turns on one, followed by the other as a clear signal that this was a performance done for my camera. The entire S-shaped maneuver was done in complete silence. Only when the craft sped away in the last tie exposure was any sound heard, and that sound could as easily have come from its speed through the air as from an engine.
Figure 12 (52k) (23k) shows photos I talk about in my letter in defense of John Mack. This is the craft that timed its elevator movements and light movements to correspond to the opening and closing of my camera shutter. Figure 13 (62k) (25k) shows enlargements of the negatives for the UFO dance across the first two time exposures. The tree branches in the foreground allow accurate splicing of the images. Note how the red and green running lights are turned off during the dance of the central two white lights. When the white lights return to the position of the craft and the running lights come back on, they all spiral down in typical UFO fashion. Figure 14 (86k) (35k) shows enlargements of the negative and the jumping motion of the lights from one position to the next during the 10 second dance. I saw these lights doing the dance, and remember having the telepathic thought to keep the shutter open until the dance was completed. But the most unusual aspect of this performance was the shape of the craft as it flew directly over us. Ellen caught it on video as it approached silently, then suddenly produced twin jet engine sounds above us which vibrated the air. Ellen says on the tape that it must be a military something or other until she saw that it was a solid modified triangle with extensions in front and back. The craft and another that had an enormous plasma light on the left wing flew over Ellen again that night. I was troubled by the resemblance to a stealth fighter until I saw the reconstructions of the technology, or it is an alien craft made to resemble a military craft? (See Figure 15 (29k) (14k))
Figure 16 (71k) (30k) shows five flying objects in the same area of the sky. The most important feature that distinguishes at least two of these light traces as unconventional is the sky writing in the left photograph. Note how the upper signature is a series of three loops followed by oscillations, while the lower signature is a series of four loops followed by a series of figure eight loops. The difference and details rule out camera or lens vibration as the cause. The up and down spike for the bright lower white light may also represent a similar signature. All these signatures appear to have been synchronous, and all three occurred well after the shutter was opened, ruling out shutter vibration.
Figure 17 (71k) (30k) contains enlargements of negatives for one UFO (upper two images) and one commercial jet (lower image) on approach to Newark airport. As an experiment I vibrated the side of my 300 mm lens with a tuning fork to produce the interference pattern of oscillations after the shutter opened. The top two images show tails or jumps in the light that were timed to correspond with the opening of my camera shutter. The centra image also shows a deliberate pattern of alternating loops well after the shutter opened. Only UFO lights can make these kinds of intricate loops. There is no way any conventional aircraft can do this, and a stunt craft would have to have mobile lights that could do synchronous loops! The loops ar much more evident on the original photo.
Figure 18 (51k) (22k) shows enlargements of negatives for two performances. The upper two pictures show a spectacular signature that is purposely suspended while the pilot waited for me to close the shutter. After I advanced the film and opened the shutter for the net time exposure the pilot completed the signature. The bottom light traces show a pair of lights making loops, and then dimming out. The loops show variations in light intensity consistent with plasma lights, but not conventional lights. I have photographs of another performance where a similar craft stopped and hovered just above the trees across the highway from where we stopped, waited for me to set up my tripod and camera, and then made an intricate series of similar loops before turning and moving on. A friend an colleague who saw that picture said that I had to have been bouncing a hand held camera, and refused to accept any evidence that the camera was on a tripod or that tree outlines were crisp and sharp. I call this the profound denial syndrome.
Figure 19 (84k) (35k) shows two types of "DNA" helices. The upper two images show a pair of lights twisting to produce the helix, and stopping at two nodes so that you can see that a pair of lights are involved. The lower image shows one light that produced cross members while twisting to produce a similar helix. That light began the helix after I moved the camera slightly, and is one of my examples showing a UFO responding to my movement.
Figure 20 (45k) (18k) shows a similar "DNA" helix produced by one light after I gently bumped the handle on the tripod that governs sideways movement of the camera. The camera was shifted slowly right as a single UFO light moved from right to left. You can see that the light is attenuated over the distance the oscillations and then began a helical pattern. Once again, a helix was produced in response to something that I did. The lower picture is of a small conventional plane that turned on its landing light on approach to Stewart airport ten miles away.
Figure 21 (52k) (22k) shows two performances, each containing anomalies. The upper three time exposures show a brilliant white light with embedded multicolored strobes (including blue, which is not FAA approved for aircraft) rising slowly from left to right from behind the tree line 1,800 feet away. As it rose the lights blinked out momentarily, then reappeared in highly modified form. The central light greatly expanded, beginning as a spiral vortex that collapsed quickly to a series of tight loops. The strobes are clearly displaced along the cone of the vortex, indicating a force field capable of shaping the lights and displacing them to positions above or below the craft. Following the vortex pattern, the craft continued to rise slowly; then the central light flared (with accompanying ionization of the air) as it rose more vertically before leveling off and dimming to a golden color. Following the dimming, the pattern of strobes and golden light resembles that of a conventional aircraft lights. Figure 22 (54k) (20k) shows enlargements of the negatives. In these images you can see the spirals in the vortex, which can be best characterized as a Fibonaccii spiral rotated lengthwise to produce a shape not unlike a conch shell. That would account for the crown-like signature once the vortex collapsed.
The lower picture in Figure 21 (52k) (22k) shows a golden white light rising from right to left from behind the tree line. It produces a typical tail on the right just after the shutter opened. In the middle the light expands to produce a golden tendril, or downwards decreasing spiral. Note how slow the light moved. If that were a conventional plane, the bounce and twist to produce the spiral would have been so great that it should have caused structural damage. I have never gotten pictures like these from photographing conventional planes, and I have photographed many at night for comparison.
I enclose four photographs: One of the UFO hot spot taken 10 May 1994 from a helicopter. (72k) (23k) The remaining three [photographs, one (64k) (20k) two (59k) (19k) and three (50k) (16k) -svj] show plasma lights of craft that buzzed the helicopter at speeds between Mach 7 and Mach 8, as described in my letter in defense of John Mack. Unfortunately some of the image of the lights has been clipped from these prints, which are spares. Note the triangular pattern of golden lights at the back of the craft in the first photograph, and how the light traces on the far side are blurred due to the shock wave behind the craft, which bounced the helicopter. The paired plasma lights in front may be responsible for negating the shock wave at the nose of the craft, which appears to have been shaped like a tetrahedron. The pattern of one craft, one craft, then two offset side by side is significant. I have been shown this pattern before. I think it refers to the sacred universal pattern of positive (one), negative (one), and neutral (double: positive plus negative) that is frequently expressed in the form of an equilateral triangle. I found a similar array of underground transmitters at the hot spot, which are arranged in an equilateral triangle. One transmitter was sending out into space a polarized magnetic photon beam with magnetic values above background, the second with values below background, and the third with values close to the background (neutral). Not only were the fly by's timed exactly with my camera shutter, but the pattern they produced in the three passes has a meaning.
Hope you enjoyed the is excursion into the twilight zone. Please express to your USENET audience your reaction to seeing this evidence. Tell them what you think. I have over 100 photographically documented performances like the ones shown. Also note to your audience that I cannot send everyone letters like I have sent you. They can purchase the video tapes of my talks.
Bruce Cornet, M.S., Ph.D.
27 Tower Hill Ave.
Red Bank, NJ 07701
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