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A 9:23 min slideshow of unaltered NASA photographs from the Apollo 14 mission showing anomalous bluish lights on the lunar surface during EVA-1 and in lunar orbit.
Most images are high resolution scans of the original 70mm Hasselblad film available at
www.lpi.usra.edu... or www.hq.nasa.gov... Please, don't claim fake before visiting these sites. While the blue streak at the upper left of AS14-67-9384 has been considered to be "undoubtedly a film defect" no explanation was offered for the various bluish lights that appear on the AS14-66 magazine from the second camera used during EVA-1. The anomaly is probably identical to the visual phenomena reported by the Apollo astronauts, which consisted in streaks, points, and flashes of light. These were considered to originate from an external radiation source, generated by extremely-high-energy particles, presumably of cosmic origin
He simply stated he "believes" some of the stories he has heard.
Interesting stuff. It is easier for me to see anomalies in space than in the atmosphere for sure. I am intrigued a bit. What has the officials have to say about these anomalies?
RH: On the moon, if we're looking very, very, very, very ancient, deteriorated, battered and meteor-eroded glass, which is the model here. I say, "Domes," people think salad bowls. It's much more ragged and deteriorated than that. Then the best chance of seeing that kind of structure would be horizontally, where you're looking through a long path length of a lot of stuff accumulating light scattering over many, many, many miles before the ray gets out into space, where there is no stuff.
RH:These are the color prints that were made from the reversal film that all of you took to the moon during all the missions. All the color film was a transparency reversal film. It was equivalent to Ektachrome X, ASA 64, and the original transparencies, when the film was brought home and developed in Houston in a lab there by Underwood and his guys, this was then a slide, a 70mm slide in essence, and then from those slides, internegatives were produced. From the internegatives, prints were made, so we're down 3rd generation now. Johnston's prints are directly from those internegatives, so they're 3rd generation, pristine, you know, held in a vault for 30 years. The NSSDC prints are xnth. Unknown numbers of intermediate masters have been pulled from the archive originals in Houston, so there has been grain build-up. But, what's really remarkable, Ed, is that the same general features on this one photo we've had time to look at and compare, 9301, are there on both sets of prints, separated by 30 years.
EM: And that is, as we become convinced about what we're looking at, we start to exclude the contrary data. I'm not saying you're doing that, but that's what we tend to do. And that is the reason that changing paradigms is so very, very difficult. We get locked into a way we look at things, and we don't consider the alternative. So, I'm coming to your phenomenon with fresh eyes but low on the learning curve. You're coming to your phenomenon with several years of experience but becoming locked into your belief system about it and not necessarily willing to look to other explanations.