NASA's Apollo Lunar Surface Journal (ALSJ) records the details of each mission's period on the lunar surface as a timeline of the activities undertaken, the dialogue between the crew and Mission Control, and the relevant documentary records. It catalogues each photograph taken and each multi-frame, panoramic, sequence is also recorded. The panoramas would be in the form of a number of overlapping frames that would be airbrushed together as a mosaic once the film had been processed back on Earth. By recording the site in this way, all other aspects of the mission to the surface could be placed in context. This page tabulates the Apollo 11 panoramas and, where appropriate, provides updated representations that have been blended using more recent, digital, technologies than the originals used. Although the taking of panoramic photos on the surface featured highly in the plans of all the landings, the process by which the astronauts were trained to take them is not well recorded (Phinney is probably the best source). Although some members of the astronaut corps were acknowledged as being "camera buffs", the majority had little or no experience of the principles of photography, and all required training in the use of the chosen camera, the Hasselblad 500 EL, then considered as one of the best cameras available. As good as the cameras were, the astronauts had to overcome using them without a viewfinder, manually changing the aperture and exposure settings to make allowance for the low Sun angles for every shot, all while wearing a spacesuit.
Overview Despite its historic nature, the primary purpose of Apollo 11 was simple: to perform a manned lunar landing and return. All other aspects were considered as bonuses, including the Extravehicular Activity/EVA on the surface (AKA Moonwalk) which was kept to the barest minimum of placing a few experimental devices, grabbing a few rocks, and taking a few photographs. The Apollo 11 Lunar Surface Operations Plan not only includes the taking of at least 4 panoramas within the 'Nominal Timeline', but includes basic instructions on how this should be achieved - "Take 12 photo panorama from position 20 feet in front of the +Z pad.". In all, Neil Armstrong and Buzz Aldrin took 122 photographs whilst walking on the lunar surface, a fair proportion of which would be used in those panoramas. They also took pictures of the surface from within the cabin of the Lunar Module both before and after the EVA and, again, many of these were intended for the inclusion in panoramas. Some of the image sequences were considered as "Contingency" shots, taken quickly as a priority in case a hasty departure from the surface was required.
Pre-EVA panoramas The immediate priority for the astronauts after landing was the preparation of the Lunar Module to allow it to promptly depart the Moon should an emergency situation arise. These activities meant that it was almost an hour and a quarter before they reached the point on page 5 of the LM Lunar Surface Checklist that called for the crew to "Stow window shades and photograph surface". First Armstrong, and then Aldrin, took contingency shots through each of their windows and, although Aldrin's sequence (5454–5458) aligns as a panorama, Armstrong's is discontiguous with a gap in the centre-right of his window view (5449–5453).
Dealing with omissions in panoramic sequences To make up for the omission in Armstrong's sequence, the Apollo Lunar Surface Journal (ALSJ) includes an assembled panorama where post-EVA images have been used to fill-in the gap. Although the resulting panorama does not include any of the footmarks left by the EVA, the difference in the times of the component shots is highlighted by a change in the illumination of the surface caused by the change in Sun's elevation, and this is manifested as a change in the surface colour between the frames. Where this technique is used in the subsequent shots it is recorded in the "Notes" column as a "Composite image".
EVA Panoramas Although Apollo 11's Lunar Extravehicular Activity (EVA) would be the shortest of the whole Apollo program, it would yield the highest percentage of panoramic images of all the landings. Mission planning placed special emphasis on capturing panoramas and the final version of the Apollo 11 Lunar Surface Operations Plan had itemised the capture of at least 4 panoramas on the timeline and Armstrong managed to complete a couple more as well. Along the way, several "sequences of opportunity" presented themselves that could also be used to create panoramas. All told, when these 'mini-pans' are also considered, as many as 50% of the shots taken on the surface were intended for inclusion in multi-shot panoramas.
The First Surface Photographs - Panorama 1 Although the collection of a 'Contingency Sample' was the highest priority objective for the mission, television and photographic coverage were listed as needing to be "performed in conjunction with several of the other objectives" and so were not assigned formal priorities. From numerous sources, including the ALSJ, "Go, Flight!", and Armstrong's biography "First Man", it is clear that there was a difference between the expectations of Mission Control and Armstrong as to what his first action should be on the surface. The timeline in the Lunar Surface Operations Plan (page 31) makes it clear that the contingency sample would be collected and stowed immediately prior to the transfer of the camera from the LM to the surface, and yet, the first item on Armstrong's on-cuff checklist is "Transfer Cam" - and the same checklist includes no reference to the collection of a contingency sample. Regardless, Armstrong called for the transfer of the camera just two and a half minutes after his "One small step" speech. During the next four minutes, Aldrin transfers the camera to Armstrong who mounts it on the bracket on the front of his chest unit. The transcript of the Flight Director's communication loop (as shown within the ALSJ) shows that Mission Control were expecting Armstrong to start the collection of the sample during this time and were prompting the CapCom (Bruce McCandless III) to remind him of this. In defence of all the parties involved in this, there was a lot going on at the time:-
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