Hi again, Spanky.
I hope you can find this post among the multiplicity of same questions and same answers. For some reason I don't understand, some folks here don't read all the posts before replying to an early one. Wouldn't it be lovely if they had the good sense to do so, and only added some important point that others hadn't mentioned, or clarified something that's unclear?
Anyway, do pay attention to anything old-time regular Jason Thompson says, because (1) he's a walking encyclopedia and (2) he lives in the UK so is much more polite than some members on the other side of the Atlantic. You might have already noticed that he hasn't insulted you in either of his posts.
Ditto for JayUtah whenever he turns up, except he's from Utah. He's also polite but is about four or five walking encyclopedias, and two of us have already given you links to his Clavius web pages. Gillianren (reply 23) -- great value too. She has an excellent brain but sometimes insists it's not too good, but mine isn't either. She's brief and to the point, and equally polite. Obviousman, Count Zero – old-timers and good blokes too.
You didn't say whether or not you wanted to see the letters I wrote to Nexus and Rene all those years ago, but they might help you get a better understanding of Rene's book, so here goes (I've deleted some personal information and you'll see that regarding shadows, I failed to mention all-important vanishing points, which many artists understand):--
LETTER TO NEXUS MAGAZINE
[Kiwi]
XX XXXXXXX Street, XXXXXXXXXX, Manawatu 5450, New Zealand
Tel 0-6-324 XXXX
7 September 1995
Mr Duncan Roads
Nexus
PO Box 30
Mapleton
Qld 4560
Australia
Dear Duncan
A few comments about Rene's article about NASA's "fake" moon shots (NEXUS August-September 1995):
The reason there are no stars in most photographs taken on the moon is that the exposures for sunlit objects and stars are highly incompatible. On earth the exposure to clearly show stars, eight seconds or more at f4 with 100 ISO film, is over 16,000 times the 1/125th at f16 required for sunlit objects. The ratio would be about the same on the moon.
The landing modules DID leave blast marks in the dust, although rather small ones, partly because they came in at an angle rather than straight down, and also because the rockets were not particularly powerful due to the moon having 1/6th the earth's gravity. When Armstrong and Aldrin landed on the moon, while over seventy feet from the surface their lander engine was only on 5 per cent thrust, and it kicked up dust before it was within 30 feet of the surface ("The Invasion of the Moon 1969" by Peter Ryan, page 112). Shortly after stepping onto the moon Armstrong said, "The descent engine did not leave a crater of any size... I can see some evidence of rays emanating from the descent engine, but [a] very insignificant amount." (Ryan, P120). Later when Armstrong and Aldrin discussed the dent in the surface under the engine which was made by the landing probe, Armstrong said, "Yes, I think that is a good representation of our sideward velocity at touchdown there." (P125).
I can't comment on Rene's "Spacey Twin" photos, but printers don't always get it right. There are a few photos around of Cindy Crawford with her beauty spot on the OTHER side.
Regarding "The Shadow Shows", Rene asks, "How can an 8.5 foot diameter object cast a shadow that size nearly 80 miles away?" Put simply, it can't. The object in the photo is neither an 8.5 foot engine nozzle, and nor is it casting a shadow. It is one of the lunar module's small attitude control thrusters just outside the window, and happens to be on the shaded side of the LM. These thrusters show up in many other photos. The sun is almost directly behind the camera and lunar module, as can be seen from the shadow in the crater Maskelyne, below right.
Rene is wrong in saying Pete Conrad is carrying no camera in his photo of Al Bean. He is. It's strapped to his chest and casting a shadow towards his right arm. His right hand is operating the trigger on the handgrip. The astronauts didn't hold little 35mm cameras up to their eyes to take photos, because they wouldn't have seen the viewfinders through their visors. They used big, viewfinderless, 200-shot, motor driven Hasselblad cameras which had wide angle lenses and took 6x6 cm colour slides. Bean has one of them strapped to his chest in the photo. It is pointing a little downward as they usually did when not in use, and the handgrip with its trigger is visible underneath the camera. Rene claims this camera is being viewed from at least eight feet above the ground. That's not possible, because Bean's right hand is below his shoulder, and Conrad's camera is very close to it.
Rene's "spotlight" could be one of many protruding parts on the lunar module catching the sunlight, which is coming from left and forward of the camera, and the lighting on the ground is far more consistent with sunlight, or at least floodlights, than studio spotlights. The tube Bean is holding DOES have a shadow side, facing Conrad's camera, but the shadow is considerably lightened by reflections off Bean's and Conrad's white spacesuits.
The shadow which Rene says is being cast forward by Conrad is actually being cast backward by a piece of apparatus on the ground. It can be seen just beyond Bean's hand in the reflection in his visor. Also the shadow is much wider than Conrad's leg, so could not be his shadow.
I think it's Rene who has mooned Americans, and possibly thinks Antipodeans are gullible too!
Yours sincerely
[Kiwi]
[Comment added 10 August 2019 4:22 am NZST: I was also wrong about Rene's "spotlight" above, because in all my years in photography since 1968 I never saw anything like it until I got on the internet and examined many more lunar surface photos. It proved to be a particular lens flare that occurred in the wide-angle Zeiss lenses used on the moon. I've not even seen that same lens flare in other Hasselblad photos, but maybe it's in some photos I haven't seen. The baffling part of the flare looks like the end of slats in a venetian blind.]
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LETTER TO RALPH RENE
[Kiwi]
XX XXXXXXX Street, XXXXXXXXXX, Manawatu 5450, New Zealand
Tel 0-6-324 XXXX
7 September 1995
Rene
31 Burgess Place
Passaic
NJ 07055
USA
Dear Rene
I enclose a copy of a letter to Nexus magazine. I am intrigued at your apparent lack of knowledge and research, and would be interested in your reply to my comments.
Having listened to the first moon landing live on the radio and studied space travel since then, been interested in astronomy for over ten years, and been a professional photographer for 20 years, I can see many flaws in your arguments and an obvious lack of understanding of what actually did go on out in space. The flaws are so obvious that I'd be surprised if any genuine scientists would bother contacting you.
I'm pretty open minded about many things, such as UFOs, religion, science, Hoagland's Mars, etc., but do like to see decent arguments. Have seen similarly weak arguments in a video tape and book by David Hatcher Childress, and in a rather idiotic book called Moongate.
For instance, Childress points at mountains over 7,000 feet high and wonders whether they are "pyramids". Twice he says "No-one has a good explanation for it," regarding the Straight Wall on the moon, and speculates that it may be a hangar. Oh really? It is one of the best-known moonquake faults. It is neither a wall, nor is it straight, but is a 60 mile long fault, up to 1,000 feet high, with a slope of about 40 degrees (Guide to the Moon, Patrick Moore, P107, and other books).
In Moongate the author goes to great lengths to "prove" that the moon has much more than one-sixth of the earth's gravity, and bases his arguments on the fact that Apollo 11 crossed the neutral point between the earth's and the moon's gravity systems much further from the moon than the text books said it would. Unfortunately, the author obviously didn't sit down with a pen and paper and figure out the trajectory of a craft on its way to the moon, or where it would be in relation to the moon when it crossed the neutral point.
The conventional neutral point is stated to be about 23,900 miles from the moon, but that's on the earth-moon axis. A spacecraft would never fly along that axis, but would aim for a point much further along the moon's orbit where it would eventually meet the moon a few days later. The enclosed diagram is largely self-explanatory and is based on figures in any good astronomy book. Although not dead accurate and just an educated guess on my part, it shows why Apollo 11 crossed a different neutral point 43,495 miles, instead of 23,900 miles, from the moon. The distance from the moon to the neutral point would vary considerably, depending on how far you were from the earth-moon axis.
Further comments about the Nexus article: I often remark on how dark our sky is. The darker it is, the brighter the stars seem, and the better the "seeing" in astronomers' language, so the astronauts' comments about dark skies certainly don't imply confusion about whether or not stars are visible. However, while travelling between the earth and moon they often had to contend with both moonshine and earthshine which dazzled their eyes and rendered the stars invisible to them, although the sky still would have appeared dark. The full moon casts only quarter of a lux of light on Earth, whereas the full Earth casts 16 lux on the moon.
On page 90-91 of Ryan's book, it says: GET 71:50 Collins: "Houston, Apollo Eleven. The earthshine coming through the window is so bright you can read a book by it." Two days before, Collins reported trouble trying to sight stars because of the brightness of the earth... GET 71:58 "Now we're able to see stars again and recognise constellations for the first time on the trip. The sky is full of stars just like the night sky of the earth, but all the way here we've only been able to see stars occasionally."
The camera which took the photo of Bean could not be eight feet above Bean's camera AND show both the natural horizon and reflected horizon at almost the same level. There is no camera stand showing between Conrad and Bean because the camera is strapped to Conrad's chest, the same as Bean's camera.
You mentioned non-parallel shadows on the moon. Only parallel objects will have parallel shadows, but furthermore, there is considerable perspective distortion in the moon photos which was produced by the wide-angle lenses used. This causes parallel lines to seemingly converge, just as putting a camera on railway sleepers between the rails will make the rails appear to converge. The cameras didn't have viewfinders, so had wide-angle lenses to compensate. The lack of viewfinders also explains why the horizon is often tilted in the pictures. Incidentally, you can see the astronauts handling the same Hasselblad cameras in the movie "Apollo 13". One gets tossed into the command module to act as ballast to compensate for the lack of moon rocks.
You can prove much of what I say for yourself:
1. On a perfectly clear, starry night with no moon, and well away from city lights, sit in a brightly-lit room for ten minutes with one eye completely covered with something opaque. Go outside, look at the stars and remove the eye cover. The difference between what the two eyes can see is astounding, and a good example of dark-adaption.
2. On a similar clear night with no moon, take a photo of the stars for 20 seconds at f4 with 200 ISO film.
3. Another time, photograph the full moon at 1/500th of a second at f11. It's just a piece of rock lit by bright sun, so requires the same exposure as a sunlit piece of rock on Earth. Don't use an automatic-exposure camera, it won't get the exposure right. Note how you can see far fewer stars than on the moonless night. If you can see any stars close to the moon, they probably won't come out in your photograph.
4. On the same full-moon night, turn your camera away so the moon is behind you and again photograph the stars for 20 seconds at f4. If you include some earthbound scenery in this photo (again, no lights), you'll be able to surprise people with what looks like stars showing in broad daylight. I have a photo of Orion, Sirius and other stars in a blue sky above a snow-capped mountain which looks as if it's sunlit. It really fools people, and even the colour lab tried to kid me the stars were "dust on my lens." There's a hint of the pink glow from the Orion Nebula in my photo, which I took with a 24mm lens on a 35mm camera which sat on a cloth bag half-full of rice on the bonnet of my car.
The hardest part is finding a lab which will print the photos properly so that the moon is detailed and the sky black, but if you do get a detailed shot of the moon, it's unlikely to show any stars. Mercury, Venus and Jupiter CAN show, but few stars are bright enough. I see that you're closer to New York than I am to my nearest city, so you'll probably have to travel a fair distance to find dark skies.
Anyway, they say there is one born every minute, and in the States there are probably enough of them to get rich by writing flawed books, so good luck to you. I actually came across one of them when Halley's Comet was here in 1986. One night I went up to a lookout in Wellington, our second-largest city, where there were lots of people looking at the comet. From off in the distance I heard, in a long Texan drawl, "Do you mean ah came twenty thousand miles just to see a smudge?" I laughed and thought, "Jeez, mate, if you travelled 20,000 miles to see the comet, why don't you have the brains to simply travel another 30 or 40, so you're well out of the city in a dark-sky area where you'll see tail and all, just as I have, many times."
Here's a challenge to test your knowledge of the moon. See if you can tell me the names of the ten major craters in photo AS11-37-5437. Until last night I didn't know which ones were showing, but soon worked it out from maps 35, 36, 46 and 47, photos 15 and 38, and the explanatory note on page 26 of Antonin Rukl's "Atlas of the Moon" (Kalmbach Publishing).
Will look forward to the future articles in Nexus, but haven't yet seen anything that would encourage me to buy your book. I hope your remarks about strange features on the moon aren't based on fuzzy photos. Sharp photos tell a very different story.
Yours sincerely
[Kiwi]