Spacelog Apollo 11

Yes, I had the switch on OUTSIDE while I was going through the overhead window. That may be what's contributing to some of it.

Roger.

11, Houston. We seem to be picking up a few more dust particles now. We see them quite clearly in the screen now. Over.

Yes, I'm choking on one every so often.

11, Houston. Your show is going out to the U.S. now. We're about to get the satellite up. It'll be transmitted to some other countries after that. Over.

Roger. I'm checking out this window bracket where I'll be putting it for the EVA pictures of Neil going down the ladder.

Roger.

Apollo 11, Houston. We keep marveling about the color and the clarity of the picture. It's really difficult to describe. It's—It's just perfect. Over.

And, 11, it doesn't look like you're having too much trouble with that bracket up there, Buzz.

I'll tell you, those new knobs really make it easy to twist the thing and get it cinched down quite tight.

Roger.

11, Houston. Buzz, how does the alignment look, there?

It looks pretty good, as well as I can tell without the gear extended. I can't get a real definitive answer, but you couldn't fix it any place to see much more out of the window without hand-holding it for the whole time.

Roger. Looks like to us it's going to work real well.

Give it enough room to—Yes, I think so.

Buzz, we see you putting your window guard in place there, and back up to the ISA now.

Houston, ask FAO if the 90-degree bracket isn't stowed in the Commander's stowage assembly.

Stand by.

11, Houston. Buzz, you still looking for that 90-degree bracket? Over.

Yes, he is looking for it now.

Roger. We'll have a word for you in just a moment.

Our monitor shows pretty good, clear pictures from this angle. I already found the 90-degree bracket.

Roger, Neil. It's really a super picture. We've got the ACA, your ACA, the picture of the throttle, the 90-degree bracket. We see your handles, and now over to the bracket.

That's about the position we'll be putting the camera in after the initial descent on the ladder, and it'll be taken 1 frame a second for most of the EVA.

Houston copies. Out. That's a real good view of that camera.

Our monitor is a little bit wavy, so it's hard for us to tell when we're—when we've got a steady picture for you.

11, we have no complaints at all. We don't see that waviness on our picture. It's just really great. Over.

Do the edges of the window look like straight lines to you?

That's affirmative.

Okay. They don't in our monitor, and that leads us to make some corrections to the camera, which probably aren't required sometimes.

Buzz, we have no complaints at all. It's a magnificent picture.

What was that, Buzz, you're chasing now?

That was—That was me picking up some particles of paint that were floating through the air in front of the camera, there.

Roger, Neil. We got it. It appears to us that Neil's about to check the Velcro mat, there.

Okay, Buzz. We see the card up now.

Okay. For those of you that don't know, this is where we log most of our data for each of the LM maneuvers, and we have another card like this that the timeline book that is laid down on the table in front of the data display keyboard; and it's on this timeline that we have all our procedures. But we obviously have to hold these in place in zero g, so we make use of the Velcro patches on the back and on the table so we can attach these down here; and then we just turn the pages over when we go to new sequences in our timeline of procedures.

Roger.

And we're ready to copy DOI PAD.

Roger. We'll have the FIDO's work that one up for you momentarily.

11, Houston. That was a good shot of Panel 2. Now we got Panel 3 in view with the TEMP MONITOR switch. The stabilization—station and control panel, we see now, with the MODE CONTROL switches. Now over to the rendezvous radar. Real good.

11, that's real good camera work.

That'll be the most unusual position a cameraman's ever had, hanging by his toes from a tunnel and taking the picture upside-down.

Roger. Well you're doing a super job. We got a good view of the cross pointer, there. Had a good view of the tape meter.

We're giving you a picture now of the floor of the cabin. I think you can see the—one of the two portable life support system backpacks here in the center, and on each side, we have the two helmet visors. I'll remove one of them and show you a little closer view of what this looks like.

Roger.

Okay.

How far are—out are we now, Charlie?

Stand by. Give you exact figure.

Did you notice the difference between yesterday and today? This is as large an image we can—we can give you.

Roger. If you think we're smaller, you're now 177,000 miles out. Over.

Thank you.

That's nautical miles?

That's affirmative, 11. We -

… Hold on.

Go ahead. Over.

11, Houston. We see the—still see the banding along the intratropical convergence. I guess the most predominate one now is around the—up in the—around the equator or slightly north of the equator.

Yes, that's the way it looks, Charlie. Same as yesterday.

Roger.

Just keep the Pacific Ocean nice and clear and calm on splash day, is all we ask.

And Charlie, I'd like to say hello to all my fellow scouts and scouters at Farragut State Park in Idaho having a National Jamboree there this week; and Apollo 11 would like to send them best wishes.

Thank you, Apollo 11. I'm sure that, if they didn't hear that, they'll get the word through the news, surely appreciate that.

11, Houston. We have you—your subspacecraft point is just off the western coast of South America directly south of about Mexico City. Over.

That—That looks like what we observe from here.

And we're going to turn our TV monitor off now for a short bit while we have some other work to do. Apollo 11 signing off.

Roger, 11. Thank you very much. That was one of the greatest shows we've ever seen. We sure appreciate it. Over.

It was a pleasure.

Hello, Apollo 11. Houston. Could you give us an idea of about how long it will be before you start close—closing the LM back up? Over.