Floris Heyne Joel Meter Simon Phillipson Delano Steenmeijer
Floris Heyne Joel Meter Simon Phillipson Delano Steenmeijer
Edited by Neil Pearson
With a special foreword by Apollo 7 astronaut Walt Cunningham “When you get back… you will be a national hero. But your photographs… they will live forever. Your only key to immortality is the quality of your photography.”
Richard W. Underwood NASA Chief of Photography for Mercury, Gemini and Apollo
4 Small steps. Giant leaps.
The English word ‘photograph’ is made up of the The early exploration of space is one such historical ancient Greek words ‘photos’ and ‘graphos’ which event, unrivaled among humanity’s achievements. literally mean ‘light writing’. At the time of the Apollo Fortunately space travelers were able to bring back program, that meant exposing a chemically-treated beautiful, moving and instantly recognizable images film to patterns of light and it was this process which to depict it. Those images add a new understanding made it possible to seize moments in time and share to what it means to be human, what it means to them with the world. live on a delicate little orb circling the Sun since time immemorial. A single photograph can tell a story to billions of people. It transcends language barriers, physical Not only did Apollo bring us this photographic barriers and requires no prior knowledge of testimony but many major advancements in the subject. This is the beauty of photography: photographic technology date back to the extensive it reaches out to all people and everybody can research and engineering that was part of the hugely intuitively understand its form and content. complex project.
Thus photography became a crucial technique for In sumptuous detail and color, this book presents documenting the history of mankind. Our ancestors some of the most significant and stunning depended on the words of the Greek historian photographs ever taken. It also celebrates the Thucydides to recount the war between Athens and skill and daring of a very particular group of Sparta. They relied on the woven illustrations of the photographers — the Apollo astronauts. Bayeux Tapestry to see scenes from the Norman invasion of Britain. Only in the last two centuries has photography enabled us to see actual light captured during such historical events.
Left: Lunar Module Pilot Edwin ‘Buzz’ Aldrin descending the steps of the Apollo 11 Lunar Module to become the second man to stand on the Moon. (AS11-40-5866)
Previous page: Lunar Module Pilot Russell Schweickart taking a photograph during his Extravehicular Activity (EVA) testing the new spacesuit during the Apollo 9 mission. (AS09-19-2982)
5 The Apollo program
Project Mercury put the first American, Alan Shepard, Apollo 8 was the first manned spacecraft to orbit into space on May 5th, 1961. Less than three weeks another celestial body and the crew of Apollo 13 later on May 25th, at a special joint session of traveled the furthest away from the Earth, something Congress, U.S. President John F. Kennedy announced which has never been repeated to date. The most that “this nation should commit itself to achieving famous of all moments was when the goal of the the goal, before this decade is out, of landing a man Apollo program was realized. On July 20th, 1969, Neil on the Moon and returning him safely to the Earth”. Armstrong and Buzz Aldrin touched down on the After a further five Mercury solo missions, Project lunar surface, becoming the first humans to have set Gemini was seen as the stepping stone to the Moon foot on another celestial body. Apollo 17 was the last where two-man crews flew ten manned missions mission to fly, drawing the program to a close soon during 1965 and 1966 with three main objectives: after returning to Earth on December 19th, 1972. to fly extended-duration missions (the time it would take to get to the Moon and back), to develop EVA During the 11 Apollo missions, 29 men left the Earth (extra-vehicular activity) techniques and to develop with 12 of them touching the surface of the Moon. the procedures necessary to rendezvous and dock. It is these men that took the photographs that still With those three goals achieved, NASA was well on give humans, over four decades later, the opportunity its way to manned missions to the Moon with the to see things which had never been seen by the three-man spacecraft of the Apollo program. human eye before. Views such as the first ‘Earthrise’ over the lunar surface, one of history’s most-seen Apollo 7, the first manned mission, went into space images, or ‘The Blue Marble’, capturing the whole of on October 11th, 1968. A further 10 Apollo missions the Earth in one delicate frame. were launched and many landmark and historical moments were achieved during the program.
6 Crowds from the launch complex press site watch as Apollo 11 launches from the Kennedy Space Center on July 16th, 1969.
7 ‘The Good Old Days’
‘The good old days’
An introduction by Apollo 7 astronaut Walt Cunningham
Apollo 7 was the first mission from the Apollo program. The mission’s aim was to ensure the spacecraft and launch vehicle operated as designed. Since this was the first time a crew had flown on the Command/Service Module, the astronauts had to test the multitude of systems and subsystems, recording all aspects of the flight in order to improve their knowledge of the craft and how it handled in space.
With no Lunar Module to fly on the mission, along with his other tasks Walt Cunningham took nearly 70 percent of the photographs brought back from this pioneering mission. The lessons he learned had a significant impact on the future of space photography in the Apollo project. Although Walt said he thought of himself as a physicist and fighter pilot, rather than a photographer, he graciously accepted to write this introduction about his personal experiences and the photographic challenges and problems faced during the Apollo 7 mission.
Over the last 50 years, we have enjoyed magnificent photographs of our planet taken from space. Today, the International Space Station (ISS) The launch of Apollo 7 Saturn IB on October 20th, 1968. covers the Earth’s surface between plus and minus 51.6 degrees of latitude covering about 75 percent of our planet’s land area, where about 95 percent of the Earth’s population lives. The ISS has excellent windows, with some always offering a view of the Earth. The space station has a number of high resolution digital cameras enabling them to eventually take pictures of most things near the station’s ground tracks.
Photography is but one area of activity that has shown amazing improvements as space exploration has evolved over the past 50 years. In the ‘good old days’ of the Apollo program, we started improving the capability of doing space photography. We had the pleasure of carrying a Hasselblad 500C camera modified for use in space with an 80mm lens and nine magazines holding about 500 frames of 70mm film.
We trained with the Hasselblad camera for two years prior to our first Apollo launch. We used it at home and in our office but we also carried it with us when flying our T-38s around the country for training and engineering activities. It was not a particularly conveniently sized camera for our small T-38 cockpits but we did enjoy this part of our training activities.
Today, most of the public interested in space thinks we took beautiful pictures of nearly everything on our planet back in the 1960s. Unfortunately, in the 1960s, space missions were vastly different than Walt Cunningham about to enter the cockpit of a Northrop T-38 Talon. they are today. We were still learning how to survive in space and only two of our Apollo crews remained in Earth orbit — Apollo 7 and Apollo 9. Opposite: It gave us the opportunity to enjoy the beauty of our planet as seen Walt looking out of the Command Module window during their 11-day orbit from space. The other nine Apollo missions traveled to the Moon. around the Earth. (AS07-04-1584) Then why did we not get more than a few hundred pictures of our planet’s surface?
8 ‘The Good Old Days’
9 ‘The Good Old Days’
There were vast differences between the hardware and the cabin environment for the Apollo missions in the 1960s and the Space Shuttle and ISS expeditions of the modern era. For example, the ISS has, virtually, 100 percent air to ground communications. On our Apollo earth orbital missions, we had all of four percent air to ground communications. Looking back on it, that may have been an advantage!
Our Apollo 7 crew felt particularly fortunate to be there and have the opportunity to occasionally photograph the surface of the Earth. Our mission was the first manned Apollo mission with a focus on testing all of the spacecraft systems and helping to develop many of the operational procedures necessary to land a man on the Moon. Some of our operational testing and development work required surface photos to evaluate the procedures. This included terrain and weather photography.
Our first principal camera assignment was to document our Command Module separation from the S-IVB (the second stage of the Saturn IB rocket) and the rendezvous and near docking with it the following day. While Schirra was circling our S-IVB booster, I was focusing the Hasselblad on the booster and taking photos with the Earth’s surface in the background. We learned after returning and the film was developed that I had taken a surprising number of good pictures of the surface geography in the background behind the S-IVB.
How did the design characteristics of our spacecraft and our orbital tracks across the surface of the earth impact what we were able to photograph on our beautiful planet?
A good many of our orbital objectives required us to use our Reaction Two of Walt Cunningham’s favorite photographs that he took during the mission. Control System (RCS) rockets to control the spacecraft attitude. The photograph above shows the Saturn S-IVB stage just after separating from This was to determine the best techniques and to minimize the fuel the Command/Service Module. Florida and the Kennedy Space Center can be seen required. Also, on a test flight, the mission objectives are ‘front end’ below(AS07-03-1545). Opposite is a unique photograph in which Walt captured the loaded in case the mission has to be aborted before completing the 13 highest peaks of the Himalayas all within a single frame. (AS07-07-1748) full duration. We experienced such a flight plan for our 11-day mission.
Even from the beginning, we couldn’t take pictures of anything we wanted to. Random photographs could only be taken when we had the spare time and were not involved in test objectives. The last two or three days of our mission left us with a little more time to use our Hasselblad if we had a window pointing at the ground. Unfortunately, we were forced to restrict ourselves to only a few photos a day because of the small number of frames we had left.
Walt Cunningham fitting his pressure suit on the morning of the Apollo 7 launch.
10 ‘The Good Old Days’
11 ‘The Good Old Days’
12 ‘The Good Old Days’
The photographic challenges of capturing Earth from space
Many factors had a negative impact on our ability to take pictures, even if we had planned for them in advance. A number of these were ‘hard’ constraints that were impossible to overcome. The public was pretty much unaware of them.
Geographical factors: The orbital inclination of Apollo 7 was 31.6 degrees. That meant that all of our orbits carried us North and South of the equator as far as 31.6 degrees of latitude. We could fly as far North as San Diego, Houston and Orlando in the Northern Hemisphere and almost down to Uruguay in South America. This limited what we could fly over that we might find of interest to photograph. Chart showing the approximate area covered with an orbital inclination of 31.6 degrees. Ground track: — Orbital revisit time: every three weeks When it takes only 90 minutes to travel around the world, you will make — Revisit time with the same lighting conditions: every three months 16 orbits every 24 hours. Then we began repeating our trips over the same surface tracks. Each of those tracks were separated by 22.5 degrees of longitude. At the equator those tracks were separated by about 1500mi (2414km) and were a little closer north and south of the Equator. That left most of our planet’s surface uncovered.
Day/night cycle: When you circle the earth every 90 minutes, you are moving from night to day or from day to night every 45 minutes. That meant we only had enough light to take photographs during half of each orbit.
Cloud cover: On average, 55 percent of the Earth’s surface is covered by clouds. That provided more opportunity for cloud photos than for the Earth’s surface. About 45 percent of the surface was out from under clouds for the photographs we were more interested in taking.
The cloud cover seen behind the Apollo 9 Lunar Module in the photograph above gives a good example of the dense and obscuring cloud cover that was often encountered. (AS09-21-3199)
Opposite: Another of Walt’s favorite photographs, showing Hurricane Gladys forming over the Gulf of Mexico.(AS07-07-1877)
13 ‘The Good Old Days’
Window clarity: The Apollo Command Module had five windows, all pretty much in the same plane. This encompassed an arc of about 150 degrees and provided us a relatively narrow view outside the capsule. The largest window of the five, and the one we expected to provide our best view outside, was a 10in (25.4cm), round window located in the spacecraft hatch.
Drifting spacecraft: A number of mission objectives required a particular spacecraft attitude or changing the attitude. That required controlling the spacecraft attitude utilizing the small rockets of our reaction control system and consuming RCS fuel, of which we had a very limited amount. When our operations did not require maintaining attitude control, we were drifting. In a random drift, most of the time our windows were pointing out into space rather than down toward the Earth’s surface.
Window degradation: One of our major viewing problems on Apollo 7 was one that we never anticipated. Each window consisted of two 0.75in (19mm) thick quartz panes, ~150 degrees with a very tiny gap separating the two panes. Unfortunately, in zero gravity, the ‘glue’ securing the window panes in place began to out-gas. This slowly contaminated the space between the two panes. The first to deteriorate was the hatch window with the largest view. The windows slowly degraded one by one. Fortunately for me, the largest window on my side was still clear at the end of our mission. This design problem was corrected from Apollo 9 onwards. The lines give an indication of the 150 degree views available to the crew from the five windows fitted to the Command Module. (AS09-24-3652) All of these factors were essentially hard constraints, impacting our opportunities to take pictures outside of the spacecraft. We also had a couple of ‘soft’ constraints. These were suggestions that our photography experts suggested we try to follow. They suggested that we avoid taking pictures until an hour after sunrise and stop an hour before sunset. That was for 24 hour days. For our 90 minute days in orbit, that would reduce our photo time from 45 minutes to about 38 minutes.
The photographic experts also suggested that we improve the quality of our photos by pointing the camera no more than 30 degrees off of the local vertical because of the increasing atmospheric thickness. Beyond that arbitrary choice, they felt it would have too big an impact on the quality of the photos. In reality, if it was daylight on the ground, we had a good window pointing toward the surface of the earth, there was little cloud cover and we found time to look out, we paid very little attention to these two soft constraints. Our favorite window was whichever one was pointing toward the surface and was still clear with no out-gassing.
There was one more management constraint for our mission that we followed perfectly: “Take no pictures of China.” That was an easy rule to follow. In 11 days and many passes over China, we never saw the surface because of the cloud cover and smog in their atmosphere.
Over the next 11 chapters you will find a carefully chosen selection from the many thousands of stunning photographs that were taken by me and my fellow Apollo The ‘out-gassing’ of the window sealant can be clearly seen in the middle astronauts. I think it’s great to see a book that has processed and presented of the round window in this photograph taken from within the Command/ Service Module. (AS07-04-1581) this unique collection of photographs in such a clear and beautiful way. It was a real privilege and honor to be able to go up there and bring back some of Opposite: these images that I can share with you and the rest of the world. Another favorite photograph of Walt Cunningham, taken by crew member Wally Schirra, of Princess Charlotte Bay and the Great Barrier Reef, Walt Cunningham Australia. (AS07-08-1902) October 2016
14 ‘The Good Old Days’
15
Apollo 7
Walter M. Schirra Donn F. Eisele R. Walter Cunningham Apollo 7
Launch: October 11th, 1968 Splashdown: October 22nd, 1968
It was in 1968 that the United States of America launched Photography was focused on synoptic terrain and weather the first crew into space under the Apollo program, the targets. NASA used the term ‘target’ to instruct the Apollo first mission to carry astronauts since Gemini 12 in crews to photograph a particular area or flight procedure, November 1966. The program had been delayed by allowing scientists and engineers to observe and evaluate it. the tragic circumstances of the Command Module fire, in which the crew of Apollo 1 lost their lives during a launch The images captured during Apollo 7 had a huge scientific rehearsal in January 1967. During the stand-down of the impact, advancing geological and oceanographic accident investigation, several unmanned test flights of understanding. Modern ‘space-to-ground’ photography the Saturn V launch vehicle and the Apollo spacecraft were was very much in its infancy since there were only a few made. The improved spacecraft and safety procedures satellites in orbit capable of photographing and returning helped ensure that Apollo 7 could fulfill Apollo 1’s objective to images back to Earth. Astounding photographs were taken, test the Apollo Command/Service Module in low Earth orbit. capturing many sights never seen before, such as the world’s 13 tallest peaks (the Himalayan mountain range) all Apollo 7 completed 163 low Earth orbits during which framed within one picture, or the complete storm and eye of numerous tests were undertaken, such as practising a Hurricane Gladys that formed over the Gulf of Mexico during simulated Lunar Module rendezvous and docking. the mission.
Walter M. Schirra Donn F. Eisele R. Walter Cunningham Commander Command Module Pilot Lunar Module Pilot
Born on March 12th, 1923 in Born on June 23rd, 1930 in Columbus, Born on March 16th, 1932 in Creston, Hackensack, New Jersey. In 1962, he Ohio. He was one of the third group Iowa. He joined NASA as one of 14 was Backup Pilot of Mercury-Atlas 7, of astronauts selected by NASA in astronauts named in October 1963. piloted the six orbit Mercury-Atlas 8 October 1963. In addition to flying After Apollo he served as NASA Chief flight, served as Backup Command on the Apollo 7 mission, he served as of the Skylab Branch of the Astronaut Pilot for the Gemini 3 mission, and Backup Command Module Pilot of Office from 1968 to 1971. was the Command Pilot of Gemini Apollo 10. 6A. He was the only astronaut to have flown Mercury, Gemini and Apollo. Apollo 7
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19 Gulf of Aden & Empty Quarter (AS07-7-1776) 20 Ganges river plain, India (AS07-7-1809) 21 S-IVB (AS07-3-1550) 23 Cunningham in Command/Service Module (AS07-4-1559) 24 CSM window (AS07-3-1557) 25 CSM hatch window (AS07-11-2043) 26 S-IVB rendezvous (AS07-4-1576) 27 S-IVB rendezvous (AS07-4-1575) 28 Democratic Republic of Congo (AS07-03-1511) 29 Salar de Atacama, Chile (AS07-04-1593) 31 Florida, USA (AS07-8-1933) 32 Nile River, Egypt (AS07-08-1905) 33 Emi Koussi Volcano, Central Sahara (AS07-05-1621) 34 Salar del Hombre Muerto, Argentina (AS07-7-1829) 35 New Orleans, Louisiana, USA (AS07-7-1789) 36 Cloud cover (AS07-06-1683) 37 Cloud cover (AS07-10-1956) 38 CSM window (AS07-4-1602) 39 Cunningham in CSM (AS07-4-1588)
40 Apollo 8
Frank Borman James A. Lovell, Jr. William A. Anders Apollo 8
Launch: December 21st, 1968 Splashdown: December 27th, 1968
Apollo 8 launched towards the end of 1968 and carried the Six television broadcasts were conducted during the mission: first ever crew to leave the gravitational influence of the two while flying to the Moon, two during lunar orbit and two Earth and orbit another celestial body. The crew themselves while returning to Earth. These transmissions were broadcast only gave the mission a 50-50 chance of fully succeeding. worldwide and in real time. During the transmissions, The mission, however, was an outstanding success, and they the astronauts described the scenes that nobody before became the first three humans to see the Earth in its entirety them had seen such as how the Earth looked from their and first to see the dark side of the Moon. perspective and the range of colors visible on both Earth and the Moon. During the broadcast on Christmas Eve, the crew As it was the first time a manned spacecraft had reached read from the Book of Genesis and wished viewers a “good the vicinity of the Moon, a major objective of this mission night, good luck, a Merry Christmas and God bless all of you was to return high-resolution photography of the proposed – all of you on the good Earth.” landing areas and other locations of interest, specifically around the Sea of Tranquility which was envisaged as the Apollo 8 circled the Moon 10 times after which the mission first lunar landing site. The launch time of Apollo 8 had been objectives were met and it was time to return. On the especially selected so the crew would be able to photograph morning of Christmas Day, the spacecraft had to attempt the Sea of Tranquillity in the best possible lighting conditions. the first-ever escape from lunar orbit with a single, well- Over 700 images of the Moon were recorded along with calculated engine burn. Mission Control anxiously awaited another 150 of Earth. Lovell’s confirmation, until he finally radioed: “Roger, please be informed there is a Santa Claus.” During the fourth orbit of the Moon, Frank Borman and his crew witnessed the first ever ‘Earthrise’; the Earth emerging from behind the lunar horizon. Life Magazine later picked William Anders’ photograph of the event as one of ‘100 photographs that changed the world’. Anders himself described how ‘Earthrise’ gave humananity a new perspective on its home planet: “…despite all the training and preparation for an exploration of the Moon, the astronauts ended up discovering Earth.”
Frank Borman James A. Lovell, Jr. William A. Anders Commander Command Module Pilot Lunar Module Pilot
Born on March 14th, 1928 in Gary, Born on March 25th, 1928 in Cleveland, Born on October 17th, 1933 in Hong Indiana. He was chosen with the Ohio. He was Backup Pilot of Gemini Kong. He was chosen with the third second group of astronauts in 1962. 4, Pilot of Gemini 7, Backup Command group of astronauts in 1963. He was the He was Backup Command Pilot of Pilot of Gemini 9A, Command Pilot Backup Pilot of Gemini 11 and Backup Gemini 4 and Command Pilot of of Gemini 12, Backup Commander Command Module pilot of Apollo 11. Gemini 7. In May 1969 he became of Apollo 11 and Commander of He resigned from NASA and the Air Field Director of the Long-Term Space Apollo 13. Force in September 1969. Station Program. Apollo 8
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43 S-IVB with ‘firefly’ phenomenon (AS08-16-2583) 44 Western Hemisphere (AS08-16-2593) 45 Image of receding Moon (AS08-14-2506) 46 Image of receding Moon through red filter inadvertently taken on color film (AS08-14-2475) 47 Image of receding Moon through blue filter inadvertently taken on color film (AS08-14-2465) 48 South of Tsiolkovsky crater (AS08-12-2187) 49 Lunar surface looking north-eastward with Joliot-Curie crater(AS08-12-2209) 50 South-west Mare Fecunditatis including Goclenius (AS08-13-2224) 51 Rim of the huge South-Pole/Aitken basin (AS08-13-2319) 52 Near terminator, far side of the Moon (AS08-14-2399) 53 Far side of the Moon (AS08-17-2664) 54 Sea of Tranquility (AS08-13-2347) 55 Sea of Tranquility (AS08-13-2344) 56 Earthrise (AS08-14-2390) 57 First Earthrise photographed by a human (AS08-13-2329) 59 First color Earthrise photographed by a human (AS08-14-2383)
60 Apollo 9
James A. McDivitt David R. Scott Russell L. ‘Rusty’ Schweickart Apollo 9
Launch: March 3rd, 1969 Splashdown: March 13th, 1969
The ninth Apollo mission was the first space test of the During the spacewalk, Scott had to wait while McDivitt complete spacecraft, including its Lunar Module. Apollo 9 attempted to fix a balky video camera. Those were “the would prove that the crew was able to undock and re-dock most amazing five minutes of his life”, as he looked at the the Lunar Module and the Command Module as they would Earth suspended in the blackness of space, enjoying the do in lunar orbit. spectacular view in total silence.
For the first time the extravehicular mobility unit backpack Over 1,400 images were captured during multispectral was introduced to perform spacewalks. This unit provided terrain photography experiments and for general communications and oxygen as well as circulating water photography purposes. through the suit to keep the astronaut cool, eliminating the need for an umbilical connection to the spacecraft. A 25ft (7.6m) long nylon rope was the only connection that kept the astronaut from drifting away. A photograph can be seen in this chapter of Scott standing in the open Command Module hatch at the start of the first spacewalk of the Apollo program and was photographed by Schweickart from the Lunar Module.
James A. McDivitt David R. Scott Russell L. ‘Rusty’ Schweickart Commander Command Module Pilot Lunar Module Pilot
Born on June 10th, 1929 in Chicago, Born on June 6th, 1932 in San Born on October 25th, 1935 in Neptune Illinois. McDivitt was Command Antonio, Texas. Scott flew with Neil Township, New Jersey. Schweickart Pilot for Gemini 4 in 1965 and was Armstrong on the Gemini 8 mission was Backup Pilot in Apollo 1’s first Backup Command Pilot in Apollo 1’s and later served as Backup Senior backup crew and was named Backup first backup crew. In August 1969, Pilot in Apollo 1’s first backup crew, Commander for the first Skylab he became manager of the Apollo Backup Commander of Apollo 12 and mission in 1973. He later went to NASA Spacecraft program and was the Commander of Apollo 15. He retired Headquarters in Washington, D.C. to Program Manager of Apollo 12 from the Air Force in March 1975 with serve as Director of User Affairs in the through to 16. the rank of Colonel and over 5,600 Office of Applications. hours of flying time. Apollo 9
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63 Top view of Lunar Module inside S-IVB from CSM (AS09-19-2921) 64 LM with S-IVB in background (AS09-19-2941) 65 Extra Vehicular Activity photographed from LM (AS09-20-3071) 67 EVA (AS09-20-3054) 68 EVA by Scott (AS09-20-3064) 69 EVA by Schweickart (AS09-19-3000) 70 EVA (AS09-20-3087) 71 EVA by Schweickart (AS09-20-3094) 72 EVA by Schweickart (AS09-20-3097) 73 EVA by Schweickart (AS09-19-2998) 75 Sunrise reflected through the edge of Earth’s atmosphere (AS09-20-3175) 76 CSM through LM window (AS09-24-3640) 77 LM with descent stage (AS09-21-3182) 78 LM with Descent stage (AS09-21-3188) 79 LM with Descent stage (AS09-21-3216) 80 LM Ascent stage at rendezvous (AS09-21-3238) 81 LM Ascent stage (AS09-21-3254)
82 Apollo 10
Thomas P. Stafford John W. Young Eugene A. Cernan Apollo 10
Launch: May 18th, 1969 Splashdown: May 26th, 1969
Apollo 10 was the ‘dress-rehearsal’ for the first Moon landing, of the Moon. This was to prevent the astronauts from following the exact flight plan of Apollo 11 on the same lunar actually trying to land the Lunar Module on the Moon, day and time, except for landing. On the fifth day of the as NASA knew the crew might be tempted. Cernan himself mission, Stafford and Cernan boarded the Lunar Module even said that “a lot of people thought about the kind of and separated from the Command Module. They descended people we (Stafford and Cernan) were: ‘Don’t give those from lunar orbit towards the Sea of Tranquillity. This phase guys an opportunity to land, ‘cause they might!’” was planned to check all the procedures and systems in the Lunar Module. The astronauts brought the Lunar Module The mission was one of the most successful Apollo missions, to within 9mi (15km) of the lunar surface, stopping at the giving NASA the confidence to land a man on the Moon a point where the final powered descent would have to begin mere eight weeks after Apollo 10’s splashdown. for an actual Moon landing. Nearly every photographic objective was completed, Young remained on board the Command Module, with nine magazines of 70mm film exposed. The main documenting the Lunar Module descent and ascent photographic objective was to take a series of space-to- in a series of photographs, some of which appear in lunar-surface shots to map out the entire landing area. this chapter. This, along with landmark and tracking data, allowed NASA to reduce the size of the landing ellipse, one of the As a precautionary measure, NASA short-fuelled the Ascent most important objectives of the mission. Module so that it would never be able to get off the surface
Thomas P. Stafford John W. Young Eugene A. Cernan Commander Command Module Pilot Lunar Module Pilot
Born on September 17th, 1930 in Born on September 24th, 1930 in San Born on March 14th, 1934 in Chicago, Weatherford, Oklahoma. He was Francisco, California. He was Pilot of Illinois. He was the Pilot of Gemini 9A, Backup Pilot of Gemini 3, Pilot of Gemini 3, Backup Pilot of Gemini 6A, Backup Pilot of Gemini 12, Backup Gemini 6A, Command Pilot of Gemini Command Pilot of Gemini 10, Backup Lunar Module Pilot of Apollo 7 and 9A, Backup Commander of Apollo 7 Command Module Pilot of Apollo 7, Backup Commander of Apollo 14. and Commander of the Apollo-Soyuz Commander of Apollo 16 and Backup As Commander of Apollo 17, he was Test Project. Commander of Apollo 13 and 17. He also the eleventh, and currently last, commanded the first and ninth Space man to walk on the Moon. Shuttle mission (STS-1 & STS-9). Apollo 10
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104 Apollo 11
Neil A. Armstrong Michael Collins Edwin ‘Buzz’ Aldrin Apollo 11
Launch: July 16th, 1969 Lunar landing: July 20th, 1969 Splashdown: July 24th, 1969
Apollo 11 is surely the most famous mission in the history of history-making activities on the lunar surface. Many of the all space exploration. It accomplished the 1961 goal proposed photographs were taken for future training and engineering by U.S. President John F. Kennedy: “…before this decade is purposes, among which were pictures to help analyze the out, of landing a man on the Moon and returning him safely Lunar Module in its post-landing condition. to the Earth.” In the short period spent on the surface of the Moon, 102 hours after the launch from Cape Kennedy in Florida, many historic photographs were taken such as Armstrong’s Armstrong and Aldrin landed the Lunar Module ‘Eagle’ portrait of Aldrin in which he captured himself in the in the Sea of Tranquillity. Armstrong emerged from the reflection of Aldrin’s visor. Lunar Module first, becoming the first human to set foot on the Moon. As he descended the ladder he released A close-up view of one of Buzz Aldrin’s footprints, that was the Modularized Equipment Stowage Assembly to deploy actually taken for an experiment to study the behavior of the camera that recorded his ‘giant leap’. Moon dust and the affects when pressure was applied to the surface, would turn out to be one of the most iconic Armstrong and Aldrin spent about 2.5 hours on the Lunar photographs in history. surface collecting samples, performing experiments and taking hundreds of photographs. The main photography Before taking off, the crew left behind a commemorative objectives of the mission were to capture scientifically stainless steel plaque which read: “Here Men from the Planet interesting sites and potential future Apollo landing sites Earth first set foot upon the Moon July 1969, A.D. We came in from orbit and record the Lunar Module as well as the Peace for all Mankind.” This plaque can be seen on page 129.
Neil A. Armstrong Michael Collins Edwin ‘Buzz’ Aldrin Commander Command Module Pilot Lunar Module Pilot
Born on August 5th, 1930 in Born on October 31st, 1930 in Rome, Born on January 20th, 1930 in Wapakoneta, Ohio. He was Backup Italy. He was one of the third group of Montclair, New Jersey. He was Backup Command Pilot of Gemini 5, astronauts named in October 1963. Pilot of Gemini 9A, Pilot of Gemini 12 Command Pilot of Gemini 8, Backup He was Backup Pilot of Gemini 7 and and Backup Command Module Pilot of Command Pilot of Gemini 11 and Pilot of Gemini 10. He was assigned to Apollo 8. As the Lunar Module Pilot of Backup Commander of Apollo 8. the Apollo 8 crew but was removed to Apollo 11 he became the second man to As Commander of Apollo 11 he became undergo surgery. In January 1970, he walk on the Moon. the first man to walk on the Moon. resigned from NASA and the Air Force. Apollo 11
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130 Apollo 12
Charles Conrad, Jr. Richard F. Gordon, Jr. Alan L. Bean Apollo 12
Launch: November 14th, 1969 Lunar landing: November 19th, 1969 Splashdown: November 24th, 1969
Apollo 12 was the first rocket launch attended by an Instead of the monochrome video camera that was used on incumbent United States President. Richard Nixon witnessed Apollo 11, the Apollo 12 crew brought the first color camera a successful but dramatic launch. 36 seconds after lift-off, to send live footage of the Moon and the astronauts back the Saturn V launch vehicle became electrically charged, to Earth. Unfortunately, color TV coverage of their mission triggering a number of lightning bolts that traveled down ended after just 42 minutes when Bean accidentally pointed the length of the rocket, through its ionized plume and down the camera directly at the sun while setting it up near to the Earth. Luckily, the strikes did not damage the Saturn V the Lunar Module, burning out the video pickup tube and and it continued on its journey to the Moon. rendering the camera useless.
The objective of Apollo 12 was to land the Lunar Module in a Conrad and Bean clearly enjoyed photographing each other precise location in the Ocean of Storms. Several unmanned on the surface of the Moon. Many pictures feature their craft (Luna 5, Surveyor 3 and Ranger 7) had previously enormous Moon shadows, while lens flare and overexposed landed here. The astronauts were tasked with traversing to images almost give these images a feeling of casual the Surveyor 3 probe to collect experiments and parts of the vacation photography. One of the mission’s most iconic spacecraft to analyze how it was affected by the exposure images features a stunning self-portrait by Conrad in the to the lunar environment. Conrad is seen standing next to reflection of Bean’s visor, with a perfectly composed lunar the Surveyor 3 probe on page 147. This is the only occasion horizon in the background. This image can be found on to date of astronauts ‘catching-up’ with an object that has page 141. Just over half of the photographic targets were been sent to another celestial body. documented with Bean unfortunately forgetting to take several rolls of film he exposed back with him to the Lunar Module, leaving them on the surface of the Moon.
Charles ‘Pete’ Conrad, Jr. Richard F. Gordon, Jr. Alan L. Bean Commander Command Module Pilot Lunar Module Pilot
Born on June 2nd, 1930 in Philadelphia, Born on October 5th, 1929 in Seattle, Born on March 15th, 1932 in Wheeler, Pennsylvania. He was the Pilot of Washington. He was the Backup Pilot Texas. He was chosen for the third Gemini 5, Backup Command Pilot of of Gemini 8, the Pilot of Gemini 11, group of astronauts in 1963, and was Gemini 8, Command Pilot of Gemini 11, and Backup Command Module pilot Backup Command Pilot of Gemini and Backup Commander of Apollo 9. of Apollo 9. He was also the Backup 10 and Backup Lunar Module Pilot of As Commander of Apollo 12, he became Commander of Apollo 15 before Apollo 9. He was the fourth man to the third man to walk on the Moon. He retiring from NASA and the Navy walk on the Moon. He later became later became Commander of Skylab 2. in 1972. Commander of Skylab 3 and Backup Commander for the Apollo-Soyuz Test Project. Apollo 12
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152 Apollo 13
James A. Lovell, Jr. John L. Swigert, Jr. Fred W. Haise, Jr. Apollo 13
Launch: April 11th, 1970 Splashdown: April 17th, 1970
The Apollo program’s seventh manned mission was the achievements in the few photographs that were taken. third intended to land on the lunar surface. That did not The crew of Apollo 13 still holds the record traveling the happen, however, and the story of Apollo 13 is one of the farthest away from the Earth. From almost 250,000mi most well-known in space exploration. The dramatic events (400,000km) away they used the gravitational force of began around 56 hours after launch when an oxygen tank the Moon to slingshot back to Earth and a safe landing in exploded, damaging a large part of the Service Module the South Pacific Ocean. and putting the crew and spacecraft in serious danger. By aborting their plan of reaching the Moon and instead A picture of improvised repairs to the carbon dioxide removal powering up the Lunar Module as a ‘lifeboat’ to save system that the crew made can be seen on page 163. The resources, the crew made it back to Earth by the slimmest damage to the exterior of the Service Module that exposed of margins. This story has become one of the greatest and its fuel cells can be found on page 166. best known survival stories in history, popularized by the Hollywood film ‘Apollo 13’ released in 1995.
Not only did the crew and Mission Control back on Earth manage to pull off one of the greatest rescue missions ever but the crew also managed to record some of their amazing
James A. ‘Jim’ Lovell, Jr. John L. Swigert, Jr. Fred W. Haise, Jr. Commander Command Module Pilot Lunar Module Pilot
Born on March 25th, 1928 in Cleveland, Born August 30th, 1931 in Denver, Born November 14th, 1933 in Biloxi, Ohio. He was Backup Pilot of Gemini Colorado. He was scheduled to be Mississippi. He was Backup Lunar 4, Pilot of Gemini 7, Backup Command the Backup Command Module Pilot Module Pilot of Apollo 8 and Apollo 11 Pilot of Gemini 9A, Command Pilot of Apollo 13 but was moved to the and Backup Commander of Apollo 16. of Gemini 12, Command Module Pilot prime crew 72 hours before the launch He also commanded one of the crews of Apollo 8 and Backup Commander in place of Ken Mattingly, who had that flew Space Shuttle Approach and of Apollo 11. been exposed to measles. Landing Tests. Apollo 13
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Alan B. Shepard, Jr. Stuart A. Roosa Edgar D. Mitchell Apollo 14
Launch: January 31st, 1971 Lunar landing: February 5th, 1971 Splashdown: February 9th, 1971
Apollo 14 was the third Apollo mission to land on the Moon, information. With only moments to spare, the astronauts where the crew stayed for two days. Getting there proved to finally acquired a signal at 18,000ft (5.48km), which enabled be a difficult task when two major problems occurred during Shepard to manually land the Lunar Module closer to its their descent to the lunar surface. Initially the Lunar Module target than on any of the other six Moon landings. computer displayed an ‘ABORT’ signal due to a faulty switch. Had the problem not been solved quickly, an automatic Commander Shepard’s spacesuit was the first to feature procedure would have separated the ascent stage from red stripes on the arms, legs and helmet, making it the descent stage for a climb back into orbit, thus aborting easier to identify which astronaut was imaged. Much their Moon landing. With guidance from NASA and MIT of the equipment that was used to perform scientific experts, Mitchell managed to manually enter the software experiments was documented in photographs which modifications required to fix the issue just in time. appear in this chapter.
During the descent of the Lunar Module, a second problem occurred. The radar failed to lock onto the Moon’s surface, depriving the crew of altitude and descent speed
Alan B. Shepard, Jr. Stuart A. Roosa Edgar D. Mitchell Commander Command Module Pilot Lunar Module Pilot
Born on November 18th, 1923 in East Born on August 16th, 1933 in Durango, Born on September 17th, 1930 in Derry, New Hampshire. He became Colorado. He was chosen with the fifth Hereford, Texas. He was chosen with America’s first man in space as the group of astronauts in 1966 and was the fifth group of astronauts in 1966, pilot of the Mercury-Redstone 3 the Backup Command Module Pilot and was Backup Lunar Module Pilot spacecraft named Freedom 7. He was of Apollo 16 and 17. He resigned from of Apollo 10 and Apollo 16. He was Backup Pilot of Mercury 9 and became NASA in 1976. the sixth man to walk on the Moon. the fifth man to walk on the Moon He retired from the Navy and NASA where he famously hit two golf balls. in October 1972. Apollo 14
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190 Apollo 15
David R. Scott Alfred M. Worden James B. Irwin Apollo 15
Launch: July 26th, 1971 Lunar landing: July 30th, 1971 Splashdown: August 7th, 1971
Apollo 15 was the first of the ‘J’ missions that stayed Hadley Rille shows up very clearly in some of the orbital for a longer duration on the Moon’s surface and had a imagery captured from the Command Module, among other greater focus on science than before. The Boeing/GM- brilliant images highlighting low-sun illumination on the built Lunar Roving Vehicle (LRV), which had been in Moon’s surface. development since May 1969, was also introduced during this ninth manned Apollo mission. Fully loaded with two A secret kept by the crew until the end of the mission was the astronauts and their equipment, the vehicle weighed more ‘Fallen Astronaut’, a small aluminum sculpture depicting an than 1500lb (680kg), and traveled at speeds up to 8mph astronaut in a metallic space suit, made by Belgian sculptor (12.8kmh). This enabled longer traverses away from the Paul van Hoeydonck, which was placed on the lunar surface. landing site, more scientific experiments and the capture This sculpture, commissioned by the crew, was flown to the of more varied photographic scenes. Moon along with a plaque commemorating all astronauts and cosmonauts who had lost their lives in the pursuit of The mission was designed to bring back more varied high- advancing space exploration. A photograph of this memorial quality photographs than any mission so far. The crew was can be seen in this chapter on page 219. the first to be extensively trained in field geology so they could perform an in-depth analysis of the Moon’s features.
Apollo 15 landed at the Apennine mountains, almost 3.1mi (5km) high, near an 80mi (130km) long and 1,200ft (370m) deep canyon named Hadley Rille formed by volcanic activity. The dramatic slopes and chasms of this area provide some of the most photogenic backdrops of all the lunar landing sites.
David R. Scott Alfred M. Worden James B. Irwin Commander Command Module Pilot Lunar Module Pilot
Born on June 6th, 1932 in San Antonio, Born on February 7th, 1932 in Jackson, Born on March 17th, 1930 in Pittsburgh, Texas. Scott flew with Neil Armstrong Michigan. He was Backup Command Pennsylvania. He was chosen in the on the Gemini 8 mission and later Module Pilot of Apollo 12. In September fifth group of astronauts in 1966. served as Backup Senior Pilot in Apollo 1972 he was assigned to the NASA He was Backup Lunar Module Pilot of 1’s first backup crew, Command Ames Research Center as Director of Apollo 12, and was the eighth man to Module Pilot of Apollo 9 and Backup Advanced Research and Technology. walk on the Moon. He resigned from Commander of Apollo 12. He retired He resigned from NASA and the Air NASA and the Air Force in July 1972. from the Air Force in March 1975 with Force on September 1st, 1975. the rank of Colonel and over 5,600 hours of flying time. Apollo 15
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220 Apollo 16
John W. Young Thomas K. Mattingly II Charles M. Duke, Jr. Apollo 16
Launch: April 16th, 1972 Lunar landing: April 20th, 1972 Splashdown: April 27th, 1972
71 hours were spent on the lunar surface during Apollo’s accidentally broken off whilst being unloaded. tenth manned mission. Young and Duke conducted three Consequently a lot of dust was kicked up, covering moonwalks totaling over 20 hours in duration. The landing the astronauts and Lunar Rover, as can be seen in site of the Descartes Highlands was selected as a site of many of the photographs. Interestingly, similar fender scientific interest after analysis of the orbital photography damage occurred during the Apollo 17 mission. captured during Apollo 14. It was hoped that the landscapes of Descartes would make it possible to collect older lunar In much of the live footage broadcast back to Earth, material. In the end, it was proven that Descartes was not it was clear that Young and Duke felt very comfortable of volcanic origin but was created by meteoric impact, on the Lunar surface, moving around easily and often since not a single volcanic rock was found at this location. taking full advantage of the low gravity environment. This is beautifully shown on page 231, where Young can Duke, the youngest person to ever walk the surface of the be seen jumping up while saluting the American flag. Moon, left behind a picture of himself and his family and Video footage shows both Duke and Young performing was able to take a snapshot as proof. He later explained the ‘Lunar Olympics’, jumping to see how high they could that he did it because he had barely seen his family during get while wearing their heavy space suits. Young’s jump his training and had wanted to excite his children by telling was successful, but Duke lost his balance and fell them that he could take a picture of all of them together backwards onto the lunar surface. to the Moon.
Overall Apollo 16 went mostly as planned, completing many of the photographic targets and scientific experiments set out in the mission plan. One technical issue that arose was that a fender covering one of the Lunar Rover’s wheels was
John W. Young Thomas K. Mattingly II Charles M. Duke, Jr. Commander Command Module Pilot Lunar Module Pilot
Born on September 24th, 1930 in San Born on March 17th, 1936 in Chicago, Born on October 3rd, 1935 in Charlotte, Francisco, California. He was Pilot of Illinois. Scheduled to be Command North Carolina. He was chosen with Gemini 3, Backup Pilot of Gemini 6A, Module Pilot of Apollo 13, he was the fifth group of astronauts in 1966. Command Pilot of Gemini 10, Backup replaced by his backup because he He was Backup Lunar Module Pilot Command Module Pilot of Apollo 7, had been exposed to measles. After of Apollo 13 and Apollo 17 and was Command Module Pilot of Apollo 10 flying on Apollo 16, he headed the the tenth man to walk on the Moon. and Backup Commander of Apollo 13 Astronaut Office ascent/entry group He resigned from NASA and the Air and 17. He also commanded the first from December 1979 to April of 1981. Force on January 1st, 1976. and ninth Space Shuttle mission He later became Spacecraft (STS-1 & STS-9). Commander of STS-4 and STS-51C. Apollo 16
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Eugene A. Cernan Ronald B. Evans Harrison H. Schmitt Apollo 17
Launch: December 7th, 1972 Lunar landing: December 11th, 1972 Splashdown: December 19th, 1972
Concluding a highly successful series of manned lunar Another interesting story from Apollo 17 is that of a landing missions, Apollo 17 was also the last time to date photograph that was regretfully never taken. Eugene Cernan that humans have traveled beyond low Earth orbit. describes his last actions before stepping off the surface of The Apollo program’s final mission saw the longest the Moon: “I left my Hasselblad camera there with the lens moonwalk, longest duration in lunar orbit and the pointing up at the zenith, the idea being someday someone largest lunar sample collection of all the missions. would come back and find out how much deterioration solar cosmic radiation had on the glass. So, going up the ladder, I One of the most iconic photographs ever taken was made never took a photo of my last footstep. How dumb! Wouldn’t during Apollo 17. According to Richard W. Underwood of the it have been better to take the camera with me, get the NASA Photographic Technology Laboratory “...they went shot, take the film pack off and then (for weight restrictions) at night and went trans-lunar over Madagascar so they throw the camera away?” had a full-lit Earth because of where they were headed for on the Moon. It was the only circumstance that brought that picture. And the fact that I kept telling Jack (Harrison) Schmitt, who was a geologist, ‘That will be the classic picture. Make sure you get it after you go trans-lunar,’ you know, and Jack worked it into his schedule and got the series of them, because that one’s at 28,000mi. That’s a perfect picture and he aimed it beautifully.” This photograph became known as ‘The Blue Marble’, and appears as originally framed on page 295.
Eugene A. Cernan Ronald B. Evans Harrison H. Schmitt Commander Command Module Pilot Lunar Module Pilot
Born on March 14th, 1934 in Chicago, Born on November 10th, 1933 in St. Born on July 3rd, 1935 in Santa Illinois. He was the Pilot of Gemini 9A, Francis, Kansas. He was in the fifth Rita, New Mexico. A geologist, Backup Pilot of Gemini 12, Backup group of astronauts chosen in 1966. he was Backup Lunar Module Pilot Lunar Module Pilot of Apollo 7, He was Backup Command Module Pilot of Apollo 15 and the twelfth Lunar Module Pilot of Apollo 10, and of Apollo 14. After Apollo, he was the man on the Moon. In May 1974 Backup Commander of Apollo 14. As Backup Command Module Pilot for the he was named NASA’s Assistant Commander of Apollo 17, he was the Apollo-Soyuz Test Project. Evans retired Administrator for Energy Programs, eleventh, and currently last, man to from NASA on March 15th, 1977. a position he held until he resigned walk on the Moon. from NASA on August 30th, 1975. Apollo 17
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296 “With Mercury, space photography was born. With Gemini, it struggled toward maturity so that Apollo space photography would give you and me, indeed the whole world, an opportunity to reach out and practically touch the Moon.”
Richard W. Underwood NASA Chief of Photography for Mercury, Gemini and Apollo
Above: Underwood gives his evaluation on the progression of photography during space exploration during the Mercury, Gemini and Apollo programs.
Richard W. Underwood Interviewed by Summer Chick Bergen Houston, Texas – October 17th, 2000 Behind the photographs
Behind the photographs
The Apollo astronauts are hailed as being some of the NASA organized a complex operation in order to achieve greatest scientists, adventurers, explorers and heroes, their goal of capturing scientific and historical imagery. It but rarely are they portrayed as some of the most required huge resources, extensive research and engineering significant photographers of all time. advancements in several fields. Major advancements in photographic technology can be accredited to the Apollo Their photographs are undoubtedly some of the most program. Without the collaboration between NASA and iconic and well known ever taken. Images of man standing companies like Hasselblad, Kodak, Carl Zeiss and Nikon, the on the Moon have traveled to almost every part of the globe. astronauts could not have brought back the images that will It is even quite well known that Hasselblad cameras and be preserved for future generations to see. Kodak film were used to document the missions for the world to see. The next few pages are devoted to the role of photography during the Apollo program, detailing the requirements However, little thought has been given as to how the and modifications that were necessary to ensure that the astronauts managed to take these pictures whilst equipment functioned in the harsh environment of dust, operating in low gravity conditions, wearing bulky gloves, vacuum and low gravity, as well as the extensive training spacesuits and helmets. It actually took the combined given to the astronauts, mostly test pilots, to transform effort of hundreds of people to be able to bring these them into competent and well-practised photographers. photographs back to Earth.
Opposite: John Young is bagging a sample from a small crater behind the Rover at the ALSEP site. (AS16-114-18387)
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The role of photography during the Apollo program
In the early days of NASA, the organization lacked a solid From Apollo 8 until Apollo 10, their ‘target of opportunity’ space photography program. The astronauts, flying one- lists focused on exploring suitable landing sites and areas man spacecraft, were fully focused on the actual flying of significant geological interest. which left little or no time for photographs to be taken. It was not until Walter Schirra’s mission, piloting Sigma 7 Other roles of photography involved documenting the on the Mercury-Atlas 8, that NASA’s photography program spacecraft’s condition and durability during docking and started to take form. Schirra brought up the idea with NASA undocking maneuvers, providing detailed feedback for the engineers about the possibility of using his own Hasselblad engineers back on Earth. The missions that finally landed on camera during his Mercury mission. As a keen photographer the Moon were, of course, mainly focused on documenting he knew he could take beautiful pictures from space. topographic and geological data. Eventually, after some long discussions, he was allowed to fly with a heavily modified Hasselblad 500C. These various roles of photography required a number of different cameras, lenses and film types for each mission. Schirra’s photos were well received in the end and, as Each camera had a set purpose and list of ‘targets’ that the ventures into space progressed, the importance of were defined during the mission planning. In addition the photography became more and more obvious and, at the astronauts were instructed to photograph anything that same time, the role of space photography also changed. ‘appeared interesting’ and to communicate with Mission Control whenever an image was taken. These messages At the beginning of the Apollo flights, the initial aims and documented the time, location and key information of the objectives were to provide imagery for scientific research, shot and were later passed on to the film engineers who mainly focusing on oceanography and meteorology. processed the rolls.
As the missions progressed, the priority for the astronauts became photography of the lunar surface from orbit.
Target of Opportunity flight charts
As space exploration progressed,the importance of photography As can be seen from the legend presented in the chart, different became more apparent. Mission planners, scientists and symbols gave instructions to the astronauts on what type of other involved parties were increasingly dependent on these photograph was required: a single or multiple shot, or a series of photographs when planning future missions. This meant that photographs captured at a timed interval. The instructions also photography had to become more structured and planned out gave suggestions on what film, lens and camera settings were in advance. best suited for the shots requested.
The Photographic Technology Laboratory and other relevant Alongside the ‘Target of Opportunity’ charts, the remaining departments at NASA calculated the flight paths of the frames of film roll were left free for the astronauts to capture Command/Service Module and Lunar Module for each of the any particular shot that they felt would be of interest for Apollo missions. These flight paths were used to map out the people back on Earth. orbits onto a series of charts that would highlight areas of the Moon or Earth’s surface. Such areas of photographic interest The ‘Target of Opportunity’ flight charts required an were named ‘Targets of Opportunity’. The highlighted targets enormous amount of forward planning. As the specific were generally of specific scientific interest or sites that had launch date and time of each mission was heavily dependent the potential to become future Apollo landing sites. on a number of external factors (such as adverse weather), the launch could easily be postponed. Moving the launch The ‘Target of Opportunity’ flight charts, such as the Apollo time meant that the spacecraft would now follow different 11 chart presented in the fold-out page opposite, mapped out Earth and lunar orbits which, in turn, meant that a number of specific areas of the lunar surface to be photographed and also different flight charts had to be prepared for the numerous gave operational recommendations on how to best capture the flight path permutations. target photograph.
300 Apollo 11 Target of Opportunity Flight Chart (July 16th, 1969 launch date) Lunar Photography Index charts
The Lunar Photography Index charts were produced once the film magazines were returned from the mission. The purpose of these charts was to mark the landscape details and location of each of the space-to- ground photographs in relation to the lunar surface. Many of the Lunar Photography Index charts are available online to help reference the thousands of space-to-ground photographs that were taken during the Apollo missions.
This aerial photograph (AS11-37-5448) is of the north-west corner of the Sea of Tranquility. A complete crater, just off the center of the photograph, can be seen as well as the perimeters of two craters in the bottom right of the frame. The shot matches the area inside the green bounding box marked 5448. The last four digits of an Apollo photograph, such as ‘5448’ in this example, relate to the specific film roll and frame number on the map.
Victor Hasselblad posing with a NASA modified 500 EL (Hasselblad Electronic Data Camera). Behind the photographs
Hasselblad in space
In the search for a camera that was fit for use both on board the spacecraft and on the lunar surface, NASA drew up various requirements such as interchangeable film magazines, the ability to hold black/white and color films of different sensitivities and the use of different lenses.
Astronaut and amateur photographer Walter Schirra first brought to the attention of the engineers responsible for the flight cameras the fact that his personal camera, a Hasselblad 500C, seemed to meet NASA’s requirements. Beyond the obvious quality of its photographs, further inspection of the camera by the engineers confirmed that its build, reliability, configuration and ease of modification complied with all demands.
In 1962 Schirra himself bought another Hasselblad 500C in a Houston shop for NASA engineers to modify for space travel. He took it with him on the Mercury- Atlas 8 mission just a few months later. The stunning images that he took of the Earth from orbit marked a turning point for photography in space and lead to a strong and cooperative relationship between NASA and Hasselblad.
This collaboration benefited both parties. NASA’s expectations of beautiful, high-quality imagery were easily fulfilled and the worldwide publication of the images became a real breakthrough for Victor Hasselblad and his company. A lunar surface film magazine that was flown on the Apollo 11 mission, Hasselblad gained brand recognition within the photography circles at the time presented to Victor Hasselblad AB. as a company whose equipment could produce photographs of the finest quality in the harshest of conditions.
When NASA approached Victor Hasselblad with the possibility that his cameras could go to the Moon, it became his personal challenge to modify them for use in space. It formed a relationship between Hasselblad and NASA which lasted for decades.
A ‘first day cover’ card to Victor and Erna Hasselblad sent by Richard W. Underwood of the NASA Photographic Technology Laboratory, thanking them for the help and service to the Apollo program. It read: “Dear Mr. and Mrs. Hasselblad, Here is another stamp commemorating this marvelous venture. Thank you again for all you have done The ‘NASA-Group’, a mix of NASA and Hasselblad employees together with Victor in bringing us ‘The Hasselblad’. Very truly yours, Dick”. Hasselblad pose together with the range of different Hasselblad modified especially for the Apollo program.
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Technical drawing of the modified Hasselblad 500 EL Camera
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The cameras and equipment
Unmodified commercial cameras posed several problems for the Apollo astronauts. Their bulky space suit gloves made it impossible to adjust small and complicated buttons, and a traditional viewfinder was of little use to astronauts when wearing a space helmet.
Many modifications and specialist pieces were manufactured to meet these very unique operational requirements. The equipment list varied for each mission, but generally a number of different Hasselblad camera bodies, grips and mounts were carried on board along with a variety of lenses and different 70mm color and black and white films with varying sensitivities and speeds. An overview of the most important pieces of photographic equipment that Overview of the camera bodies and lenses that were were used during the Apollo program are shown over the next few pages. carried during the Apollo 14 mission.
Illustration of the camera equipment taken on board the Apollo 16 mission: — 70mm Hasselblad Electric Camera (HEC) — 80mm f/2.8 lens — 250mm f/5.6 lens — 500mm f/8 telephoto lens — remote control cable — 70mm film magazines — lunar surface 70mm film magazines — magazine Lunar Module (LM) transfer bag — 70mm camera mount for 80 & 250mm lenses — intervalometer — HEC timing cable
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An original commercial Hasselblad 500EL (right) photographed next to the modified NASA Hasselblad Electrical Camera (HEC).
Some of the many modifications can be seen. The viewfinder on the top of the camera body has been removed and a basic sight placed on the side of the HEC. The leather wrap has been removed from the HEC, exposing the painted matt black metal.
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The special cameras made for the Apollo program
Hasselblad 500C
The 5OOC first flew with Walter Schirra on Sigma 7 on the Mercury-Atlas 8 mission in 1962. Its photographs were highly satisfactory which led to it being used on the subsequent Mercury and Gemini missions. This was the starting point for Hasselblad to become the preferred supplier of cameras to NASA. During the Apollo missions, the 500C was used during Apollo 7 and 9, later being replaced with the Hasselblad 500EL with its automatic electric winding features.
NASA technicians took a commercially available 500C body and modified numerous parts in order to make it suitable and safe for space flight. Removing the mirror and auxiliary shutter, along with the viewfinder and glass on the top of the camera body, effectively turned the camera into a ‘point and shoot’ camera. A rudimentary viewfinder was then added on the side of the camera body to help the astronauts frame their pictures.
The camera’s buttons and levers were also simplified and enlarged for use in low gravity conditions, and while wearing bulky gloves. The camera body had its leather covering removed, leaving the bare metal of the camera body exposed which was then anodized matt black to prevent harmful solar rays from reflecting off a shiny metallic surface.
The 500C was the model that brought Hasselblad and NASA together, laying the foundations for the development of camera and equipment technology over the following decade, leading to the technological advancements that were eventually taken to the surface of the Moon.
The Hasselblad Electric Camera
The NASA Hasselblad Electric Camera (HEC) originated as the standard 500EL model. The HEC was more technically advanced than the 500C, featuring an electric motor that would automatically advance the film and prime the shutter, giving the astronaut less processes to deal with when taking photographs.
NASA intended the HEC to be used inside the Lunar and Command/Service Modules. The camera underwent modifications similar to those of the 5OOC. Its mirror and auxiliary shutter were removed and the camera was finished in an anodized matt black finish to stop any potentially blinding solar reflections from bouncing off the camera.
The standard lens fitted to the HEC was an 80mm f/2.8 Carl Zeiss Planar lens. An 250mm f/4 Carl Zeiss Sonnar telephoto lens was also frequently used on the HEC for taking photographs of distant objects as in the famous ‘Earthrise’ image.
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The Hasselblad Electric Data Camera
The Hasselblad Electric Data Camera (HEDC) was created for the specific task of operating on the surface of the Moon. Towards the end of 1968, a year before the first Moon landing, NASA approached Hasselblad to further upgrade the HEC. It would now have to operate in the harsh conditions found on the Moon and to accurately and reliably document the lunar surface.
The HEDC had modifications similar to those of the HEC, the most notable difference being the addition of the Réseau plate. A new shutter mechanism using special lubricants was developed, since the normal shutter lubricant would boil when exposed to the vacuum conditions found on the Moon. Unlike other NASA Hasselblad cameras, the surface of the HEDC was painted silver to reflect light and to disperse the extreme heat away from the camera. Lunar surface temperatures range between 248°F (120°C) and -292°F (-180°C), which is extreme enough to damage camera film.
The lens used on the surface of the Moon was also custom-made for the job. The 60mm f/5.6 Biogon Carl Zeiss lens was developed to offer a very wide viewing angle with very little lens distortion. Development of the lens proved challenging since it had to calibrate perfectly with the Réseau plate markings.
Réseau plate
The lunar surface cameras were fitted with a transparent glass Réseau plate, attached to the back of the camera body close to the film. Fiducial markers, a type of tiny cross-hair markings, were engraved straight onto the glass and can be seen on many of the Apollo photographs. These markings were calculated down to the micrometer with a margin of error of just 0.002mm. They allowed scientists and engineers to accurately calculate distances and heights of objects in the photograph when combined with the camera geometry.
A camera fitted with a Réseau plate is not necessarily uncommon, the technique had been widely used for many years in the field of aerial photography. However, such cameras were typically large in size and certainly not fit for handheld use. The challenge for NASA engineers was to fit this advanced technique into a much smaller camera. With the close collaboration of Carl Zeiss and Hasselblad, they managed to calculate and compensate for the potential lens distortion often found in wide angle lenses and made it all fit into the compact camera body. This remarkable technological achievement became highly useful for future scientific research across many specialist areas of photography, in particular aerial photography.
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The Hasselblad Super Wide Camera
Used frequently during the Gemini missions, the Hasselblad Super Wide Camera (SWC) was a special purpose camera that enabled superb wide angle viewing, resulting in images with a huge picture coverage. This made the SWC highly suitable for photography on the lunar surface.
With this in mind, early in 1967, NASA assembled a group of engineers to build and develop a camera suitable for the Moon. Using the SWC model as their foundation, they enlarged the viewfinder on top of the camera and made the winder and shutter release button easier to use. The camera was found to produce higher quality results than the 500EL models. However, the Lunar Super Wide Camera development was stopped as the astronauts, during testing and training, favored the ease of the automatic winding feature found on the 500EL model, which became the HEDC.
Nikon 35mm Photomic FTn NASA Modified
As the Apollo missions progressed, the need for a more portable camera for use inside the Command/Service Module became apparent. NASA saw the need to capture more active and dynamic situations, particularly during personal and special moments of the mission.
NASA approached Nikon for adjustments to their 35mm Photomic FTn camera and flash. The camera underwent modifications similar to those of the Hasselblad models, ensuring that the camera and different film stock could cope with the extreme gravitational forces that it would endure during missions. The electrical components were tested to ensure that they did not interfere with the electrical systems of the Lunar Module and Command/Service Module and the camera body was again painted matt black to prevent any sunlight from reflecting off the metal. The camera grip and buttons were enlarged for ease of use.
The Nikon 35mm camera was used from Apollo 15 onwards. It offered a new and unique perspective of photography, showing a new side of the crews, in a more personal and playful manner.
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Carl Zeiss
German lens manufacturer Carl Zeiss also played a significant role in developing the technology used to photograph images during the Apollo program.
Carl Zeiss worked closely with NASA and Hasselblad to develop and supply a range of lenses to meet the varied and advanced requirements, ranging from an ultra fast 50mm f/0.7 lens to a large 500mm f/8 telephoto lens.
50mm f/0.7 Planar 80mm f/2.8 Planar This lens was unique and specially developed for NASA as one of the world’s This standard lens was carried on board for general photography. The body highest speed camera lenses. The reason for this lens being developed was of the lens was painted matt black and the focus ring was simplified to offer to allow the crews to photograph the low light scenes found on the dark side the three focusing presets; near, medium and far. of the Moon. Only 10 of these lenses were ever made and later found a place in Hollywood, being part of the Oscar-winning production for the ultra low-light candlelit scenes of Stanley Kubrick’s film ‘Barry Lyndon’.
60mm f/5.6 Planar 250mm f/5.6 Sonnar telephoto Another specially designed lens that later became commercially available. This lens was used to capture images of distant objects like the Designed for use on the lunar surface, this special lens provided a wide Earth and lunar surface. It was also the lens that captured the angle, high quality field of view with very low lens distortion. It was perfectly iconic ‘Earthrise’ photograph. calibrated to work in unison with the Réseau plate to ensure its scientific accuracy and to allow for the calculation and measurement of the objects in the image.
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Eastman Kodak film
One of the biggest photographic challenges NASA faced was how to bring back as many images as possible from each mission, working within the space and weight restrictions of the Command Module.
The traditional 70mm Hasselblad camera held an average of 12 6x6 exposures per roll. During the Mercury missions NASA approached Cinematics, a Californian company whose main line of business was to modify cameras for Hollywood film productions. They were briefed to modify and enlarge the Hasselblad film magazines. With these changes, they could fit 18ft (5.5m) of film, or around 70 6x6 exposures.
During the Apollo program, however, a merely larger film magazine would not meet the new requirements. NASA therefore asked Eastman Kodak to push their technology and develop a film system that would allow for even more exposures per roll. Kodak’s research and development department designed a new, thinner polyester film base that their conventional film emulsions could be applied to. As a result of this, the same magazine could now hold up to 42 ft (12.8m) of film, or around 200 exposures. NASA also stimulated the development of color reversal film with speeds 50 times faster than previously found on color film roll technology. Magazine S To meet the very different lighting conditions encountered, Apollo missions This magazine was used by Neil Armstrong on the lunar surface, hence the silver flew with a variety of films such as the Kodak Panatomic-X fine-grained 80 ASA coating of the magazine to match the ‘HEDC’. It exposed around 130 frames of black and white and Kodak Ektachrome SO-68 & 80-121 color films for normal High-speed Color Exterior (HCEX) Ektachrome film. Some of the most iconic photography, and a special super light-sensitive Kodak 2486 1600 ASA film photographs to ever have been taken were made on the film contained in this modified magazine, such as photographs on pages 107 and 123. for low light conditions.
Camera setting instructions Recommended camera settings were placed onto film magazines to help ease the operational usage of the camera and film, mainly to reduce the amount of poorly exposed shots due to the astronauts using the wrong camera settings for the shot they were taking.
Operational sticker found on magazine S The blue sticker found on Magazine N (top right). High-speed Color Exterior; (right), which was for onboard use, gives the film type. 1/250 is the required camera the film type (CEX) and ASA speed (ASA shutter speed. The diagram with arrows 64). The recommended shutter speed is gives the recommended aperture settings 1/250 of a second. The following aperture for the camera. It suggests using f/5.6 for settings are given for the different subjects either crew (astronauts) or Lunar Module the astronaut is photographing. Zero phase (LM) in shadow (poorly lit areas), f/8 for refers to when the Earth lies exactly between Magazine N objects near the camera and f/11 for the sun and moon, producing an eclipse This magazine flew on board the Apollo 11 Command/Service Module. It contained distant objects in sunlight. type image. Near terminator refers to when a roll of Eastman Kodak SO-368 color exterior (CEX) film which was specially you see both night and day on either the balanced for exterior lighting. Photographs on pages 108 and 114 were taken Earth or the Moon. Half the image is well lit, with film contained in this magazine. and the other is dark.
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The Training
When NASA realized that photography would be a key element of the Apollo program, they made sure that the astronauts became highly competent with using the modified equipment during their training. To do so NASA encouraged them to carry around their training cameras at all times, even on personal trips, to further increase their familiarity with the cameras and to hone their photographic eye.
Tutorials were also provided on the equipment and its operation with astronauts traveling to locations that had geological features similar to the lunar surface such as Nevada, Arizona and Hawaii. On these frequent trips, the crews could review and assess their photographs, providing feedback on their technique to improve the quality of their images. As the missions progressed, each returning crew passed on valuable information, tips and tricks to the following crews. This can clearly be seen in the improvement of the quality of photography over the duration of the program.
As the cameras were mainly automatic, the astronaut generally had to take into account three things: framing the shot, selecting the right exposure setting and estimating the distance to the subject in order to calculate the focus. NASA offered further photographic support by having an expert in Mission Control who was always ready to answer any photography-related questions from the astronauts during the mission itself.
Top right: Neil Armstrong familiarizes himself with the Hasselblad camera and the film camera to be used on the lunar surface.
Bottom right: Astronauts John W. Young (right) and Charles M. Duke Jr. participate in simulation training with the Lunar Roving Vehicle (LRV) during Apollo 16.
Opposite: Aldrin (left) and Armstrong (right) during their Apollo 11 Extra Vehicular Activity (EVA) training exercises.
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Framing Exposure Focus The lack of mobility in a spacesuit, and in The exposure settings on the camera were After significant trial and error during the particular the restrictive view of the helmet, simplified in advance as engineers had been training period, focusing became a relatively meant that the Hasselblad camera’s normal able to calculate the lighting conditions simplified procedure. The combination of a high viewfinder was replaced with a simple sight beforehand. Simple guidelines were printed f-stop and the limited amount of lenses taken mounted on the side of the camera. onto the film magazines. The shutter speed on board meant that the image generally had The astronauts were also taught to shoot for the lunar cameras for example was set a large depth of field. The astronaut only really from the hip when they were in the Lunar at 1/250 and the aperture recommendations had to estimate the distances of the main Module or Command/Service Module. were f/5.6 for objects in shadow or f/11 subject in order get the right focus. The focus for objects in direct sunlight. When taking ring was furthered simplified to offer three When on the lunar surface, the cameras photographs of high interest or importance, presets; near, medium and far to further make were mounted on the chest of the spacesuit. the astronauts were instructed to use an the camera operation as simple as possible. The astronauts were trained to simply aim exposure bracketing technique of one f-stop their body towards the point of interest. up and down from the suggested setting to A generally inaccurate method but, with guarantee a well exposed shot. the intense training the astronauts received, they became very adept at this peculiar framing method.
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Expert advice always on hand (CAPCOM)
Expert photographic advice was always available to the astronauts. An experienced photographer, familiar with shooting space-to-ground photography, was always sitting at one of the desks in Mission Control during the periods when the astronauts were awake. This expert was consequently always close at hand to offer advice on camera settings when the astronauts wanted to take a shot that they were not trained for or which deviated from the ordinary camera settings. The radio conversation below, between the Apollo 11 crew and Mission Control, gives an insight into the crew communication with photography experts to ensure the perfect photograph.
Commander Neil Armstrong (CDR) LMP Houston, do you read Apollo 11? Go ahead.
Capsule Communicator, Mission Control, CAPCOM Houston (CAPCOM) Roger. If you’d like to take some pictures, we Roger, 11. We’re reading you loud and clear now. recommend using magazine Uniform which is We were down in the noise as we switched antennas loaded with high speed black and white film, interior a minute or so ago. Over. lights off, electric Hasselblad with the 80mm lens. And you’re going to have to hand-hold us, I guess. Command Module Pilot Michael Collins (CMP) We’re recommending an f-stop of 2.8, and we’d like Roger. What sort of (aperture) settings could you to get a sequence of time exposures. Over. recommend for the solar corona? We’ve got the Sun right behind the edge of the Moon now. LMP Okay. You want magazine Uniform instead of Lunar Module Pilot Buzz Aldrin (LMP) magazine Tango? Over. It’s quite an erie sight. There is a very marked three- dimensional aspect of having the Sun’s corona CAPCOM coming from behind the Moon the way it is. Roger. We’re not trying to get you all wrapped up in a procedure here. This is on a not-to-interfere basis, CAPCOM of course. Over. Roger. LMP LMP Okay. And it looks as though — I guess what’s giving it that three-dimensional effect is the earthshine. CAPCOM I can see Tycho fairly clearly — at least if I’m right And on the exposures we’re looking for an eighth of side-up, I believe it’s Tycho, in moonshine — I mean, a second,, a half a second. And, if you think you can in earthshine. And, of course, I can see the sky is lit steady the camera against anything to get longer all the way around the Moon, even on the limb of it exposures, 2 seconds, 4 seconds, and 8 seconds. Over. where there’s no earthshine or sunshine. LMP CAPCOM Roger. We copy. Apollo 11, this is Houston. Over.
Opposite: The photograph of the solar corona that was being discussed between the crew of Apollo 11 and the CAPCOM on the July 19th, 1969. (AS11-42-6179)
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The Acosta’s Maura Bonanni Counihan Michael Hlas Gary Milgrom Giles Smith William Airo Bob Covey Don Hoban Vitorio Miliano Ryan J. Smith Julio Amador Ryan John Lincoln Crosby Gail E. Hofmar David B. Millar Dan Søgaard Sergio Antioquía Cuesta Lisa Dagostino Bart Hogeweg Jakub Mirola Sroaj Sosothikul Sinisha Arsovski Nigel Dalby Adam Holloway Andrea Montefusco Roy Spaude Javier Ascasibar Søren Dalsgaard Cale Honneysett Daniel Morgan Serge Steijn Tina Aspiala Ria van Dam Andy Hood Reed & Sara Morse Martin E. Stein & Scott A. Saxon Mikael Ljung Aust Shannon Daniel & Alex Maier Lee Hopkins Stefan H. Mörtl Yancey Strickler Tycho Ayers Vaughan Davies Richard M. Hopple, Jr. Alessandro Munari Craig Stull Filipe De Azevedo Joshua Davies Julie Hui Michael F. Murray Bart Suichies Craig T. Balogh Kevin Lyle Davis Mark Hunter Isabella Music Scott Summers Toby Barnes Noor Dawod Drew Inglis Todd, Ann, Ross & Bryan Nelson Michael Surtees RH Baxley Frank de Weijer Liz Irving Birger Nilsson Boris Suyderhoud Jon Beckhardt Emil Diephuis Sean J.Gorry Timothy Nipper William Zachary Taylor Simon Belmont Annabel van Ditmar Senna & Emerson Jarvis Ema Nymton Julio Terra Pancho Bernasconi Lorenzo Dutto Gene Johannsen David Nyskohus Hannah Poppy Thompson Marloes & Mario Betting Denise E. Christopher J. Johnson Mireya Ochoa Paul Thwaites Eelco Bikker Nils E. Sean Jones Quérine Ottens & Niels Visser Toddex Mark Bivens Jonathan Engeln H. de Jong Jordy Oudhuizen Bruno Trésarrieu Julian Bleecker Chris Erdman Mark Kanakis Michael Paradise Scott Tripp Tomas Blijdenstein Nora Esmat Jane Kang James A. Parsons Matthew Turner Øystein Bøhler Benoit Faiveley Noah Kardos-Fein The Pattons of Cupertino Jari Turpeinen Lodewijk Bonebakker Rickard Falk Andreas K. Rindert Peerbolte Carlos-Gil Tuzon Chris Bottega Rimmer Family Patrick S. Kelly Ryan Anthony Petersen Neil Uchitel John J. Bowes Ryan Fau Ameet Khara Sheila Phillipson Bruce Urquhart Seth J. Bradley Chris Ferenzi Tom Kilpatrick Michael Aaron Pierce Tony Valderrama Edgar Bradley Morten Fjeldheim Haengju Kim Maurice Poirier Esther Valdes Scott Brooks Alex Fletcher Nicholas Kindsvatter Norbert Pollemans Frits Vandenweghe René Brouwer Antoine Fortier-Auclair Violette Kleyn John S. Poti Cecilia Varuzza David Fleming Brown Alain Fournier Kurt Klimisch & Joaquin Sanchez Cindy Powers Anuschka van der Veen Kramers Katie Mandel Bruce Max Gadney Mark Knights Michael Prendergast Noor Veenbrink Iris Caroline de Bruin Anthony M. Galante Peter & Clare Koller Mark Pütz Niels de Vries Doug Burns Chris Gamble Dr. Daniel König Florian Ragwitz The Wang Family Andrew Cahn Pablo Garcia Ash & Bryan Kramer Jaime Ramos Michael J. Warning Riccardo Campana James Garland Donny Landis Amy Reams Tyler Sean Waugh Sean Canning Paul Garrett Rob Lawlis Douglas Reed Matt Webb Chris Capel Eugene Gies Seung Lee David A. Reese Niels van Weeren Eduardo Carrasco Marcus Gilmer Efrat Lelkes To Eric-Jan Reijnen from Reinout Emanuel Wegh A Carroll (The Atomic Tourist) Joe Green Dr. David Lengeler Aaron N. Rich Jeroen Welker James Carruthers David L. Griffith Daniel R. Leonard Jaakko Ristola Peter Tasman Wells Casey L., Angela M., Iris & Hugo Flavien Guderzo Richard Libera Gert-Jan Rodenburg Sebastian Werner Alex Chan Jacob Joseph Hahn Scott Liddell Andrew Rodland Seth J. Wiener Dhruv Chanchani Michael Hall-Snyder Balder Lingegård Jason Rosenblatt Jannis Wiese Perry Chen Jason Halter David Lipschits Michal Rosenn Sean D. Wilken Brad Cherniak & To Hans Hammarsten from X Olivier Lisman Bruno Rubin John Willis Cyndee Todgham Cherniak Patrick Handley Sarah Litzenberger Ryan E. Sass Ben Withers Adrian Cherry Peter A. Hanink Steve Logan Greg Sauzeau Samuel Withers Lindsay Chichester Chris Hanline Ian Loynes Alberto Schileo Kevin D. Wong Lambert Chow Roger C. Hanson Idi N. Mallari Ethan Schlenker Julie Wood Stian Kolle Christiansen Ross Hathaway Colby Manley Paige Ebony Scott T. Dean Word III Gennadiy Chuyeshov Matthew Hawker Cresten Mansfeldt Craig and Di Shanklin Connie L. Wussow Peter Cipriani Kjell Hayling Greg Marchand Steven & Gretchen Sharp Rusty Wynn Jan Cocheret & Cilly Dartell Andrew Hayward Alan M. Marcum Patrik Shields Stephen York Joseph Comeau Colin D. Henderson Eric Marquardt Heinrich Sieber Jim Yulman CJ & Silas Conley Léon Hendrickx MarsChelios Paul Siegel Derek Zaba Nikos and Linda Constant Christine Hensel Daniel J. McCoy Kirsten Schwaller Sigrist Tieg Zaharia Meg & Glenn Copeland Cees Heyne Charley S. McCue Andreas Sikkema @CommanderByrne Rob & Lionne Corzilius Alexander Heynen Gerard McMahon Freddie Simmonds @thisnorthernboy Francesco & Serena e Cosmo Suwada - Sayda Allana Hinds Liesl McMurray Jared & Jennie Simms A + J 4ever
317 References
Apollo program. (Online) https://en.wikipedia.org/wiki/ The Truth Behind The Moon Landings: Stranger Than Fiction. Page 304: Apollo_program (Accessed Jun. 2016) Hollywood, United States of America: Virginia Quinn, 2013. Hasselblad Camera illustration DVD. Drawing by Max K. Reice Derr, A. Photography Equipment and Techniques — A Survey Of Nasa Developments. (Online) Underwood, R. (2000) Richard W. Underwood Oral Page 305: http://history.nasa.gov/alsj/apollo.photechnqs1.pdf History. Interviewed by Summer Chick Bergen for Johnson Photograph of Apollo 14 cameras (Accessed Jun. 2016) Space Center Oral History Project. (Online) http://www. Courtesy of the Lunar Planetary Institute jsc.nasa.gov/history/oral_histories/UnderwoodRW/ www.lpi.usra.edu/lunar/missions/apollo/apollo_12 Earth Science and Remote Sensing Unit, NASA Johnson UnderwoodRW_10-17-00.htm (Accessed Jun. 2016) /photography/ Space Center. Gateway to Astronaut Photography of Earth. (Online) https://eol.jsc.nasa.gov/FAQ/ (Accessed Jun. 2016) Photo & Image credits Illustration of Apollo 16 camera equipment Photograph from NASA Apollo Flight Journal Gunnarsson, S. (2016). Victor Hasselblad The Man Behind All Images are courtesy of The National Aeronautics and http://history.nasa.gov/ap16fj/02photoequip.htm the Camera. Gothenburg: Journal, p.264 – 274 Space Administration(NASA) photographic archives unless stated below. Page 306: Hartwell, E. Apollo Cameras. (Online) http://www. Hasselblad Camera modification images ehartwell.com/Apollo17/BlueMarblePhotography_Cameras. https://www.flickr.com/photos/projectapolloarchive/ ©Victor Hasselblad AB htm (Accessed Jun. 2016) Page 7: Page 307: Hasselblad AB, (02.07.1998). Hasselblad 30-year Lunar Launch of Apollo 11. Hasselblad 500c Mission Anniversary Press Release. Gothenburg. Courtesy of The Project Apollo Archive ©Hasselblad Foundation, Photo Jens Karlsson https://www.flickr.com/photos/ Hasselblad and NASA. (Online) Available at: http:// projectapolloarchive/27736779953/in/dateposted/ Hasselblad HEC Camera www.clubhasselblad.com/hasselblad-and-nasa ©Victor Hasselblad AB (Accessed Jun. 2016) Page 8: Launch of Apollo 7. Page 308: Horgmo, Ø. The Apollo 11 Hasselblad Cameras. (Online) Photograph from NASA Apollo Flight Journal. Hasselblad HEDC https://sterileeye.com/2009/07/23/the-apollo-11- www.history.nasa.gov/ap07fj/a7images.htm ©Hasselblad Foundation hasselblad-cameras/ (Accessed Jun. 2016) Photograph of Walt Cunningham and T-38. Hasselblad Réseau plate Jones, E & Glover, K. Apollo Lunar Surface Journal. (Online) Courtesy of Walt Cunningham ©Hasselblad Foundation https://www.hq.nasa.gov/alsj/ (Accessed Jun. 2016) Page 10: Page 309: JSC PAO Web Team. Apollo Gallery. (Online) http:// Walt Cunningham preparing for launch. Hasselblad SWC spaceflight.nasa.gov/gallery/images/apollo/ Photograph from NASA Apollo Flight Journal ©Hasselblad Foundation (Accessed Jun. 2016) www.history.nasa.gov/ap07fj/a7images.htm Nikon 35mm Photomic FTn Kitmacher, G. Astronaut Still Photography During Apollo. Page 13: Photograph by Morio, www.commons.wikimedia.org/ (Online) http://history.nasa.gov/apollo_photo.html Apollo 7 orbital chart. wiki/File:1971_Nikon_Photomic_FTn_NASA_Modified_2012_ (Accessed Jun. 2016) Courtesy of Walt Cunningham CP%2B.jpg
Lunar Planetary Institute. (Online) http://www.lpi.usra. Page 14: Page 310: edu/lunar/missions/apollo/ (Accessed Jun. 2016) CSM Window viewing area diagram. Carl Zeiss Lens photographs Courtesy of Walt Cunningham Courtesy of the ‘ZEISS Archives’ Multiple Authors. Apollo Flight Journal. (Online) http:// www.zeiss.com/corporate/int/history/archives.html history.nasa.gov/afj/index.htm (Accessed Jun. 2016) Page 301: Apollo 11 Target of Opportunity chart. Page 311: Nordin, R. (1998). Hasselblad System Compendium. Small Scan from the private collection of Benoit Faiveley Film magazine photographs Dole: Hove Books, p. 120 – 126 & p.160 – 162) Smithsonian National Air and Space Museum (TMS Lunar Photography Index chart. A19980006000_PS03). Smithsonian National Air Parker, P. Apollo-11 Hasselblad Cameras. (Online) http:// Courtesy of The Lunar Planetary Institute and Space Museum (TMS A19980009000_PS03). history.nasa.gov/alsj/a11/a11-hass.html www.lpi.usra.edu/resources/mapcatalog/apolloindex/ (Accessed Jun. 2016) Pages 312 & 313: Page 302: Astronaut training images Ringo. Historic Photography Questions: The Apollo XI Crew Photograph of Victor Hasselblad Courtesy of NASA Wants to Take a Picture in Space. (Online) ©Hasselblad Foundation www.lomography.com/magazine/28327-historic- photography-questions-the-apollo-xi-crew-wants-to-take- Page 303: a-picture-in-space (Accessed Jun. 2016) NASA Group & Postcard Courtesy of Gösta Flemming at Journal-media and Sören Teague, K. Apollo Archive. (Online) http://www. Gunnarsson, author of Victor Hasselblad, apolloarchive.com/apollo_gallery.html The Man Behind the Lens. (Accessed Jun. 2016) Film magazine plaque ©Hasselblad Foundation
318 The process behind making this book. A note of thanks
As we are sure you can imagine, it was very difficult to Walt Cunningham for his incredible energy and Floris hopes his loved ones still recognize him after a select just a few of these images from the thousands enthusiasm, and for taking time from his busy crazy but fun year of hard work and dedication, and of brilliant photographs that were taken during the schedule to recount and write about his experiences would like to thank them for everything with a drink Apollo program. We had numerous selection rounds with taking photographs from the Apollo 7 mission or two. that reduced the number of photographs down from he flew on. the 27,000+ images taken to the final 225 you can Joel would like to thank his friends, family and see in this book. We made the decision to showcase Neil Pearson, our editor, who has taken countless especially Bianca Hooijer for all their love, support, photographs based on their photographic merit and hours editing and revizing the many versions of patience and inspiration throughout the year we not just by purely selecting the most well known and the book that we put before him. have been working on this fantastic project. It has historically important images that often find their been a once in a lifetime experience I shared with 3 way into publications. Given this, we realize that CONSPIRACYSINC, the advertizing agency in colleagues & friends. perhaps many of people’s favorite images didn’t Amsterdam where the four of us work. Thanks to quite make the cut, certainly a few of our favorite all our colleagues for your support and guidance, Simon would like to give a big thanks to his friends images didn’t make it through this tough selection and of course the use of the space and coffee over and family, and especially to Noemí Antioquía process. We would be more than happy to hear the year! www.conspiracysinc.com Cuesta, for their support, guidance and patience suggestions from you, which we can consider for over the year that we took putting this book together. any future reprinting of the book. Elsa Modin, who warmly welcomed us to the Hasselblad Foundation Archive in Gothenburg, Delano wants to thank friends and family for It was our intention from the start to produce a Sweden, and then who patiently spent many hours supporting him throughout this amazing project and beautifully crafted book that really brought out the searching for many of our obscure picture requests. especially Esmee for her patience and understanding. very best in these incredible images that were taken And not to forget all of our kickstarter backers for during the Apollo program. We have meticulously Søren Dalsgaard for his hours of reading and making this thing happen! retouched each photograph to really bring out the suggesting changes from our numerous drafts. tone, color and depth in these images. Additional thanks to Karim Jobe & Esmee Friederichs Ida Gustafsson and Ove Bengtson at Hasselblad at Doogle Productions, Bauke Bakker, Dustin Kort, Much discussion has been written about the color of AB, for the introduction to such a wonderful and Andre Kuipers, Michael Light, Kees Dorresteijn & Daan the moon’s surface and how it should be accurately extensive archive that they have in Gothenburg. Musters at NOS. reproduced for print. There even are many conflicting opinions on what shade of grey the lunar surface Benoit Faiveley for his active involvement and tips actually is. We have researched much that has throughout the making process. been written on this topic and made the intentional decision to not be 100 percent factually accurate Dr. Wolfgang Wimmer at the ZEISS Archive. with the coloring, but to bring out and highlight the aesthetic beauty in each of these images. Gerhard van Vilsteren & Mariska Bijl at Wilco Art Books for their help and support with producing the Besides the color correction and the removal of high-standard book that we envisioned. dust and scratches we have left the images as were scanned. Keeping in the film frame edges, errors in film cutting, small notes and writings that can be seen on the film. We feel that preserving these ‘artefacts’ further enhances the photographic story for each of these images.
319 Colophon
Apollo VII – XVII: A collection of photographs taken by NASA’s Apollo program astronauts 1968 – 1972
Created by: Floris Heyne, Joel Meter, Simon Phillipson & Delano Steenmeijer
Edited by Neil Pearson
Foreword by Walt Cunningham
A number of professional chromogenic color prints of the photographs found in this book are available to order at www.theapollophotobook.com
Published by JDFS, Amsterdam, Netherlands. Copyright 2017 JDFS© www.theapollophotobook.com First Edition published 2016 Reprinted in 2017 ISBN: 978-90-825982-0-9 Printed in the Netherlands
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, mechanical, electronic, photocopying, recording, or otherwise, without prior written permission from the publisher.
Although the author and publisher have made every effort to ensure that the information in this book was correct at press time, the author and publisher do not assume and hereby disclaim any liability to any party for any loss, damage, or disruption caused by errors or omissions, whether such errors or omissions result from negligence, accident, or any other cause.
While every effort has been made to acknowledge the copyright with regard to the photographs and texts included in this book. The publisher would be happy to hear from anyone who feels that their rights have been violated and to correct any errors, omissions and to credit others works in future editions of this book.
Although many of the images in this book are sourced from NASA, This book Apollo VII – XVII and its distribution is not sponsored or endorsed by NASA in any way. Hasselblad AB Sweden, The Hasselblad Foundation and Carl Zeiss have been a tremendous help and assistance in putting this book together. They are however in no way affiliated with or have sponsored this publication.