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The Introduction Forum is for introductions To tell something about you; not to start a thread about a topic.“Intro threads” that are really “topic threads” will be removed.
Welcome to ATS, it’s time to introduce yourself.
Professor of University of California G. Schiller has noted: "To be successful, manipulation should remain invisible. The success of the manipulation is guaranteed when the manipulated believe that everything happens naturally and inevitably. In short, manipulation requires a false reality in which its presence will not be felt". Very often this false reality is amplified by the media.
In the convergence of these Apollo 15 pictures, more than a million equations (the number of pixels in the images) were calculated obeying the laws of optics. In order to obtain a zero stereoscopic effect for a remote landscape, typical distortion grids were generated around the photographic session sites.
Numerous Apollo 15 photo examples indicate an identical distortion grid – a projection screen at the distance of 100-120 metres from the front of the studio stage. A serious falsification of the true lunarscape, in particular, an artificial trench 30-60 metres in width given for the lunar Rima Hadley which is actually 1,200 metres in width; the image of this remote lunarscape being projected onto the curved background screen; and ‘astronaut’ photographers taking pictures in front of it in a studio set.
The Apollo 15 photographic record contradicts the stereoscopic parallax verification method. The apparent change in the relative positions of objects by moving the camera when the camera angles are separated by several tens of cms show that:
the distance to distant objects such as mountains is not tens of kilometres but is no more
than a few hundred metres;
the landscape is not continuous, but with clear lines of separation;
there is movement between nearby sections of the panorama relative to other sections.
Thus, based on the above examples, this study concludes that the Apollo 15 photographic record does NOT depict real lunarscapes with distant backgrounds located more than a kilometre away from the camera.
These pictures were, without doubt, taken in a studio set – up to 300 metres in size. A complex panorama mimicking the lunarscape shows degrees of movement, such as horizontal and vertical changes to give an impression of imaginary distance to the objects and perspective.
The subtraction of the two photos after the transformations of scaling, rotation, and distortion is shown on the left. The right image shows the parallax achieved after merging the two frames.