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is an image,which I believe I sent you, that shows a centre set of these objects their nucleus was red. The objects in the sky had a UFO formations in lateral and upward motions. blue nucleus. RS: I do recall that image. RS: Are those the images that you felt were entities? DCP: I felt that I was in the thrust of something. And shortly DCP: I know that these are images of vehicles that the entities after that I noticed I had these very fine, pinhole-sized burns in my —_came out of. fingernails, and my arms felt like they were energised with some RS: Oh, I see. Which images that you took show what you kind of energy. identify as entities? RS: Wow! Did you suffer any other side effects? DCP: Okay. There are some images of a recording artist sit- DCP: No, just the abnormal burns on my fingers and hands. ting in front of the Reflecting Pool at the Capitol. RS: How long did that last? RS: Right. He's in the first two images you took at the Capitol. DCP: It lasted for about a year and a half. DCP: Correct. There are three anomalous objects: two in the RS: Wow! Was it painful? sky, and one in the water. And then there is another image that DCP: Not really. It was just weird because there were green was taken 30 seconds earlier that shows an entity above the crystals coming out of my fingernails. Capitol Building's dome, an unidentified entity on the roof and RS: Do you mean tiny little granules? another unidentified entity on the ground. Now, the entity on the DCP: Yes, granules like salt, but green. ground to the rear of the Reflecting Pool was RS: That's really weird. the same entity in the very last shot that DCP: It's real weird. Shortly after that, shows the objects warping out, and these an infection set in. Then it just went away. entities...I do recall them coming toward me and surrounding me, then vanishing. Image Analysis and Anomalous RS: So you were seeing some of the Entities " . anomalies while you were filming them? RS: What can you tell me about the digi- I was also senior DCP: I saw some anomalies during the tal nnn processes that you are using to network engineer, shoot. but didn't think that much of it analyse these images? . ecause I was more focused on the job at DCP: Well, initially it's a film image TOC [Tactical hand—which was getting an album cover which I then scan directly from the negative Operations Centre], done. But I did notice the entities [UFOs] in or slide at 4,000 DPI—which is super high . . the sky over the Capitol. resolution. Then I am using Adobe CS2 which is master RS: What time of night was that? software which has a three-dimensional control for ABC News. DCP: It was approximately 12.30 am. There was no one around—not a soul. In fact, as I recall, you could always hear the sound of water splashing around in the Reflecting Pool, but I heard absolutely nothing during the shoot that night. RS: Did the recording artist have any unusual memories? DCP: He refuses to come out at night since that time. RS: Are you serious? DCP: He's completely spooked. And for some odd reason he blames me for the event and has dissociated him- self from me. Photoshop. It's extremely sensitive. It is state-of-the-art spectral analysis for images. Whatever it is that I took photographs of, it was beyond the abilities of Photoshop CS2—which is at the cutting edge of digital technology. Whatever was flying around out there in the night sky was emitting energy beyond this technology. RS: What do you mean by that? DCP: There were just some things that my system could not analyse. For example, the object that I shot in the water at the Reflecting Pool at the Capitol: I could analyse some of the And | worked extensively at the White House and on Air Force One." spectral data, but not all of it. RS: That's wild. Did you know him well before that? RS: Oh, I see. The energy spectrum emitted is too big to DCP: No. He was just a client. It was a paid job—it paid very measure? well. DCP: No, it was too far out there for this particular technology RS: You told me that you showed these UFO pictures to your to lock onto and perform variations on. I tried to do as many vari- father before he passed away. ations as possible for the sake of getting details from these objects, DCP: Yes. I showed them to him before he passed away, and and some of the analyses of the variations were most intriguing he was really agitated and wanted me not to show these to any- and showed that there were other elements included in these body. things. For example, the green objects had a nucleus in them. RS: Did he say why? And some of these nucleuses were completely different from those DCP: Well, keep in mind, because of the experience I had in of the objects that were on the ground. And there were two sets of | England, that I believe he knew something. And I knew he saw objects on the ground. something. And in the military, they somehow persuade you not RS: Are you referring to the semi-transparent, plasma-looking to divulge any information at all. things? RS: That's true. DCP: No. There were two green objects sitting side by side on DCP: But he knew something. He most definitely did, because the ground that night. They were the same shape and my father was involved in nuclear warfare. And at the particular configuration as the objects in the sky, except when I analysed SAC [Strategic Air Command] base that he was stationed at, there were some unusual [UFO] anomalies that were present. network engineer, TOC [Tactical Operations Centre], which is master And | worked NEXUS + 47 "| was also senior control for ABC News. extensively at the White House and on Air Force One." OCTOBER — NOVEMBER 2005 www.nexusmagazine.com