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When the Apollo astronauts traveled beyond the atmosphere and to the moon in the 1960s and ’70s, they carried Hasselblad cameras to document the NASA missions. The Project Apollo Archive launched last month and has released over 11,000 of these photographs into the public domain via Flickr, including almost every Apollo lunar mission film shot in its unprocessed form.
The project is the work of archivist Kipp Teague, who initially started the Project Apollo Archive in 1999 as a website. According to the Planetary Society, the archive was meant to accompany Eric Jones’s Apollo Lunar Surface Journal, a thorough text document on all the Apollo lunar missions. Teague explained the project in a statement:
Contrary to some recent media reports, this new Flickr gallery is not a NASA undertaking, but an independent one, involving the re-presentation of the public domain NASA-provided Apollo mission imagery as it was originally provided in its raw, high-resolution and unprocessed form by the Johnson Space Center on DVD-R and including from the center’s Gateway to Astronaut Photography of Earth web site. Processed images from [a] few film magazines to fill in gaps were also obtained from the Lunar and Planetary Institute’s Apollo Image Atlas.
The high-resolution photographs reveal the separation of lunar landers, the distant shots of Earth, astronaut footsteps and craters on the moon, as well as the intimacy of the tight space in the capsules, with candid moments of downtime where the astronauts recline with sleeping masks or shave in zero gravity. They also evoke the technology of the time with their vintage, unprocessed color. Some of the photographs are familiar, like Neil Armstrong in the 1969 Apollo 11 capsule, while others are rare — and sometimes blurry or overexposed. It’s still astounding that in 1969, when computers were still goliath in size, NASA launched humans 238,900 miles from the Earth, where they documented their missions on film to be carefully processed on their return. The Project Apollo Archive is sharing selected images on Facebook, and you can find some of our highlights below.
View all of photographs in the Project Apollo Archive on Flickr.
“Black infants in America are now more than twice as likely to die as white infants—11.3 per 1,000 black babies, compared with 4.9 per 1,000 white babies, according to the most recent government data—a racial disparity that is actually wider than in 1850, 15 years before the end of slavery, when most black women were…
he ownership of images has a long and nuanced legal history, which has evolved dramatically in recent years as cultural standards and photographic technologies have rapidly advanced
The show, which honors the 50th anniversary of an exhibition history once ignored, continues a series of projects documenting Wilmington’s contemporary art scene.
Renty and his daughter Delia. Renty was an enslaved African, kidnapped from the Congo, sold and forced into slave labor on the South Carolina plantation of B.F. Taylor
What is the relation between possessing a person, possessing their image, and dispossessing their progeny
As a scholar of African American history and photography whose work has focused on the status of violent images in museums and archives, I fully support the validity of Ms. Tamara Lanier’s claim and the amicus brief.
Two K-12 art teachers will each receive a $1,000 cash gift and an additional $500 to put toward classroom art supplies. Nominations are due October 31.
The daguerreotypes of Renty Taylor, Delia, Drana, Alfred, Jack, George Fassena, and Jem remained in an unused storage cabinet until 1975, when it was discovered by an employee of the Peabody Museum.
I am writing in support of the amicus curiae brief submitted by Professor Ariella Aïsha Azoulay of Brown University for the full restitution of the daguerreotypes of Renty Taylor and his daughter Delia, currently held by Harvard University, to their familial descendant, Tamara Lanier.
We cannot be indifferent to the long-lasting effects of photography. The photographs at the center of Lanier v. Harvard are relentless in making Renty and Delia Taylor work and perform as slaves. The pain inflicted on them has not ceased. Photography has the capacity to propagate harm, and we have the moral obligation to interrupt…