Stereoscopic method of verifying the Apollo lunar images

by OLEG OLEYNIK

Up until now, there is a non-stop debate: "Did Americans go to the moon?" The main arguments of Apollo sceptics are as follows:

Technical: In the 60s it was next to impossible successfully accomplish all stages of the missions: three astronauts taking off; command and service module (CSM) translunar injection and coast; lunar orbit Insertion; Lunar Module (LM) descent and landing; lunar surface operations and carrying out prolonged EVA far from LM; lunar surface ascent, rendezvous and CSM docking; transearth injection, coast and Earth atmosphere re-entry. Even by today's standards any of these stages is a difficult task, and some of them have no resolution so far. It is believed that NASA would be unable to resolve all technical problems in just eight years without having any previous similar experience. This is confirmed by the recently canceled program returning to the moon "Constellation". Motivational: A national disgrace of lagging U.S. Space Program; The competition between American and Soviet lunar programs or the Space Race of the two states, and the government's promise that an American citizen first sets foot on the Moon. Expected political and reputational dividends from successful moon missions of unprecedented complexity. Consequential: ungrounded cancellation of the scheduled Apollo missions and the lack of business plans of the Moon development within 40 years. If the cost of a moon mission was about $400 million (including $185 million  cost of the Saturn V booster and $95 million  Apollo spacecraft) and the present annual NASA budget of nearly $20 billion, then why are there no any moon missions and reopening of the Apollo program? Instead an entirely new moon program Constellation (recently cancelled) is proposed. A new spacecraft Orion is being built and the moon landing in the years 2024-2027 is suggested with a total budget of more than $200 billion. Why does it take two times longer to repeat what was already accomplished 40 years ago, although for the past decades we have seen continuous improvement of technology, in some industries even exponential? The human factor (a main aspect). The absence of psychological training for the astronauts landing on the Moon. Earth satellite Moon is an unearthly world. Its psychological and physical effects on the human body are unknown and have not been studied. Because the Moon is the first step of mankind from the cradle of Mother Earth into space. Astronautics has yet to solve this problem. Evidential: photos are positioned as one of the most compelling evidence. "Images and videos speak for themselves". One of the first who saw absurdity in the moon images was Ralph Rene. Later, pictures were analyzed by photo experts David Percy, David Groves and researcher Mary Bennett.

The validation method is based on detection two-dimensional objects among three-dimensional ones, determining the mutual arrangement of objects in space and distance to them by studying stereoscopic parallax (The word parallax derives from the Greek παράλλαξις (parallaxis), meaning "alteration"), where the meaning of parallax is a difference in the apparent position of objects caused by shifting camera position. To achieve this, images are overlapped and are deducted from each other using function "difference" in any image processing application such as Photoshop. Optical transformations are used when you subtract images. During images convergence simple operations are applied: x and y axes scaling, rotation, distortion and two extra: perspective and shift. Below we call such alterations "optical transformations". Obviously, objects beyond more than 2 kilometers, with a minor camera shift have a zero parallax.

In Photoshop the sequence of steps is as follows:

Two overlapping images are placed in different layers. It creates psd file. Applying function "difference" to the upper layer (subtraction of images from each other). Carry out optical transformations: axes x and y scaling, rotation, distortion, perspective and in addition a shift to the requirement specified above. As a result, we obtain maximum black picture for the background. Return the layer to the normal view: function "normal". Prune Psd file to remove non-overlapping parts. Sequentially carry over converted first and second images into application GIF Animator. Fig. 1. Stereoscopic image or wiggle stereoscopy. GIF-animation allows creating a crude sense of dimensionality even with monocular vision. Stereoscopic image also permits to determine relative positioning of the objects in space and to judge their remoteness. Image from Wikipedia. We obtain a stereoscopic gif image, which allows creating 3D effect, even on a flat screen.

If images were taken in a pavilion and there is a panoramic background, then two-dimensional object can be detected among 3D bodies or there are no distant objects with null parallax (it's impossible to converge images with optical transformations). In this case we can speak with confidence about deception.

Example 1. Let's examine the method of creating a stereoscopic image in the example of Zmievskaya power plant photos, Kharkov region, Ukraine. The camera shift is 1.5 m.

Fig. 2. Zmievskaya power plant, Kharkov region, Ukraine. Download high-resolution images ZmievPowerPlantFull1.jpg and ZmievPowerPlantFull2.jpg

Distance to the power plan is about 4 km; to tree-planting (left side of the horizon) is about 2 km.

The images convergence is shows below (remember that the main criteria is the most complete background subtraction, and since the distance is more than 3 km, the parallax equals zero).

Fig. 3. Image subtraction.

Processing the images in GIF Animator and obtain a stereoscopic image:



Fig. 4. Stereoscopic image of Zmievskaya power plant.

A more detailed instruction of creating stereoscopic images and obtaining intermediate images http://ligaspace.my1.ru/news/2008-01-22-23 (in Russian).

Now it's possible to measure parallax and the distances to the remote objects.

Distance L a to any object A is calculated as follows:

L a = L b x b / a

Where L b is distance to the object B, b is offset of the object B, and a is offset of the object A.

Knowing the distance to the front edge  5 m, the front edge offset  85 mm (can be measured by a ruler, two white grasses), and offset of the nearest electric pole of about 1.2 mm, from the proportions ratio we acquire the distance to the electric pole, which is 350 meters; to the second pole with the parallax of 0.6 mm is 700 meters. Distance to tree-planting (offset is about 0.2 mm) is close to 2 kilometers. This is already a boundary of parallax occurrence.

Conclusion: As we can see, the simple image transformation operations preserve perspective proportions.

In the case of examining parallax of Apollo surface images, where a distance to the mountain background should be more than 5 km, according to NASA provided maps of Apollo landing sites, it is expected to see evidence of stereoscopic images, as in the case of Zmievskaya power plant stereo-images.

Having gained an experience in analyzing stereoscopic parallax in the images of terrestrial objects, let's now verify Apollo photographic record.

Apollo 15 lunar module touched down at 22:16:29 UTC on July 30 at Hadley (26°7'55.99"N 3°38'1.90"E), nearby Hadley Rille (also referred to as Rima Hadley), Montes Apenninus and Mons Hadley. The first Lunar Rover was used for extensive reconnaissance. Within 67 hours the crew carried out three EVA spending outside of the LM 18.5 hours in total. A new large-format 500mm Lens camera and accessories were used, which have provided photographic opportunities not available in previous missions. Lift off from the lunar surface was made on August 2, 1971 and astronauts returned to the Earth on August 7.

Apollo 15 crew:

Commander David R. Scott (Dave)

Command Module Pilot Alfred M. Worden

Lunar Module Pilot James B. Irwin (Jim)

Fig. 5. Apollo 15 landing site on a topographic map.

A series of Apollo 15 photographs will be considered and stereoscopic parallax or apparent change in the relative positions of objects by shifting Apollo camera will be analyzed.

The first series. Astronaut David takes a few panorama images in EVA-1 near the lunar module AS15-86-11601 (263k or 1247k) and AS15-86-11602 (241k or 1185k).

Fig. 6. In these images you can see the lunar module; Jim standing behind the rover back cover, who takes bags of samples; The Apennine front and the crater St. George in the back. Distance from camera to the lunar module and rover is about 10 meters, to the Apennines and the crater is 4  8 km.

Rectangle marks the pieces of photographs, which are deducted for parallax examination and separation of 3D objects from 2D ones and from an artificial panorama.

Fig. 7. Subtraction of two images after transformations of scaling, rotation, and distortion is shown on the left. The right half shows parallax achieved after merging two frames.

Nearby objects: Lunar Module, rover, and astronaut Jim are shifting relative to each other. The Apennines and the crater St. George are also moving as a whole. Shadow is changing on the mountains and the crater. This means that it's less than 300 meters to the background (mountains) instead of 5 km! Therefore, with such a small shift of 500-mm camera in Dave's hands (several tens of centimeters), the mountains cannot move, but must remain in place (zero parallax). Also, the shadow change cannot occur at distant sites, such as a mountain ridge provided pictures are not taken with a few hours interval. In addition, the Apollo 15 stereoscopic photo features a clear separating line between the "mountains" and the foot. Based on the distance between the camera and rover, the distance to the panorama of the "lunar" landscape is not more than 150 meters. It is possible that the images are taken on the Earth in the sound stage.

The second series. Jim is doing panoramic photography (Fig. 8). The distance from camera to the lunar module is approximately 40 m. Jim's ALSEP Pan at the end of EVA-2

Fig. 8. On the left Dave collects samples; Mount Hadley; in the center you can see the Lunar Module; behind the Module the sun is shining into the camera and the Apennines are in the distance of over 35 km; Apennines Front and the crater St. George are on the right at a distance of 5-8 kilometers.

Two images with Mount Hadley view were selected from the Panorama (distance is about 30 kilometers and the height is more than 2.5 km). AS15-87-11849 (163k or 945k ) and AS15-87-11850 (165k or 1015k )

Fig. 9. You can see a lot of boot prints left by Dave and Jim.

Rectangles highlight areas of photos, which are deducted for the parallax examination.

Fig. 10. The subtraction of two images after scaling, rotation, and distortion is shown on the left. Stereoscopic image after merging two images is shown on the right.

Despite a slight offset of the 500-mm Lens camera, the mountains are moving, which contradicts the condition of distant mountains.

Let's change the images subtraction criteria: the most darkened background condition is replaced with the most darkened front area.

Fig. 11. The subtraction of front parts of two images is on the left. Parallax resulted in two images merging is on the right. This image was obtained by subtraction of two images taken with camera shift not more than 20 cm; transformations of scale, rotation, reverse distortion, perspective, shift, and the convergence of two images into a stereo-image were applied.

Let's perform an error estimate. Assume that this is a real lunar landscape then the distance from astronauts to the lunar horizon is 1.5 km and to the objects in the background, such as foot and summit of Mount Hadley, is 20-35 km.

We will calculate the offset of 100 sampled pixels below horizon  AB line and obtain an average shift ±a pixels (depends on the image resolution). The shift magnitude obeys Gaussian distribution. It means this is noise.

Let's select a sample of 50 points above the line (AB), i.e. objects located at a distance of 20-35 km. We get the offset value of (10-50)a pixels. The shift direction has a vector and is not subject to a Gaussian distribution. Moreover, the higher a dot the greater value of the shift is: at the foot it's 10a, at the top 50a pixels.

It is logical to assume that if lunar landscape objects at the interval [0.01; 1.5] km are static, the noise amounts to ± a, the parallax is zero, then for more distant objects at the interval [20; 35] km, the parallax is likewise zero with the same value of noise, i.e. the shift is ± a pixels and shift value obeys a Gaussian distribution. However, the results indicate other characteristics. Objects above (AB) line are moving synchronously with increase in shift depending on the height above the horizon.

Conclusion: Given that we face a real lunar landscape, Mount Hadley moves and "bows" astronauts. It should also be noted that probably the wrong initial assumption that we look at the real lunar landscape was used. In other words, research shows that this is an artificial panorama several tens of meters in depth with a mock Hadley at the background movable horizontally and vertically to create an imaginary remoteness of objects and perspective.

Let's examine a series of Apollo 15 images near Rima Hadley for the presence of stereoscopic parallax. Rima Hadley measures: length at least 135 km, average width ~ 1.2 and average depth ~370 m (from Greeley (1971) quoted in F. Leverington, 2008).

The third series. Dave and Jim make a few trips in the rover to Rima Hadley (Fig. 12) to collect samples. One of the panoramas is made up of photos from AS15-82-11165 (133k or 845k) to AS15-84-11284 (163k or 1167k).

Fig. 12. Jim is holding the camera. Rima Hadley is in the foreground. Dave is collecting samples near the rover. Mount Hadley is in the background. The sun is shining into the camera in the center. The Apennines are over 35 km away. Apennines Front and the crater St. George are on the left (the panorama is assembled by the author).

In two panorama frames we can see Rima Hadley, its bottom, which extends to Apennines Front and the crater St. George. The distance from the camera to Rima edge is about 5 m, to the Apennines and the crater is 4-8 km. The frames are taken with shift of no more than a few tens of centimeters. AS15-82-11178 (238k or 1170k) and AS15-82-11179 (242k or 1133k).

Fig. 13. The view of Rima Hadley, Apennines Front and the crater St. George.

Rectangles mark the pieces of photographs, which are deducted for parallax examination.

Fig. 14. The foreground subtraction of two images after scaling, rotation, distortion, shift and perspective is shown on the left. The right half of Fig.14 shows resulting parallax obtained after merging two frames.

You can see the movement of surface areas relative to each other along the edge of the trench between points A and B. This cannot occur in the real world photography. These images could have been taken on Earth in pavilion condition when moving panorama layers are installed, or after pictures adjustment in photo studio.

Fig. 15. Landscape and Traverse map of Apollo 15 landing site by NASA artist (showing stations 1-14).

We choose images AS15-85-11423HR and AS15-85-11424HR taken at station 2 with Rima Hadley observation.

Fig. 16. Images AS15-85-11423HR and AS15-85-11424HR from ALSJ website, station 2 with a view of Rima Hadley. Photo camera stereobase is not more than 0.5m.

Fig. 17. Lunar Topophotomap of Rima Hadley, Apollo 15. Green dot marks photo sessions site. Sources: LTO41B4S1(50)sm; a15LTO41B4.

Topophotomap (Fig. 17) shows that the opposite slope is over 1 km away, the depth is 300 m, and it's 7 km to Rima Hadley bow. It's impossible to excavate an artificial canyon of similar sizes. Therefore the opposite slope should be "painted" or have a length of several tens of meters, simulating moon landscape. The parallax analysis will reveal that fact or stereoscopic effect will show that the distances correspond to the actual lunar surroundings. In this case, it must be admitted that the stereoscopic effect confirms the official NASA story.

Horizontal stereoscopic effect

For this parallax we apply the next transformations: optical zoom, rotation, distortion, perspective, shift in x and y directions to the image as a whole. The requirement of maximum deduction of remote landscapes is imposed to extract horizontal stereoscopic effect.

As a result, we obtain the following stereoscopic pair of images:

Fig. 18. Stereoscopic pair of images AS15-85-11423HR and AS15-85-11424HR with horizontal stereoscopic effect after applying image transformations.

Stereoscopic parallax is clearly visible in Figure 18, and we can make a preliminary estimation of the distance to the opposite slope of Rima Hadley. The distance is 50 meters (recall that it should be at least 1 km according to the map).The distant background is slightly shifting, although the parallax must be zero, since according to the map it's about 20 km to the mountains.

In general, in case of Apollo surface images, given that background remote objects are actually located many miles away, it's impossible to achieve a zero stereoscopic parallax using only previously mentioned image transformations. It was confirmed by converging dozens pairs of Apollo lunar surface images, as well as numerous attempts by other researchers on the Internet. This strongly suggests that the distance to remote objects in Apollo photographs, which NASA claims to be many miles, indeed is not so. This is a simulation of being on the Moon.

How were the fake Apollo lunar images taken? Because of incomplete convergence of remote background a parallax error at the foreground of a stereoscopic image shows up. The relative error is a ratio of the forefront objects shift to the background objects shift.

The distortion grid of background landscape

The remote terrains in a stereoscopic pair of images can be exactly converged with each other. To do so we go beyond optical transformations applied to the image as a whole and introduce digital distortion to the fragments of the image.

This method can determine the nature of simulation of background landscape i.e. to build a distortion grid and inspect it. Obviously, if the distortion grid has a curved surface, then it corresponds to a rear projection onto a screen of circular panorama. Simply put, this is a simulation of remote background landscape on the projection screen. Instead of taking pictures of a remote landscape "astronauts" take pictures of a projection on the screen, and NASA pass simulation off as a real landscape. A radius of the circular panorama can be roughly estimated by distortion grid.

Fig. 19 below shows the distortion grid. A million pixels are involved in such transformation of these two images. In mathematical terms this is a system of million equations. The system of equations is solved with sub pixel accuracy.

Fig. 19. Digital distortion grid of background objects in the image AS15-85-11423HR after optical transformations for converging with AS15-85-11424HR.

Such precise and universal nature of transformation (curved concave transformation) applied to a megabit pixels image is justified by the fact that a lunar landscape was projected on forward tilted and slightly convex circular panorama screen. Any other technique fails to replicate such nature of remote landscape simultaneously for a million pixels of the image.

Fig. 20. Logic and simplicity of simulated Apollo lunar panorama. A grid represents the projection screen which surrounds Apollo simulation site.

Below is the final result of transformation (optic transformations and circular panorama are already taken into account).

Fig. 21. Rima Hadley view. Apollo 15 stereoscopic photographs AS15-85-11423HR and AS15-85-11424HR after image transformations and digital non-linear distortion of the distant landscape. Distances to the image elements are specified in meters with accuracy 1%, 2%, 15%, 30% and 45% of distances 3, 11, 20, 40 and 60 meters respectively. According to NASA's map, the distance to the opposite slope of Rima Hadley is about 1000-1200 meters.

Parallax of the distant background is zero. In Fig. 21 we can see that the distance to the opposite slope of Rima Hadley is 40 meters, while according to NASA's map it should be 1,000-1,200 meters. The difference is more than one of magnitude! This is obvious contradiction with the official Apollo 15 mission documents.

Scale stereoscopic effect

Scale stereoscopic effect was considered for AS15-85-11423HR and AS15-85-11424HR when a taking pictures astronaut moves closer to the subjects.



Fig. 22. Stereoscopic pair of images AS15-85-11423HR and AS15-85-11424HR with scale stereoscopic effect after transformations: 1) applying transformations: scaling, rotation, distortion, perspective, shift, and offset in x and y to the image as a whole; 2) digital distortion of the distant background terrain, 3) requirement of maximum subtraction of a distant background terrain; 4) acquisition of scale stereoscopic effect. Distances to the image features in meters are specified with 60% accuracy.

Scale stereoscopic parallax is clearly visible in Fig. 22, which is used to estimate distance to the opposite slope of Rima Hadley. The distance is about 40 meters. Scale stereoscopic effect also points to fakery of genuine Rima Hadley on the Moon.

Verifying the universal nature of distortion grid for a distant background landscape

To verify presence of a circular panorama screen, another pair of Apollo 15 surface images AS15-85-11424HR and AS15-85-11449HR with a view of the Rima Hadley taken at station 2 is examined.

Fig. 23. Mission photographs AS15-85-11424HR and AS15-85-11449HR with a view of Rima Hadley taken at station 2.

Below is a digital distortion grid on the distant background landscape in Apollo 15 surface images AS15-85-11424HR and AS15-85-11449HR. A million pixels of two images are converged with sub pixel accuracy.

Fig. 24. Distortion grid of the distant background landscape in AS15-85-11424HR and AS15-85-11449HR.

This confirms the fact that the lunar landscape is projected on a tilted forward slightly convex circular projection panorama screen.

Horizontal stereoscopic effect

After procedures:

applying of optical transformations such as scaling, rotation, distortion, perspective, shift, and offset in x and y to the image as a whole; taking into account presence of a circular panorama; satisfying requirement of maximum subtraction of a distant landscape; extraction of horizontal stereoscopic effect, we obtain the following stereoscopic pair:

Fig. 25. Stereoscopic pair of Apollo 15 photographs AS15-85-11424HR and AS15-85-11449HR; view of Rima Hadley after transformations and digital distortion of a distant background landscape. Distances to the features of the picture are specified in meters with errors 15%, 45% and 95% for distances 20, 45 and 140 m respectively. According to NASA's map the distance to the opposite slope of Rima Hadley is approximately 1000-1200 meters; to Rima Hadley bow is about 7 km.

Knowing from previous calculations the distance to forefront stones at the bottom of Rima Hadley and based on parallax, we can estimate distances to other objects, as indicated in Fig. 25 caption. Obviously, an error increases and it is the sum of an error of distance to the front stones at the bottom of Rima Hadley (15%) and an error in determining the shift of other features of the image.

Scale stereoscopic effect

Scale stereoscopic effect was also obtained for AS15-85-11424HR and AS15-85-11449HR when a camera is moving towards the object.

Fig. 26. Stereopair of images AS15-85-11424HR and AS15-85-11449HR with scale stereoscopic effect after transformations 1) scaling, rotation, distortion, perspective shift, and offset in x and y to the image as a whole; 2) the requirement of maximum subtraction of the remote landscape; 3) obtaining of a scale stereoscopic effect. Specified distance to the elements of image in meters with an error not more than 85%.

The scale stereoscopic parallax is clearly visible in Fig. 26. Using distances determined from the scale parallax, we can estimate distance to the opposite slope and to Rima Hadley bow. The distance to the opposite slope of Rima Hadley is no more than 40 meters; the distance to the Rima Hadley bow does not exceed 140 meters. Meanwhile according to a topographic map distances to these locations: to the slope is more than one kilometer; to Rima Hadley bow is about 7 km. Once again, there is a contradiction in the Apollo 15 record.

From a scale stereoscopic effect it's possible to estimate the distance to Rima Hadley bow and to the projection screen.

Fig. 27. Stereopair of images AS15-85-11424HR and AS15-85-11449HR with a scale stereoscopic effect after transformations and application of the distortion grid for a distant landscape. The relative error in distances is no more than 60%.

Based on the stereoscopic effect the calculated distance to the mountains on the horizon is 140 meters (accuracy 60%). According to the map it is more than 20 kilometers. The difference in distance is more than 100 times! This contradiction in Apollo 15 photographic record indicates fraud committed by NASA claiming manned missions having reached the surface of the moon.

The study of stereoscopic effect in photographs AS15-85-11423HR, AS15-85-11424HR and AS15-85-11449HR shows that these images don't contain distant objects farther than a few hundred meters. The distance to the opposite slope of "Rima Hadley" is about 40 meters (should be 1000-1200 meters), to Rima Hadley bow is about 90 meters (based on a topographic map is about 7 kilometers) to the mountains it is 100-140 m (should be about 20 kilometers bases on the lunar geography). The error in calculation of these distances is 15-60%.

Contradictions in photographic record of the Apollo program point to simulated nature of the lunar landscape: creation of an artificial canyon 40 meters in width and 90 meters long, simulating Rima Hadley with help of a movie screen, which shows projected distant moon landscape.

Is there a universal method to simulate remote terrain on a movie screen for other Apollo 15 moon surface photographs? Let's consider more Apollo 15 mission photographic material from the NASA website with distant lunar landscape.

In Fig. 7 after optical transformations, all forefront objects: Lunar Module, rover, and astronaut Jim move relative to each other. Distant object such as the Apennines and the crater St. George also move as a whole. Shadow on the mountains and on the crater changes as well. The separation line between the mountain and its foot is visible. A rough estimate of the stereoscopic effect gives the distance to the background (mountains) less than 300 meters. This is not 5 km according to NASA's fable!

To converge "remote landscape" we superimpose a distortion grid on the optically transformed images AS15-86-11 601 and AS15-86-11 602.

Fig. 28. D istortion grid of the distant landscape for converging photographs AS15- 86-11601 and AS15- 86-11 602 in the stereopair.

Fig. 28 shows the distortion grid for converging two snapshots AS15- 86-11601 and AS15- 86-11602 to obtain zero stereoscopic parallax. Recall that introducing a distortion grid is the method of going beyond the standard optical transformations or solution the system of equations for one million pixel image. Going beyond laws of optics in converging two pictures into a stereopair is a violation of the assumption of images veracity and postulation the fact that lunar landscape is forged. The regular curved repetitive distortion grid for other pairs of images indicates projection of the remote terrain on the movie screen about 100 meters away with "astronauts" posing in front of it for a shooting session. NASA passes such images for an evidence of astronauts actually being on the moon.

After applying the distortion grid we obtain a stereopair:

Fig. 29. Stereo image after combining two pictures AS15-86-11601 and AS15-86-11 602 for parallax study. Line AB is a horizon mark at the mountain foot, above which a projection on the screen simulates lunar landscape. Contrast is increased and brightness is reduced.

Fig. 29 shows two stereoscopic images in dynamics which is based on optical transformations in the camera lenses. Close and middle plane objects obey the laws of optics, while distant objects (the mountain foot and the Apennines Mountains) contradict the laws of optical transformations! This is possible only in one case  the remote landscape is fabricated, i.e. doesn't obey the physics of photography for objects located at various distances from camera to the horizon.

We impose the familiar distortion grid on the "distant" landscape in photographs AS15-87-11849 and AS15-87-11 850, and after optical transformations obtain.

Fig. 30. Distortion grid of the distant landscape for converging two photographs AS15-87-11849 and AS15-87-11 850 into a stereopair.

Fig. 30 shows the distortion grid of the distant landscape in photographs AS15-87-11849 and AS15-87-11850. Taking this distortion grid into account, we obtain a stereopair.

Fig. 31. Stereopair of two images AS15- 87-11849 and AS15- 87-11850 to study the dynamics of the landscape after application of optical transformations and imposing the distortion grid.

Fig. 31 shows a stereopair of images AS15- 87-11849 and AS15- 87-11850 to study the dynamics of the landscape after application of optical transformations and imposing the distortion grid. Obviously the distortion grid is a method of going beyond optical alterations and is an indicator of simulation of the lunar landscape and lack of really distant objects at distances ranging from several kilometers away. The nature of simulation for a given pair of images is similar to the previous pairs of NASA-provided images.

Fig. 32. Stereopair based on AS15- 82-11178 and AS15- 82-11 179, after scaling, rotation, distortion, shift and perspective.

Fig. 32 shows a stereopair images AS15-82-11178 and AS15-82-11179, which is obtained based solely on optical transformations.

Now let's superimpose a distortion grid on the remote landscape of one of the stereo photo images AS15- 82-11178 and AS15- 82-11 179, and we obtain.

Fig. 33. Distortion grid of the remote landscape for converging photographs AS15-82-11178 and AS15-82-11179.

Another pair of stereoscopic photographs taken at the station 9-11, AS15-82-11121HR and AS15-82-11122HR points out the fact that the image of the mountain and central part of the Rima Hadley is being projected on a movie screen. Below is the final stereopair after optical transformations and imposing the same distortion grid on a remote landscape as was done previously for Apollo 15 images.

Fig. 34. Stereopair AS15-82-11121HR and AS15-82-11122HR after optical transformations and overlaying distortion grid on a remote landscape. Official distance to the distant slope of Rima is indicated as not less than 1500 m and the value based on parallax  50 meters (error not more than 60%).

In Fig. 34 we see that distance to the opposite slope of the Rima Hadley is 50 meters. The foot of the mountains and the Apennines are clearly seen. This is an image on a screen. This was the image taken by "astronauts" (snapshots AS15-82-11121HR and AS15-82-11122HR) and used by NASA as a proof (as many others) of people really walking on the moon. We may remind you that the actual length of the Rima Hadley on the moon is 135 km, the width is about1.2 km, and the depth ~370 m.

Conclusion

Professor of University of California G. Schiller 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 created by media. They relay manipulations of "authoritative" organizations such as NASA, which are assimilated by people and then perceived as their own. The main goal is more concealed so that even the revelation the fact of a manipulation attempt did not lead to the elucidation of further intentions.

Converging Apollo 15 mission pictures, we solve a system of more than a million equations (the number of pixels in images) obeying the laws of optics. However, to obtain zero stereoscopic effect for a remote landscape, we go beyond that and get a typical distortion grid around the photo session site. Numerous Apollo 15 mission photo materials indicate the identical distortion grid  it is a projection screen at the distance of 100-120 meters from the front end of the "stage". It is a falsification of the lunar landscape right in front of us, in particular, an artificial trench 30-60 meters in width given for the lunar Rima Hadley being actually 1200 meters in width; the image of "remote landscape" is being projected on the screen; and "astronauts" taking pictures in front of it.

Apollo 15 mission photo record contradicts the stereoscopic parallax verification method. The apparent change in the relative positions of objects by moving a camera when the camera angles are separated by several tens of centimeters shows:

the distance to distant objects such as mountains is not tens of kilometers but not more than a few hundred meters;

the landscape is not continuous, but with clear lines of separation;

movement of nearby parts of the panorama relative to each other.

Thus, on the assumption of the above examples we can conclude that the Apollo 15 photo record did not fully reflect the conditions of taking pictures of real landscapes with distant objects of more than a kilometer away. These pictures may have been taken in a soundstage of up to 300 meters in size. A complex panorama mimicking the lunar landscape has degrees of freedom, such as horizontal and vertical movement to give an impression of imaginary distance to the objects and perspective.

Afterword

Two years have passed since publication of this article. During this time, NASA has urgently created series of stereoscopic photographs for 3D red-cyan glasses (anaglyph images), superimposing overlapping parts of Apollo surface images. Reports slip out now and then that some of the photos on NASA website have been replaced by retouched counterparts. Finally, an article "The method of correlative calculation of parallax and camouflage" was published. I criticized the article: "The merging of frames is carried out in the application for creating 360 degrees panoramas PTGui, which erases parallax and eventually distance to background objects artificially increases. Please double check algorithm of the application". More here.

There was no answer. Instead, in Russian Wikipedia in late 2009 the next paragraph was added (and removed on July 31, 2011) to "The Moon hoax" article: "Also, analysis of the lunar surface images, taken during the missions shows that distance to background objects is indeed vast and cannot be achieved in a soundstage with trick photography", referring to "The method of correlative calculation of parallax and camouflage" publication. Attempts to change anything in Wikipedia, and point to the error in the article did not succeed, the moderator kept erasing the link.