You’ve done a lot of work with full spectrum photography. A lot of teams are trying to do the same. What are some of the nuances of this kind of photography?
You have to understand that what we’re trying to do is to film into those light frequencies without projecting unnecessary light into those frequencies. So these lights–full spectrum floodlights–they really go against what you’re trying to do. You’re trying to observe phenomena that occurs within those frequencies. So producing UV light starts to break down the manifestation of spirit as it starts to come into this form that we understand. So that light starts to hinder on both sides of what we appreciate as the visual spectrum.
What would you suggest then as an alternative for the floodlights?
The alternative that we’ve been using that’s shown to be successful is a low lux full spectrum video camera. This is something that’s like a security camera, but it runs at sixteen frames per second, so it gets much more light into it and you’re able to see those breakdowns of energy as they collapse in on themselves, and we’ve been able to see some amazing stuff in that low lux range.
Spirit find it easier to manifest in RED light…
So a small amount of red and with a low lux camera capturing a wider range of the EMF spectrum yields greater success in capturing something that truly is of the supernatural realm.
So for folks at home, with money worries, are there any more manageable options available?
There are alternatives on eBay but you want to make sure you’re going for a generation 3 or 4. They will run you around 300 dollars. Compared to what we have on the market at the moment, which are claiming to be full spectrum, they don’t actually film in low light conditions. You have to use extraneous light, lighting these places up, trying to capture something that will not appear because of the light being used. 16 frames per second can really go down into those low lux areas. When you have a hand held camera converted to full spectrum, it shoots in 35 frames per second, and it needs a lot more light, which doesn’t work in the field.
So in terms of flash photography versus long exposures, pros and cons to both?
You do have pros and cons to both. It’s one of those things, the flash itself can present–if there’s no filter on the flash–it can present the UV that can illuminate the manifestation and bounce back the light to the camera, but of course when that happens, the materialization pulls back altogether and you get a one shot deal. The open shutter uses existing light already there, not being blasted with other light sources, but of course you have the problem as well that on a thirty second exposure, you have something that walks straight through your shot, leaving a blur, so you have no idea what it was. Or you could be lucky enough to get that one solid shot, but those are rare deals.
You’ve only had it happen the one time?
With the flash, if the physical form is broken down, can they not affect the world? Or only not materialize visually again?
Understanding that materialization and the structures required for a spirit to materialize, you’re able to understand what they can interfere with and at one time. They can pull back in a fully lighted environment but still have the ability to influence. That’s something I wrote about in my book, The Influence. That in itself can be quite a dangerous little subject on its own.
But really it’s practice and getting a good knowledge base behind you and understanding what you’re dealing with.
Karl Pfeiffer won the first season of Ghost Hunters Academy and went on to work with the Ghost Hunters International team. He’s the author of the novel Hallowtide, works with investigative teams across Colorado, lectures across America, and leads the public ghost hunts at the Stanley Hotel. More can be found at www.KarlPfeiffer.com