but what really pisses me off is this 'b/w lunar myth'.... which nasa happily feeds the general masses....
Originally posted by LunaCognita
I had (and lost) a superb quote from astronaut Jim Lovell about this green color fading, and maybe somebody here can help me track it down again. Lovell made this quote during an interview he gave for a documentary TV series that used to air here in Canada (maybe on the Discovery Channel?) that was about the US and Russian space programs - sort of like a multi-part historical look-back at the space race, from Mercury to the shuttle. For the life of me I cannot recall the name of this series, but I seem to remember each episode was a half-hour in length, and the whole thing was narrated by Canadian actor Graham Greene I think. Does this ring any bells for anybody? I actually had the episode with the quote I am mentioning saved on my DVR recorder box for over two years, and a couple months ago the damn recorder crapped out on me and Rogers Cable had to replace the box so I lost it. If I could remember the name of the series I am sure I could track the actual quote down again.
Originally posted by mcrom901
is this the documentary you are referring to?
Originally posted by ArMaP
reply to post by LunaCognita
Yes, that's something noticeable even with satellite photos, I though everyone had noticed that by now, we just have to look to a place we know on Google Earth, for example, to see that the greens are highly affected.
Originally posted by LunaCognita
Even though some people are well aware that the reflected greens on Earth fade dramatically when viewed from above looking down through the atmosphere, many of them still fail to appreciate that the same color fading principles are at play when they look up at the Moon through the same atmosphere. They just never made that opposite connection before, and it certainly is not something that has been part of NASA's public education curriculum to inform them of it. In fact, events like the Apollo 8 "first impressions" broadcast did (by design) the exact opposite, feeding highly publicized and powerfully definitive quotes that directly stated there was "no color" to be seen up there, and much of the Apollo orbital imagery the public was shown seemed to erroneously echo that "no color" idea as well.
055:10:28 Lovell: What you're seeing, Mike, is a - Houston, what you are seeing is the Western Hemisphere. Looking at the top [left in this image] is the North Pole; in the center - just lower to the center is South America - all the way down to Cape Horn. I can see Baja California and the southwestern part of the United States. There's a big, long cloud bank going northeast, covers a lot of the Gulf of Mexico, going up to the eastern part of the United States, and it appears now that the east coast is cloudy. I can see clouds over parts of Mexico; the parts of Central America are clear. And we can also see the white, bright spot of the subsolar point on the light side of the Earth.
[The Earth has drifted to the top edge of the picture, requiring a readjustment of their attitude to bring it back in.]
055:11:28 Collins: Roger. Could you give us some ideas about the colors, and also, could you try a slight maneuver? It's disappearing. We're seeing about half of it. It's going off to our 12 o'clock. Now it is going off to our 3 o'clock. That is the wrong direction. Yes, that is a good direction. [Pause.]
055:11:50 Collins: We need another small correction to bring it to our center screen. If you could maneuver toward the terminator, that is the part of it we are missing. We are getting the lighted portion. There you go; that's fine. Stop it right there.
[Judging by the final motion that brings the Earth into view, it seems the camera's aim has been adjusted in the bracket as well as a change being made to the spacecraft's attitude.]
[With the aiming directions referencing the view from the camera, moving the camera, rather than the entire spacecraft makes sense. Such maneuvering also conserves RCS propellant, which is already above pre-flight estimates.]
055:12:17 Lovell: Okay. For colors, the waters are all sort of a royal blue; clouds, of course, are bright white; the reflection off the Earth is - appears much greater than the Moon. The land areas are generally a brownish - sort of dark brownish to light brown in texture. Many of the vortices of clouds can be seen of the various weather cells, and a long band of - it appears cirrus clouds that extend from the entrance to the Gulf of Mexico going straight out across the Atlantic. The terminator, of course, cuts through the Atlantic Ocean right now, going from north to south. [The] southern hemisphere is almost completely clouded over, and up near the North Pole there is quite a few clouds. Southwestern Texas and southwestern United States is clear. I'd say there are some clouds up in the northwest and over in the northeast portion.
[The Earth smartly moves off the top of the picture.]
055:15:38 Collins: That is the wrong 90 degrees. 180 degrees away from that one. [Pause.]
055:15:47 Collins: Stop right there. [Pause.] Okay. Now we have lost a different half of it. I need a motion 90 degrees to that last one. [Long pause.]
055:16:24 Collins: That is good right there, Bill. That is good right there. [Pause.]
055:16:42 Collins: Apollo 8, Houston. If you can stick your polarizing filter in front of the camera without disturbing anything else, it might improve the quality slightly.
055:17:02 Anders: Stand by.
055:17:04 Collins: Roger, Bill. [Pause.]
[A slight dip in the image brightness betrays the placing of the polarising filter but once the brightness recovers, very little difference is visible. Note that no attempt seems to have been made to rotate this filter, an operation closely tied in to the way the filter works.]
[Light exhibits wave-like behaviour that can be likened to wiggling a long rope. For most light sources, though the direction of the "transverse" wiggle is at right angles to the direction of travel, the plane of the wiggle can be at any angle around that direction of travel. This is unpolarised light. However, it is possible to limit transverse waves so that the wiggle is preferentially along one axis, somewhat like someone shaking a rope only in the up/down direction rather than the left/right direction.]
[Certain circumstances in nature tend to polarise light. Light reflecting off objects at a low incidence angle becomes polarised, as does sunlight being scattered to make a blue sky. Some substances also polarise light passing through, allowing filters to be produced with this property. If you pass an unpolarised light beam through two polarising filters, both of which are aligned to polarise in the same direction, the beam will emerge only slightly dimmed. Rotate one filter by 90° and the beam will be cut off entirely. Photographers find polarising filters very useful because they can be rotated to exclude light from polarised sources. Therefore the sky can be made to look a deeper shade of blue; or, by removing the specular reflection from each blade of grass, a lawn can appear a much richer shade of green; or the reflection of the sky on the surface of a pond or river can be nearly eliminated, allowing the objects beneath to become much more visible.]
[To get the best use of the polarising filter on the TV camera, Bill would need to rotate the filter, looking for changes in the image of Earth as a result of varying the angle of polarisation. As he does not have a monitor with which to view the output of the camera, this is essentially impossible.]
055:17:12 Anders: Okay. The polarizing filter is in front. [Pause.]
055:17:24 Anders: How is it now, Mike?
055:17:28 Collins: It's still looking good. That didn't make much of a change one way or another, but in general, considering how far away, it's looking excellent. [Pause.]
055:17:51 Anders: Well, I hope that everyone enjoys the picture that we are taking of themselves. [Pause.] How far away from Earth now, Jim, about?
055:18:03 Collins: We have you about 180,000 [nautical miles].
055:18:11 Anders: You are looking at yourselves at 180,000 miles out in space. [Pause.]
055:18:22 Lovell: Mike, what I keep imagining is, if I'm a - some lonely traveler from another planet, what I think about the Earth at this altitude, whether I think it'd be inhabited or not.
055:18:31 Collins: Don't see anybody waving; is that what you are saying?
055:18:36 Lovell: I was just kind of curious whether I would land on the blue or the brown part of the Earth.
[Perhaps Frank wants to maintain his sanity by not going through another aiming exercise.]
055:24:26 Collins: You're still very well centered with your picture. We noticed a couple of jumps in the apparent intensity. Did you make some filter changes?
055:24:37 Borman: Roger. We tried to put that other red filter in front of it, but it didn't seem to fit.
055:24:43 Collins: Roger. [Pause.]
[Since the Earth is mostly blue and white, with a little brown, using a red filter in front of a black and white camera should darken the blue of the sea while retaining the lightness of the land, so it should improve the contrast between the two. However, the low quality of the TV image makes it difficult to spot]
055:24:49 Collins: We'd - On a final test when you get down to the end of your allotted time here, we would like you to remove all filters and let us see how it looks with all filters removed, and then we would like to get several spotmeter readings at the very end after the test.
055:25:13 Borman: Okay. We will be removing the red filter now.
055:25:15 Collins: Roger. [Long pause.]
055:25:50 Borman: Do you still have us, Mike? The lens [means filter] is off now.
Dionysius (Real Color)
The crater Dionysius (3°N, 17°E; western edge of Mare Tranquillitatis; 18 kilometers in diameter) shows striking contrasts in albedo. The outside of the crater is a very bright halo in its near-rim field, while farther out, darker material is exposed, including rare dark rays. Crater deposits on the left side of this mosaic are on light Cayley plains of highland composition, while deposits on the right side are on the basalts of Mare Tranquillitatis.
Apollo 16 Site (Real Color)
This is the Apollo 16 landing site as seen from the orbiting Clementine spacecraft. This is a “natural” color rendition of the site (see caption of slide #10 for color scheme). Clementine images were deliberately taken at very low phase angles (high Sun angles) to emphasize color differences, so surface textures are much less apparent here than in the orbital Apollo view (slide #13). Note the very bright appearance of South Ray and North Ray Craters (center right).
Aristarchus Plateau (Real Color)
A mosaic of more than 250 images showing the complex and diverse Aristarchus region of the Moon in approximately “natural” colors (blue = 415 nanometers, green = 750 nanometers, red = 950 nanometers). The plateau is an uplifted block of complex, highland terrain, partly flooded by later mare basalt lavas. Dark, pyroclastic glasses partly cover the uplifted terrain. The crater Aristarchus (47 kilometers in diameter) has formed in the southeast corner of the plateau, excavating both highlands and mare rocks.
10. Aristarchus Plateau (Real Color)
A mosaic of more than 250 images showing the complex and diverse Aristarchus region of the Moon in approximately “natural” colors (blue = 415 nanometers, green = 750 nanometers, red = 950 nanometers).
Originally posted by ArMaP
I wonder why people keep on saying that Clementine photos show natural (or true or whatever name is used) colours and none of its cameras had that capability.
Originally posted by Phage
reply to post by mcrom901
I'll go along with what the caption says. It's five images taken in five different wavelenths and a "natural" color composite of all of them.
Originally posted by mcrom901
love the opening..... "the moon is essentially grey.... no colour"....