Spacelog Apollo 11

Okay. We're zooming the lens on in until it will just about fill the monitor.

Roger.

Okay. It's in full zoom, now.

Copy, 11.

And how about the f-stop? Is 22 going to be accurate?

Stand by. We'll get with the Goldstone TV guy. We don't have anything here at Houston. Stand by.

It looks good on the monitor, as far as the f-stop goes. Therefore, we just assumed it's okay at Goldstone.

Hello, Apollo 11. Houston. Goldstone says it—TV looks really great, five-by; we don't—The AGC looks like it's working fine. The f:22 is good; we have no real white spots. They're real pleased with it. Over.

Okay. You just cut out, Charlie. We understand that it's looking great. We'll leave it the way it is and wait for you to come back on.

Roger. How do you read me now? Over.

Five-by.

Okay. My comments were—My comments were from Goldstone that they see no white spots as we saw in 10. Looks like the AGC's working real well. The f:22 looks good. Over.

Okay. Very good. Well, we shut out the Sun coming in from the other windows into the spacecraft, so it's looking through a—the number 1 window, and there isn't any reflected light now. So, it ought to be a pretty good picture.

Roger.

Hello, Apollo 11. Houston. We'd like you to keep the TV on for about 10 minutes or so, so we can get come good comparison on the camera. You can do anything your heart desires on the TV: interior, exterior, pan in and out, anything you'd like. Over.

11, Houston. Over.

Houston, Apollo 11. Over.

Roger. Go ahead. Over.

Charlie, I'm sorry; you keep cutting out. We heard up to “you can do anything,” and then after that we didn't hear anything, and we knew that wasn't right anyhow because we can't. But what do you want us to do?

Roger. We'll check this uplink on our voice. That transmission on the TV was—We'd like to get about 10 minutes worth of signal at Goldstone so we can look at the camera quality back here at Houston for about 10 minutes or so when they patch it back into us. What we were saying was that you can go interior or exterior on the camera. On the exterior shots, we'd like to look —

You cut out again.

Stand by.

Start over with, “we were saying.”

Okay, Houston. You suppose you could turn the Earth a little bit so we can get a little bit more than just water?

Roger, 11. I don't think we got much control over that. Looks like you'll have to settle for the water.

11, Houston. We're going to change—thinking about changing our voice uplink to another site. If you'll stand by, we'll see if we can improve the quality. Over.

Okay, Charlie.

We'll stand by for your call.

Apollo 11, Houston. We'll try once more on this TV request. We'd like 10 minutes worth of TV. And we'd like a narrative, if you could give us one, on the exterior shots. You could also—we also suggest you might try the—an interior position. Over.

Roger. We're seeing the center of the Earth as viewed from the spacecraft in the eastern Pacific Ocean. We have not been able to visually pick up the Hawaiian Island chain, but we can clearly see the western coast of North America. The United States, the San Joaquin Valley, the High Sierras, Baja California, and Mexico down as far as Acapulco, and the Yucatan Peninsula; and you can see on through Central America to the northern coast of South America, Venezuela, and Colombia. I'm not sure you'll be able to see all that on your screen down there …

Roger, Neil. We just wanted a narrative such that we can—When we get the playback, we can sort of correlate what we're seeing. Thank you very much.

I haven't seen anything but the DSKY so far.

Looks like they're hogging the window.

Hello, Apollo 11. Houston. On your CRYO's, we'd like at this time for you to place all four CRYO heaters to AUTO and turn off all four CRYO fans. Over.

Okay. All four CRYO heaters are AUTO. And all four CRYO fans are off . …