This post refers to yesterday’s intriguing and fascinating twin prints, original and darkened, of the same photo and the offer to have The Committee explain. They have, so buckle up and here goes…

(Sorry I didn’t get to post this yesterday [Friday the 27th] and I think it’s a bit long for a comment reply, and so I’ve posted it as a separate entry, I hope you do not mind Elisa, my apologies if you do.)

                    Q =  The old Substitute Teacher            C = The Committee

 Q:        Why did this orb appear?

C:         Your friend Erik appeared, his energy field is what appears in the image.

Q:        Why do you say his energy field?

C:         All of you have one like this, as do we. What appears here is simply the portion that interfaces, crosses into, overlaps with and manifests briefly in the dimensionality awareness of Earth and humans.

Q:        Why does it look like movement?

C:         Erik entering the frame of the photograph.

Q:        He knew his sister would snap a photo of his mother?

C:         Of course, he was there.

Q:        Committee, why does the top of the post on the banister rail appear lit up, brighter?

C:         The light reflected off the energy field; the movement is the open phase of the camera’s shutter. The light generated reflected off the post.

Q:        The flash illuminated the entire picture, things farther away of course less bright, especially when the photo is dimmed, so why then does the path of the moving light seem so much brighter?

C:         Because it is.

Q:        The light coming from Erik’s energy field is that much brighter than even a camera flash?

C:         Yes, and of a different texture and nature. Humans do not often see this, the texture of the light, only the object or scenario the light has illuminated. Many times colored light is used and this changes the object seen under it, but there is a nuance, a texture and a subtlety to light just like sound.

Q:        If the light of the energy field is so much stronger than the camera’s flash, then why didn’t it light up everything else?

C:         The texture we described; the source of the light is not the same. The camera’s flash is the product of an electrical discharge. The energy producing the light emanating from Erik’s field is closer to the basic energy that drives all beings of the universe, it is the energy that produces electricity, not the light after the electricity after the energy. Closer to source.

Q:        Why can’t anybody see these orbs, these spheres or circles with their eyes but they appear in photos?

C:         The human eye cannot detect objects moving at the velocity involved here; the receptors in the retina require a longer exposure. The photograph provides the steady stream of light reflected from its surface to enable human eye to detect the presence.

These orbs of energy fields appear in many photographs, as many of you reading these words already know.

Q:        If the Orb of Erik moved into the frame and stopped, why couldn’t it be seen by his sister taking the photograph? It was stopped, so then the velocity goes away, right?

C:         The camera is affected by light the eye cannot perceive or the brain does not recognize, or both. The origins of photography were chemical, now a digital image of colored dots created from the frequency of light striking the area exposed. The brain filters out some information transmitted by the rods and cones, as you call them, of the eye’s retina or the receptors, which themselves do not acquire the light as do chemicals of film or pixels of image. The chemistry and function of an eye is far more intricate and complex than a mechanical device such as the camera, and the nuance and filtration humans appreciate, are the effect.

Q:        How can we get more photographs of orbs?

C:         Ask your Angels, Guardians and Guides to appear before you as you have a camera and likely you shall photograph them.

Q:        Why doesn’t Erik appear as Erik here when he can for some mediums, like Jamie Butler?

C:         The ability of the viewer to see mixed with, and this is the far larger effect, the desire and willingness of the observed to be seen. The desire to reveal oneself to a human, and in what form. This is the greater determinant.

Q:        Is this kind of like the ability to see auras?

C:         Entirely however observance and appreciation of an aura is the desire of the observer, not the body of the person. It is the human body that creates this; your soul in Heaven does not necessarily create a surrounding aura or glow of energy, the colors reflective of its characters, thoughts, emotions and intents, although possible if desired.

Q:        Esteemed Committee, thank you!

C:         Our pleasure, do ask again.