View allAll Photos Tagged ChevronPattern
“LRV-2 Deploy from LM Simulator using FLT no. 3 SSE. REF. no. Boeing 1-4081.”
What’s SSE you ask? Even if you didn’t:
“1.9. SPACE SUPPORT EQUIPMENT (SSE)
The Space Support Equipment (SSE) consists of two basic subsystems of hardware, the structural support subsystem and the deployment hardware subsystem. The function of the structural support subsystem is to structurally support the LRV in the LM during launch boost, earth-lunar transit and landing. The function of the deployment hardware subsystems is to deploy the LRV from the LM to the lunar surface after landing.”
Above per/at:
www.hq.nasa.gov/alsj/LRV_OpsNAS8-25145Pt1.pdf
Credit: ALSJ website
And, based on the above, one can deduce that - despite being MSFC issued - the photograph was taken at the Boeing Company’s Kent, WA facility, prior to shipment to KSC. That’s the only place the SSE associated with “FLT no. 3”, aka LRV-3/Apollo 17, would be “externally/pre-installation” available
Also, check out the deformed front left wheel…damn…along with the cool shadow cast by the left rear wheel on the wall/partition. A great visual demonstrating its ingenious “transparent” mesh design. Finally, the sequence of previous? LRV deployment photos posted, visible on the far left. Now, if I could only identify the Great American in the image.
In creating this image, I wanted to strip architecture down to its purest geometric essence. By isolating this zigzag pattern against the empty sky, I aimed to transform a three-dimensional structure into an almost two-dimensional graphic composition. The deliberate framing—placing the pattern on the right with ample negative space on the left—was intended to create visual tension and highlight the dramatic rhythm of the chevrons. I was particularly drawn to how light interacts with these angular surfaces, creating a stark contrast between the illuminated planes and shadowed recesses. This photograph represents my ongoing exploration of how architectural elements can transcend their utilitarian purpose to become abstract visual poetry. By removing all context and focusing solely on pattern and form, I wanted viewers to appreciate the inherent beauty in these geometric relationships that often go unnoticed in our daily encounters with the built environment. The monochromatic palette further emphasizes the purity of form and the interplay between positive and negative space that gives this structure its distinctive character.
The Sydney Opera House took 16 years to build. Constructed between 1957 and 1973, it is a masterpiece of modern architectural design, engineering and construction technology in Australia. It exhibits the creative genius of its designer, the Pritzker Prize winner Danish architect Jørn Utzon, the successful engineering by the Danish firm Ove Arup and Partners, and the Australian building contractors M R Hornibrook. The completion of the project was overseen by the architects Hall, Todd and Littlemore, and the story of its construction was one of great controversy.
Complex engineering problems and escalating costs made it a source of great public debate that only subsided when the beauty and achievement of the completed building placed it on the world stage.
The technical challenge of how to construct the roof took four years to solve. It was based on the geometry of the sphere and Utzon used this to demonstrate the creative potential and the assembly of prefabricated, repeated components. It was seen as a structure at the leading edge of endeavour.
The Opera House is located on Bennelong Point, with a superb harbour setting. It became a UNESCO World Heritage Site on 28 June 2007. It is the most recently constructed World Heritage Site to be designated as such, sharing this distinction with slightly older landmarks like Stonehenge and the Giza Necropolis. The building houses two main venues, the Opera Theatre (seen above) and the Concert Hall, which is off-shot to the left.
The roofs are covered in a subtle chevron pattern with 1,056,006 glossy white- and matte-cream-coloured Swedish-made tiles from Höganäs AB, though, from a distance, the shells appear a uniform white.
Although the roof structures of the Sydney Opera House are commonly referred to as sails or shells, they are in fact neither in a strictly structural sense, but are instead pre-cast concrete panels supported by pre-cast concrete ribs.
Apart from the tile of the shells and the glass curtain walls of the foyer spaces, the building's exterior is largely clad with aggregate panels composed of pink granite quarried in Tarana.
A black and white rework of an earlier image in this stream.
“ASTRONAUTS EMBARK ON LUNAR EXPLORATION”
The fifth of five gorgeous renderings of Lunar Roving Vehicle (LRV) deployment by Grumman Aircraft Engineering Corporation (GAEC)/Grumman Aerospace Corporation (GAC) master artist Craig Kavafes.
Also:
www.hq.nasa.gov/alsj/alsj-LRVDeployGrumman.html
Specifically:
www.hq.nasa.gov/alsj/S71-38190HR.jpg
Both above credit: ALSJ website
I love the ALSJ; however, although it's not my place, I take issue with the poor choice (IMHO) of the term…”cartoons” and the “sigh” remark. “Sigh”, “UGH” and a host of other vulgar & disparaging sounds befit most NASA attempts at any ‘attempt/effort’ regarding image preservation, description, presentation, cataloging, etc., etc., etc. Not the fact that this doesn't represent actual candidate landing site topography.
I’m okay with a little dramatic terrain. I’m also thankful they have it & shared it!
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www.ubwood.co.uk/chevron-parquet-flooring.html
#chevronparquetUK #chevronparquetflooring #parquetflooringLondon #chevronparquet #woodenfloors #chevronpattern
“Uranus' moon Miranda is shown in a computer-assembled mosaic of images obtained Jan. 24, 1986, by the Voyager 2 spacecraft. Miranda is the innermost and smallest of the five major Uranian satellites, just 480 kilometers (about 300 miles) in diameter. Nine images were combined to obtain this full-disk, south-polar view, which shows the varying geologic provinces of Miranda. The bulk of the photo comprises seven high-resolution images from the Voyager closest-approach sequence. Data from more distant, lower-resolution images were used to fill in gaps along the limb.
Miranda's surface consists of two strikingly different major types of terrain. One is an old, heavily cratered, rolling terrain with relatively uniform albedo, or reflectivity. The other is a young, complex terrain characterized by sets of bright and dark bands, scarps and ridges -- features found in the ovoid regions at right and left and in the distinctive "chevron" feature below and right of center.
Final image processing was done by the U.S. Geological Survey in Flagstaff, Ariz. Special navigational data used to improve Voyager's camera pointing were also used to "control" or register the images in the assembly of the mosaic; the data were generated by means of new techniques developed by JPL's Navigation Ancillary Information Facility. The images were projected onto a global sinusoidal map base. The Voyager Project is managed for NASA by Caltech's Jet Propulsion Laboratory.”
A strip of ‘typing’ paper with “Frontispiece. Miranda, Uranian world of chaos as pictured by NASA’s Voyager Spacecraft, January 1986.” typed on it was taped across the also taped JPL description on the verso. It was removed, although retained for/as evidence of provenance, that being from the estate of Eric Burgess.
The above description is based on the orientation of the photograph abiding by the hand-annotated “TOP” on the obverse, although it’s affixed commensurate with the below description. That description being at the JPL Photojournal website & in agreement with their orientation of the image. So, with all due respect to Mr. Burgess & staff, I’ve gotta go with JPL this time:
“Uranus' moon Miranda is shown in a computer-assembled mosaic of images obtained Jan. 24, 1986, by the Voyager 2 spacecraft. Miranda is the innermost and smallest of the five major Uranian satellites, just 480 kilometers (about 300 miles) in diameter. Nine images were combined to obtain this full-disc, south-polar view, which shows the varying geologic provinces of Miranda. The bulk of the photo comprises seven high-resolution images from the Voyager closest-approach sequence. Data from more distant, lower-resolution images were used to fill in gaps along the limb.
Miranda's surface consists of two strikingly different major types of terrain. One is an old, heavily cratered, rolling terrain with relatively uniform albedo, or reflectivity. The other is a young, complex terrain characterized by sets of bright and dark bands, scarps and ridges features found in the ovoid regions at the top and bottom and in the distinctive "chevron" feature above and to the right of center.
Final image processing was done by the U.S. Geological Survey in Flagstaff, Ariz. Special navigational data used to improve Voyager's camera pointing were also used to "control" or register the images in the assembly of the mosaic; the data were generated by means of new techniques developed by JPL's Navigation Ancillary Information Facility. The images were projected onto a global sinusoidal map base. The Voyager Project is managed for NASA by Caltech's Jet Propulsion Laboratory.”
At:
photojournal.jpl.nasa.gov/catalog/PIA01490
Interesting:
www.universetoday.com/159376/scientists-investigate-poten...
Credit: UNIVERSE TODAY website
“FOR LUNAR ROVING – A 400 pound moon buggy for exploring the lunar surface in 1971 probably will look something like this artist’s concept. Boeing Co. and AC Electronics division of General Motors form a team seeking a national aeronautics and space administration contract to develop and build the vehicle. AC Electronics here would provide the mobility subsystem. Power would come from electric motors.”
A far cry from today’s Boeing:
www.historylink.org/file/10045
Credit: History Link website
Note the skimpy front fenders. I know I’ve seen similar, but can’t place on what. Tow motors? Warehouse vehicles of some sort? Zero-turn mowers? Shopping carts? You know what I mean. Right?
The Boeing artist, T. Spencer, would subsequently depict the following fabulous work, after the above combo had successfully won the contract and refined the final design. Mr.(?) Spencer appears to have been the “go to” LRV illustrator for the company:
www.auctionzip.com/auction-lot/L585-RARE-BOEING-FRAMED-LU...
Credit: AuctionZip website
"LRV-2 folded Config./Kent.
REF no. Boeing 1-4047."
The Lunar Roving Vehicle (LRV) was assembled at a Boeing facility in Kent, Washington.
The foreground wheels/fenders represent the rear wheels of the LRV. From this perspective, the rear chassis assembly (with the holes/wires), to which the wheel assemblies are attached, will be flipped/rotated upward & outward (toward the photographer) during LRV deployment on the moon...so, the fender cowlings in the foreground will actually face forward once deployed.
An excellent depiction, as one might expect, by Grumman Aerospace Corporation's master artist Craig Kavafes, of the deployment sequence:
www.hq.nasa.gov/alsj/alsj-LRVDeployGrumman.html
Credit: ALSJ website
Amusing...a Grumman (manufacturer of the LM) artist’s depiction of the deployment of the LRV (manufactured by Boeing).
You're kidding me! THIS they have! Not some/too many historical, significant, iconic, etc., images, BUT, this...THIS they have?!
Don't get me wrong, I appreciate it, but huh?:
“Astronaut John W. Young, Apollo 16 Commander, adjusts the high-gain antenna on the Lunar Roving Vehicle (LRV) during the third Extravehicular Activity (EVA-3), April 23, 1972. This view of the LRV was exposed by Astronaut Charles M. Duke Jr., Lunar Module Pilot, who along with Young, explored the Descartes landing area. Several geological hand tools can be seen in their temporary storing place on the back of the rover. Also visible is the Lunar Portable Magnetometer (LPM) and replete rock bags.”
Note the transparent nature of the LRV's tires due to the ingenious wire mesh design, especially apparent in the left rear. Note also a mounted traverse map (with craters visible), directly above the Command & Display Console. The chevron pattern of the tire tread can be clearly seen on the right rear tire, facilitated by the aft 1/3rd segment of the fender having come off at some point.
A spectacular photograph.
And, per the ALSJ:
Buddy Secondary Life Support System (BSLSS):
www.workingonthemoon.com/WOTM-BSLSS.html
"...Frame from Charlie Duke's Station 10 Prime pan, showing John Young aligning the high-gain antenna. The object at the upper left that includes an arc of white spots is the rake basket under unusual lighting conditions. The magnetometer tripod is next right with its ref/orange ribbon cable. The BSLSS bag hangs from the back of the LMP seat."
www.hq.nasa.gov/alsj/a16/AS16-117-18818HR.jpg
Outstanding:
dahp.wa.gov/sites/default/files/documents/nominations/WHR...
Credit: Washington State Department of Archaeology & Historic Preservation website
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For this particular project the Clients brief was to re-create the traditional feel of this period house whilist adopted a more contemporary impression in the new extension/dining/kitchen area.
So with this in mind it was discussed at conception to go for a European Amber Oak, Natural grade chevron parquet flooring in the front of the house leading you to the newly build extension.
The subfloor was levelled with 22mm baltic birch plywood and chevron parquet blocks fitted using the nail and glue down combination what makes the flooring extremely stable and solid.
Astronaut David R. Scott, commander of Apollo 15, works at the Lunar Roving Vehicle (LRV) during the third lunar surface extravehicular activity (EVA) of the mission at the Hadley-Apennine landing site. Hadley Rille is at the right center of the picture. Hadley Delta (background) rises approximately 4,000 meters (about 13,124 feet) above the plain. St. George Crater is partially visible at the upper right edge. This photograph was taken by astronaut James B. Irwin, lunar module pilot. This view is looking almost due south.
spaceflight.nasa.gov/gallery/images/apollo/apollo15/html/...
Better:
This frame from Jim Irwin's Station 9A panoramic photo sequence shows the view south along Hadley Rille. Dave Scott is reaching under his seat to get the Hasselblad camera, equipped with a 500-mm lens.
Credit: ALSJ
Outstanding:
dahp.wa.gov/sites/default/files/documents/nominations/WHR...
Credit: Washington State Department of Archaeology & Historic Preservation website
Digital scrapbook paper with Chevron pattern. Available in different colors. See more at: downloadcraftshop.com/printable-scrapbook-papers-chevron-...
TFL :D
The sky was very dramatic looking and beautiful for a good 2 hours before sunset this evening. I was hoping there would be a pretty sunset and it was quite nice!
Explore #356 on July 06, 2008 ~ Thank you!
Chevron leaned on the wall and watched the large party of celebrities including Mayor Jimmy Walker. Mae West looked back and gave him 'that look.'' It was wasted this time. He was waiting for White and trying not to worry. She was late and she was never late. Even when she had to cut church, she always pulled it off. And tonight was a special occasion. He'd been saving for months. Just as he convinced himself something had happened and was building up the courage to approach the two New York cops, he heard her. White was full of apologies. Her mother had a headache and her parents had been late leaving for their Sunday bridge night.
Chevron was looking sharp in a black and white patterned suit. His sense of style was one of the things she loved about him. White was plainer, with soft rounded curves. No silk or sequins for her. She took her boyfriend's arm and they joined the stream of people pouring into the basement.
The Cotton Club was one of the best known clubs and politicians, princes and pimps rubbed shoulders in its exotic interior. It may have been the prohibition era but that didn't stop the jazz notes or the drinks flowing at The Cotton Club.
For Chevron and White it was their first visit and they were excited.
They were young and looking for fun and in 1926, fun was The Cotton Club. 👠
"Smile on Saturday" "Theme: Less is more"
'I wonder what she's doing tonight' Boyce & Hart
LIGHT WALNUT - one of our recently completed projects. Engineered oak chevron parquet blocks produced, supplied and installed by Unique Bespoke Wood team. We are one stop wood flooring supplier operating within the United Kingdom.
St Giles' is considered to be the finest of all the churches built by the celebrated nineteenth century architect and designer, A.W.N. Pugin.
"EVA-1 at the LM. Jack took this picture as Gene approaches him on the LRV during the initial test drive. Note the dust being thrown up by the right-front wheel, even at very low speed."
www.hq.nasa.gov/alsj/a17/AS17-147-22526HR.jpg
All above per the ALSJ.
And/or:
Astronaut Eugene A. Cernan, commander, makes a short checkout of the Lunar Roving Vehicle (LRV) during the early part of the first Apollo 17 extravehicular activity (EVA) at the Taurus-Littrow landing site. This view of the "stripped down" LRV is prior to loading up. Note the dust being thrown up by the right-front wheel, even at very low speed. Equipment later loaded onto the LRV included the ground-controlled television assembly, the lunar communications relay unit, hi-gain antenna, low-gain antenna, aft tool pallet, lunar tools and scientific gear. This photograph was taken by scientist-astronaut Harrison H. Schmitt, lunar module pilot. The mountain in the right background is the east end of South Massif. While astronauts Cernan and Schmitt descended in the Lunar Module (LM) "Challenger" to explore the moon, astronaut Ronald E. Evans, command module pilot, remained with the Command and Service Modules (CSM) "America" in lunar orbit.
spaceflight.nasa.gov/gallery/images/apollo/apollo17/html/...
Part of a clockwise panoramic photo sequence taken by Jim Irwin at Elbow Crater, Station 1, looking north along the in-bound LRV tracks, with the deeply shadowed west face of Mt. Hadley in the distance.
Paraphrased ALSJ description above.
Two friendship bracelets side by side: one in the classic chevron pattern, the other twisted in a spiral structure. Both feature red, yellow, and blue tones, hand-knotted from 8 strands of embroidery floss.
"EVA-1 at the LM. Jack took this picture as Gene approaches him on the LRV during the initial test drive. Note the dust being thrown up by the right-front wheel, even at very low speed."
www.hq.nasa.gov/alsj/a17/AS17-147-22526HR.jpg
All above per the ALSJ.
And/or:
Astronaut Eugene A. Cernan, commander, makes a short checkout of the Lunar Roving Vehicle (LRV) during the early part of the first Apollo 17 extravehicular activity (EVA) at the Taurus-Littrow landing site. This view of the "stripped down" LRV is prior to loading up. Note the dust being thrown up by the right-front wheel, even at very low speed. Equipment later loaded onto the LRV included the ground-controlled television assembly, the lunar communications relay unit, hi-gain antenna, low-gain antenna, aft tool pallet, lunar tools and scientific gear. This photograph was taken by scientist-astronaut Harrison H. Schmitt, lunar module pilot. The mountain in the right background is the east end of South Massif. While astronauts Cernan and Schmitt descended in the Lunar Module (LM) "Challenger" to explore the moon, astronaut Ronald E. Evans, command module pilot, remained with the Command and Service Modules (CSM) "America" in lunar orbit.
spaceflight.nasa.gov/gallery/images/apollo/apollo17/html/...
Outstanding:
dahp.wa.gov/sites/default/files/documents/nominations/WHR...
Credit: Washington State Department of Archaeology & Historic Preservation website
Rows of sharply angled louvers cascade down the façade like synchronized origami sails, turning an ordinary office block into a kinetic sculpture of light and shadow. The late-afternoon sun carves deep diagonal stripes across the concrete, while a lone classical cornice intrudes on the left—an architectural photobomb that highlights the dialogue between old ornament and modern rigor.
NASA: Astronaut Charles M. Duke Jr., lunar module pilot of the Apollo 16 lunar landing mission, stands near the Lunar Roving Vehicle at Station no. 4, near Stone Mountain, during the second Apollo 16 extravehicular activity (EVA-2) at the Descartes landing site. Light rays from South Ray crater can be seen at upper left. The gnomon, which is used as a photographic reference to establish local vertical Sun angle, scale, and lunar color, is deployed in the center foreground. Note angularity of rocks in the area.
ALSJ: "Locator" to the Rover from John's first Station 4 sample site. Charlie is still at the Rover. Note the spray of dirt propelled toward us by backward motion of Charlie's left heel. Note, also, the large rock at the lower right that John drove over just before stopping the Rover. The Rover chassis clearance is about 14 inches (35 cm). A detail
www.hq.nasa.gov/alsj/a16/a16det17446toolharness.jpg
shows the tool harness (or carrier) that is used to secure the Sample Collection Bag (SCB) to Charlie's Portable Life Support System (PLSS).
Oh yeah, for the hoax believers; this is the one WITH the "C".
;-)
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Note the mini-landslide of lunar soil produced by the boot print near bottom/center. An extract from the informative ALSJ follows:
The footprints Dave made after dismounting are above center on the far side of the Rover tracks. Jim's are on the near side.
Journal Contributor Gary Swearingen calls attention to the mini-landslides triggered by Jim's footsteps as he made his way down from the original Rover parking spot. A detail focuses on the sequence of footprints and suggests that, initially, Jim put one foot in front of the other, staying on a single level but, eventually, stepped down with his left boot and had his feet on different levels. Swearingen calls particular attention to the mini-landslide associated with the bootprints below the center of the image. The soil in that slides looks like it may have moved as a unit.
In response to a January 2006 e-mail about the mini-landslides, Apollo soil mechanics investigator David Carrier wrote, "You have started the New Year off with an interesting question!"
"Actually, our soil mechanics team noticed the same bootprints: see Figure 7-12 (AS15-90-12197) on p. 7-12 of the Apollo 15 Preliminary Science Report. They were discussed briefly in a section of the report concerning slope stability, pp. 7-9 to 7-12: 'A preliminary study of the 70- and 500-mm photography available thus far has been made for evidence of slope instability and past slope failures. No indication exist of previous deep-seated slope failures of the type that have been suggested by Lunar Orbiter photos of some areas of the Moon. The near-surface zones of some slopes may be near incipient failure, however. The foreground of figure 7-12 shows failure under footprints as one of the astronauts traversed the slope in the vicinity of station 6A. Detailed analysis of conditions in this area must await more precise determination of the slope angle, which is estimated to be 10 deg to 20 deg.' And the caption of Figure 7-12 reads: 'Incipient slope failure as indicated by slipping out of soil beneath astronauts' feet.'"
"As I recall, we did not pursue a more detailed analysis."
"The photo in Figure 7-12 of the report is identified as AS15-90-12197 (and, because it is part of a panoramic sequence) it would be interesting to (use adjacent images) under a stereoscope - which I no longer have! - and get a somewhat distorted stereoscopic view. It would certainly help with estimating the slope angle."
Carrier continues, "My impression is that there is a slight break in the slope near the closest LRV track. That is, the LRV drove along an area that was slightly flatter, and that immediately downslope from the nearest track, there is a slight local steepening. Then, when Jim Irwin walked along the track, straddling it, one foot was on the flatter area - which was pretty soft anyhow, as you can see from the depth of the bootprints - and one foot was on the top - or 'shoulder' - of the slightly steeper slope. So, his downhill bootprints caused the soil to shear and slide outward, rather than simply compress the soil downward. I agree with you that the downhill boot would be somewhat heavier than the uphill. As for the difference between the two closest downhill bootprints, it might be due to: (1) Simply a slight difference in where he placed his boot with respect to the top of the local slope; or (2) That he rotated his boot downhill in the closest bootprint, causing some fines to move over the blocky material, making it look smooth; or a combination of both."
The Khanqah of Sultan Faraj ibn Barquq: (1400-11). A very symmetrical composition which contains a hypostyle mosque, cells for sufis, and two minarets and two carved stone qubbas, which are the largest stone domes in Cairo. Interior of the dome with the four muqarnas squinches and the continuous knotted decorative pattern and inscription band around the drum (repainted in the 1980s).
Format
Photograph
Credit
Image courtesy of Nasser Rabbat of the Aga Khan Program at MIT.
MIT OpenCourseWare Course of Origin
4.614 Religious Architecture and Islamic Cultures, Fall 2002
MIT Course Instructor
Rabbat, Nasser O.
MIT Department
Architecture
License
Publisher
Lunar Module (LM) "Falcon" is photographed against the barren lunarscape during the third Apollo 15 extravehicular activity (EVA) at the Hadley-Apennine landing site. This view is looking southeast. The Apennine Front is in the left background; and Hadley Delta Mountain is in the right background. The object next to the United States flag is the Solar Wind Composition (SWC) experiment. Last Crater is to the right of the LM. Note bootprints and tracks of the Lunar Roving Vehicle (LRV). The light spherical object at the top is a reflection in the lens of the camera. While astronauts David R. Scott and James B. Irwin descended in the LM to explore the moon, astronaut Alfred M. Worden remained with the Command and Service Modules (CSM) in lunar orbit.
www.lpi.usra.edu/resources/apollopanoramas/pans/?pan=JSC2...
Astronauts Irwin and Scott during LRV fit check at KSC.
The photograph is reversed l-r.
www.hq.nasa.gov/office/pao/History/alsj/a15/ap15-71-HC-91...
All above credit: Project Apollo Archive website/Kipp Teague
The Khanqah of Sultan Faraj ibn Barquq: (1400-11). A very symmetrical composition which contains a hypostyle mosque, cells for sufis, and two minarets and two carved stone qubbas, which are the largest stone domes in Cairo.
Format
Photograph
Credit
Image courtesy of Nasser Rabbat of the Aga Khan Program at MIT.
MIT OpenCourseWare Course of Origin
4.614 Religious Architecture and Islamic Cultures, Fall 2002
MIT Course Instructor
Rabbat, Nasser O.
MIT Department
Architecture
License
Publisher
Astronaut James B. Irwin, lunar module pilot, works at the Lunar Roving Vehicle (LRV) during the first Apollo 15 lunar surface extravehicular activity (EVA) at the Hadley-Apennine landing site. A portion of the Lunar Module (LM) "Falcon" is on the left. The undeployed Laser Ranging Retro Reflector (LR-3) lies atop the LM's modular equipment stowage assembly (MESA). This view is looking slightly west of south. Hadley Delta and the Apennine Front are in the background to the left. St. George crater is approximately five kilometers (about three statute miles) in the distance behind Irwin's head. This photograph was taken by astronaut David R. Scott, commander. While astronauts Scott and Irwin descended in the LM to explore the moon, astronaut Alfred M. Worden, command module pilot, remained with the Command and Service Modules (CSM) in lunar orbit.
spaceflight.nasa.gov/gallery/images/apollo/apollo15/html/...
Also at:
www.boeingimages.com/archive/Lunar-Roving-Vehicle-in-Labo...
Outstanding:
dahp.wa.gov/sites/default/files/documents/nominations/WHR...
Credit: Washington State Department of Archaeology & Historic Preservation website
"LRV traverse from Station 1 to the SEP site. Outbound LRV tracks. Wessex Cleft above the TV camera. I suspect that Sherlock is hidden by its own rim and that the obvious crater in the middle distance is a nameless foreground feature."
www.hq.nasa.gov/alsj/a17/AS17-136-20783HR.jpg
All above per the ALSJ.
One of a series of photographs Jim Irwin took of some personal and symbolic items he left on the moon. The following extracts, from of course the ALSJ, are wonderful contextual enrichment of what's here:
The Apollo 15 Index of 70 mm Photographs (MSC January 12, 1972) describes 11867-71 as showing a "microfilm cassette" taken at Station 8 - Jim's trench at the ALSEP. I am not convinced that Jim took the photos at the ALSEP site but suspect that he took them near the LM after Dave drove off at about 164:03:40. I have thought that Jim decided to walk out to the ALSEP site because he did not want to waste time getting his seatbelt on. However, it is possible that he also wanted a bit of time to put out the items he was going to leave on the Moon and take the five documentation photos.]
[In his book To Rule the Night, Jim wrote "There were a number of things we left on the Moon purposely. I left some medallions, flat pieces of silver with the fingerprints of Mary and our children. And as a result of a letter that I got two months before launch, I also left a small portrait of J. B. Irwin. A young lady sent me a picture of her father, J. B. Irwin, saying that he had talked about his desire to go to the Moon all his life. He died at seventy-five, before the first manned landing. I thought it would be a gracious gesture to take J. B.'s picture and leave it on the Moon."
www.hq.nasa.gov/alsj/a15/A15JBIrwin11870.jpg
[In addition, in 2005 an inquiry to the NASA Headquarters History office by a writer in Oregon, Sierra Jenkins, brought to my attention an article from the October 2, 1971 edition of The Bulletin, a newspaper published in Bend, Oregon. Jim Irwin and other Apollo astronauts did geology field training near Bend on various occasions. According to the newspaper article, during one of these trips Jim met Floyd E. Watson, a building inspector in Bend who, in 1971, sent Jim a "small sliver of Central Oregon lava which I hope will be able to deliver to the Moon for me." The article then mentions a letter Watson received from Irwin in late September, stating "I did carry your sliver of lava to the moon and left it there. I took a picture of the location" The picture, which accompanies the article, is 11870. The inscription appears to be in Jim's hand.]
www.hq.nasa.gov/alsj/a15/a15unsharp11870.jpg
[As of 13 July 2005, I have not had a chance to examine high-resolution scans of any of the five pictures of the left items, 11867 - 71., nor have I found independent confirmation of the story. Given that Jim obliged J. B. Irwin's daughter on a similar request, I am inclined to believe that the Watson story is true.]
[Finally, in August 2008, Joel Powell called attention to a December 1976 article in Space World magazine that describes a microfilm copy of an Apollo 11 Manned Flight Awareness Commemorative Booklet that Jim Irwin left on the Moon.]
The right front tire of an engineering model/flight test article LRV, offering an excellent view of the ingenious wheel/tread design. Note the transparency through the mesh 'weave'.
The “FENDERS NON FLT.” decal and what might be “NON(?)-OPERATIONAL HARDWARE” tags would support this being an engineering model. I’d otherwise expect the usual “REMOVE BEFORE FLIGHT” tags. Right?
By popular demand: Good LRV tire reading available at:
ntrs.nasa.gov/archive/nasa/casi.ntrs.nasa.gov/20100000019...
NASA: Astronaut Charles M. Duke Jr., lunar module pilot of the Apollo 16 lunar landing mission, stands near the Lunar Roving Vehicle at Station no. 4, near Stone Mountain, during the second Apollo 16 extravehicular activity (EVA-2) at the Descartes landing site. Light rays from South Ray crater can be seen at upper left. The gnomon, which is used as a photographic reference to establish local vertical Sun angle, scale, and lunar color, is deployed in the center foreground. Note angularity of rocks in the area.
ALSJ: "Locator" to the Rover from John's first Station 4 sample site. Charlie is still at the Rover. Note the spray of dirt propelled toward us by backward motion of Charlie's left heel. Note, also, the large rock at the lower right that John drove over just before stopping the Rover. The Rover chassis clearance is about 14 inches (35 cm). A detail
www.hq.nasa.gov/alsj/a16/a16det17446toolharness.jpg
shows the tool harness (or carrier) that is used to secure the Sample Collection Bag (SCB) to Charlie's Portable Life Support System (PLSS).
Oh yeah, for the hoax believers; this is the one WITHOUT the "C".
;-)
NASA: Astronaut Charles M. Duke Jr., lunar module pilot of the Apollo 16 lunar landing mission, stands near the Lunar Roving Vehicle at Station no. 4, near Stone Mountain, during the second Apollo 16 extravehicular activity (EVA-2) at the Descartes landing site. Light rays from South Ray crater can be seen at upper left. The gnomon, which is used as a photographic reference to establish local vertical Sun angle, scale, and lunar color, is deployed in the center foreground. Note angularity of rocks in the area.
ALSJ: "Locator" to the Rover from John's first Station 4 sample site. Charlie is still at the Rover. Note the spray of dirt propelled toward us by backward motion of Charlie's left heel. Note, also, the large rock at the lower right that John drove over just before stopping the Rover. The Rover chassis clearance is about 14 inches (35 cm). A detail
www.hq.nasa.gov/alsj/a16/a16det17446toolharness.jpg
shows the tool harness (or carrier) that is used to secure the Sample Collection Bag (SCB) to Charlie's Portable Life Support System (PLSS).
Oh yeah, for the hoax believers; this is the one WITH the "C".
;-)