Korff's Deception

NOTE: For those who may be unaware of Kal Korff, he is the person whose fraudulent debunking of Meier’s UFO photos, physical evidence and information formed the foundation for the vile, relentless, attacks against Meier’s character…and his life.

Now, as the time is dawning when the truthfulness of Meier’s contacts with the Plejaren, and the accuracy of his prophetic information, is, and will continue to be, confirmed more and more by unfolding events, it’s quite fitting that Korff’s role in the decades long disinformation campaign finally be revealed to the public.

And the best way to do that is to let you hear it from the man who, unwittingly, contributed to Korff’s deliberate falsifications and lies about Meier.

I first met illustrator Garret Moore several years ago at the Bay Area UFO Expo, where he introduced himself to me and explained how he had gotten involved with Kal Korff, many years ago. He explained, with much regret, how he had been contracted by Korff to provide him with airbrushed UFO illustrations – based on Meier’s original, authentic UFO photos – that Korff then published, claiming they were proof that Meier had hoaxed his photos.

I recently found Garret again, accidentally, while I was browsing an internet forum. I asked him if he’d be willing to write down his experiences with Korff for online publication. Despite the possibility of attacks against him, Garret agreed to tell his story and to attempt to set the record straight about Korff’s vicious and degenerate hoax, for which Kal Korff alone is accountable.


Michael Horn


Knowing Kal


I was asked about my experience with knowing Kal Korff.  I had mentioned him when at a conference talking to someone about Billy Meier.  I had had an experience that involved Kal many years ago that proved to be the beginning of a trail of unfortunate and sad stories I would hear over the next almost 30 years.  I might have been one of the first to know his tree’s fruit, bitter as it was proved to me to be.

Early in my career as an illustrator and graphic designer, when I was 23, a best friend of mine, Bill, who was a writer for Astrology Magazine, among other publications, told me about someone he knew who was publishing a book and needed illustrations.  Illustrations of mine for one of Bill ‘s magazine articles had already been published but, as a young artist and graphic designer, I was looking for as much valid paying work as I could to build my portfolio    My friend, a talented writer himself, introduced me to a younger man, Kal Korff, around 18-19 years old I thought, who told me with a convincing air of authority that he was a UFO investigator. He said that he was publishing a book exposing a hoax with then noted author Bill Moore (no relation) who, he said, was also a well-known authority on UFOs. He said that they needed several illustrations for this book based on photos that where allegedly taken of an alien craft by a certain Billy Meier in Switzerland.  I was shown glossy photographs of the photos, and additional images that looked like photos that were subjected to darkroom effects. Until then I had only seen a few of these images in magazines and articles.  His opinion seemed to be pretty clear about Billy Meier personally and he was convinced he was a charlatan who needed to be exposed.

I was told that Billy’s photos had been taken to NASA in the south San Francisco Bay Area, Ames Research Center, and were subjected to photographic study by the NASA photographic study lab.

Back then, I was of course intrigued by Kal’s book and had already decided to do the work for the excitement of the subject alone, if not the perfect portfolio subject matter. I was, however, unfamiliar with the Meier information and wanted to know more, as I was very interested in scientific subjects then. Always infatuated with space science, physics, astronautics and UFOs since a small boy, I absorbed anything and everything to do with the subjects.

That this guy, Kal, who was a bit younger than me, was a bit pompous and over confident did not bother me, as these facts where obscured in the blind spot of my enthusiasm for the subject, and the possibility of also being published for the work. It was a life lesson ripe for the picking. 

While Kal said that “they” (I assumed Bill Moore and NASA people) could not find any overt attempts at fakery in the Meier UFO photos, the photos did, according to Kal, show signs of suspension, or supporting strings, through the then early “edge enhancement” and “color enhancement” photo processes.  I could not actually see the evidence, and do not remember the reason he gave for the discrepancy, other than that he did not have the evidenced images or that the images he had only showed slight indications I was not seeing. 

Kal then gave me the images to copy that he said were from Billy Meier’s original negatives and said that, due to copyrights, he could not use them in his book, and so came to me, knowing through my friend that I was a photographic illustrator.  We discussed the need for using the images to demonstrate Kal’s theories and the need also for some concepts of how this was done for the camera, assuming these images where faked. I remember being very impressed by the pure clarity of Meier’s photos. I was already very familiar with film and photographic print work, and film study in college was part of my wide interests in graphics and illustration.

Kal wanted me to make direct copies, i.e. black and white airbrushed illustrations, of the photos he loaned me. We thought, in our ignorance, that this was somehow legal.  At that time, I was only partially aware of the details of copyright law, having only studied enough to protect my own work.  As I was not interested in copying other’s works, I had not yet gone deeper into the law. And doing such at that time, 20 years before the internet, was dependent on a trip to the library or a letter to the Government Copyright Office.  And, while I did frequent the library often for research and reading, as well as sending away for forms to the Copyright Office in Washington DC, I did not at the time of Kal’s request fully understand or have the legal knowledge about this.  He seemed as ignorant as I was but, knowing his character better now, I might believe otherwise.  I did become sort of an expert later in such matters, after a few events of being plagiarized myself, unfortunately.

Kal also seemed very interested in my ideas of how such fakery could be done.  Having a good mechanical reasoning ability, and being the creative person I was, I entertained a few ideas and told him I would think about this.

I do not remember being told by Kal how I would be paid other than I would get credit and copies.  I was never paid a dime.

I began the process of illustrating the photos.  I remember loving the process, having the photos next to me while I worked, thinking all the time on how such images were even possible.  At that time, while I believed that such things as aliens and ships that could transit deep space were likely, I was an ethical person and the idea of faked contact, photos and/or hoaxed accounts that could only cloud the UFO issue had me concerned. Blinded somewhat by the fun of the project, and somewhat convinced by Kal’s convincing contentions about Meier, I came up with some rough ideas I thought could work for suspending a large object well away of any tall pole or structure. I don’t think though it was really possible.

The concepts were just thoughts on paper however, and never intended to be included in any final conclusions.  I thought about it, as I told Kal I would, and they were the first ideas I had.  I drew them out, but did not do finished illustrations for them, thinking Kal would only consider them.

After a few weeks, I had finished several airbrush illustrations based on the actual photos Kal had given me. I gave them all to Kal, along with the balloon suspension sketched concepts, thinking that the next time I saw him he would be returning the illustrations, and a couple copies of the book with my credits published beside each illustration.  This, however, I found was not to be the case.

Time passed and I did not hear from Kal.  I do not remember much from him in the way of communication, but eventually I did meet with him and he gave me one copy of a spiral bound, well… book, that indeed had Bill Moore’s as well as Kal Korff’s authorship printed on the cover. It was a largely typewritten copy with my illustrations and credits, but not the “commercial bound book” I had expected.  Kal told me that Omni Magazine had written a review of it and stated that, as far as the Meier case was concerned, this book was like shooting an ant with an elephant gun. In other words, overkill for what the magazine considered nothing at all important in subject or scope, typical for a pop science magazine.

That it was actually printed was all fine and good, but I wanted another copy, and my original art back, which included several airbrushed images representing a considerable number of hours of work. The book was out, already reviewed and he did not have another copy for me.  Close to four weeks of work and nothing in return, except what looked to the entire world more like a book transcript than an actual book. I think I was stunned, and I do not remember the reasons Kal did not have the artwork; he might have blamed it on the other guy, Bill Moore, or the printer but I was assured that he would get the art for me and another copy.

Also, later upon glancing through the book I saw that, without my permission, he had used my simple diagrams for how the photos could be faked with the balloon system.

I did not hear from Kal again. I did not have any contact information for him as he had moved, and my friend who was my original contact for him had written Kal off himself and lost contact.  I didn’t blame him in the least.  So, I eventually cut my losses, and wrote Kal off as an ass, a user and a cad. 

I did see Kal many years later at a conference I was attending. I did approach him very nicely, more as an old friend, and asked if he had found the art, or had an additional copy of the book for me, but was told he was in a hurry and I could contact him.  He treated me like an unimportant fan, and I sensed more than a bit of concern on his part, seeing me at such an inopportune moment. He handed me his card and was off and out the door to another room where he no doubt was pawning his theories on other unsuspecting conference people.  That was it. He now had no credibility as a person for me.  His character seemed plain, and when I offered a friendly reconnect, my own business card and very nonconfrontative request for my work for a promised copy of the book, I was dismissed with less than a friendly apology. He seemed to be building on what I already knew of him. I did sense it was catching up with him however eventually. I did not follow his works, as I don’t like watching tragedy or negative news much, just enough to know the weather, so to speak.  More recently I found his works had done much damage to people I might soon be working with. It seemed the trail of destruction had some more recent history as well. He was gone from the country, in a completely new world in Eastern Europe; I could easily formulate the reasons.

You know a tree by its fruit, it is said. I have over the years caught wind of Kal’s exploits as a writer, UFO debunker and a media personality. I have seen the very real emotional and life damage Kal has done to ruin several good people’s lives by his seemingly destructive and plainly mean tactics, with seemingly no empathetic or compassionate sense whatsoever. His sole purpose, it seemed, was to destroy the lives of people whom he himself judged as wrong. Even if wrong, or just innocently misinformed, no one deserves such caustic and unrelenting poison as Kal continually delivered publically in books, lectures, media and articles. I sense that Kal has nothing of value for anyone, unfortunately, not even for himself.

For Billy Meier, I would apologize for any harm done in my youthful ignorance. And, I also thank him for his and his celestial friends’ hopeful and positive materials, which if either true or imagined, are still worthy of deep consideration at the very least. It is also the material we are given to imagine as true, so we can make it real, even if we are told it is not. For until those who would attempt to squelch such beauty can show us something more, filled with more hope and such good for this life’s dimension, I will continue to face the warmth and the light, following and believing my heart, and never another’s angry words.

Garret Moore 2008