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 color between the frames. Where this technique is used in the subsequent shots it is recorded in the "Notes" column as a "Composite image".

+ Table 11.1 Pre-EVA panoramas Mission Time (MET) EVA # Location Astronaut Magazine Type Start Frame End Frame Modern Panorama Reference Panorama Displayed at Reference Notes XI 103:59:47 Pre-EVA CDR Window Armstrong 37 Color 5449 5453 N/A ALSJ Composite image XI 104:02:26 Pre-EVA LMP Window Aldrin 37 Color 5454 5458 ALSJ N/A XI 104:03:18 Pre-EVA CDR Window Armstrong 39 Monochrome 5737 5739 ALSJ N/A Note: Right-to-left sweep of images. XI 104:03:18 Pre-EVA CDR Window Armstrong 39 Monochrome 5741 5747 ALSJ N/A Note: Right-to-left sweep of images. XI 104:03:18 Pre-EVA CDR Window Armstrong 39 Monochrome 5750 5755 ALSJ N/A Note: Right-to-left sweep of images. XI 104:03:18 Pre-EVA CDR Window Armstrong 39 Monochrome 5756 5762 ALSJ N/A Note: Right-to-left sweep of images. XI 104:03:18 Pre-EVA LMP Window Aldrin 39 Monochrome 5763 5770 ALSJ N/A XI 104:03:18 Pre-EVA LMP Window Aldrin 39 Monochrome 5771 5774 ALSJ N/A XI 104:03:18 Pre-EVA LMP Window Aldrin 39 Monochrome 5775 5779 ALSJ N/A XI 104:03:18 Pre-EVA CDR Window Armstrong 40 Color 5847 5848 ALSJ Note: Original sources are in color.

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:- For Armstrong, just a few minutes onto the surface, had not moved more than three or four paces from the foot of the ladder by this point For Aldrin, the film magazine in the DAC (Digital Acquisition Camera) had just run out and he was required by the mission rules to replace it before Armstrong could continue For the Flight Director (Cliff Charlesworth), there were a multitude of tasks that required his attention; as well as the regular "Go/No-Go" polling of his Flight Controllers, there were issues with the television feed from Tranquility Base and on the other communication channels too For the CapCom (Bruce McCandless III), whilst he may have been trying to allow his astronaut colleagues to "get on with the job", some audio comms breaks compounded the situation where either Armstrong did not hear the messages or Mission Control did not hear his responses

Regardless, at 109:30:53 MET, Armstrong announced "I'll step out and take some of my first pictures here" and began taking the sequence of pictures AS11-40-5850 to AS11-40-5858. In the 1969 technical debrief, Armstrong indicated that he wanted to complete a first set of (panoramic) photos without leaving the shadow of the LM whereas the contingency sample would have required moving "10 to 15 feet" away from the LM and into direct sunlight. In those first few minutes he clearly regarded that as too far. Unfortunately, the 5850-5858 sequence was incomplete; there is a discontinuation (i.e. a "gap") between 5851 and 5852, and then again between 5884 and 5885. Although the former is probably a simple alignment error on Armstrong's part, there is a fair chance that Mission Control's concern about the (lack of) Contingency Sample was a contributory factor to the latter. The combined TV/DAC camera/Photography/audio video hosted on YouTube as "Apollo 11 Moonwalk Part 1 of 4" includes the Flight Director's audio loop as well as the CapCom-Crew audio. At 8 minutes 53 seconds into the video (109:30:53 MET) Armstrong states "I'll step out and take some of my first pictures here.", at 9:03 video/109:31:05 MET CapCom broadcasts "Roger. Neil, we're reading you loud and clear. We see you getting some pictures and the contingency sample." There is no reaction to this by Armstrong, neither verbally nor in his movements captured on-camera. [Interestingly, CapCom's voice is echoed approximately 2 seconds after the original transmission, which is unlike his other communications.] At 10:18 video/109:32:19 MET, CapCom prompts again, "Neil, this is Houston. Did you copy about the contingency sample? Over.", which Armstrong immediately acknowledges. This occurs just around the time that Armstrong is preparing to take image 5855. Since Armstrong was required to make changes to the f-stop and/or focus settings on the camera for each shot in the panoramic sequence, this interruption may have led to him misjudging how far to turn to take 5855 and hence introduces the gap.

Panorama Locations Source:

Note that Panoramas 1 through 5 are indicated as 'stars' on this schematic. The green panoramas (2 and 3) were taken by Aldrin, the blue 'stars' by Armstrong (1, 4, and 5). The rays of each star illustrate the direction that the images were taken in.