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Remembering the Space Age. - Black Vault Radio Network (BVRN)

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322 reMeMberING <strong>the</strong> SpaCe aGe<br />

<strong>the</strong> pioneer photographers of <strong>the</strong> 19th century who, with <strong>the</strong>ir cameras, were<br />

responding to <strong>the</strong> unknowns of <strong>the</strong> american West. however, unlike <strong>the</strong> physical<br />

conditions of <strong>the</strong> 19th century photographers, <strong>the</strong> Gemini and apollo crews were<br />

responding to <strong>the</strong> new and unexplored by photographing <strong>the</strong>ir experiences inside<br />

<strong>the</strong>ir spacecraft and outside in <strong>the</strong> vacuum of space. <strong>the</strong>y were able to capture<br />

qualities of light and shadow that were impossible to experience or capture on<br />

earth. Commenting on <strong>the</strong> lunar landscape, Light puts it this way:<br />

Issues of big and small comprise but one half of <strong>the</strong> sublime<br />

landscape; for me, <strong>the</strong> o<strong>the</strong>r is <strong>the</strong> rule of light itself.<br />

Concerns about light always lurked behind all <strong>the</strong> o<strong>the</strong>rs that<br />

drove my selection, and so to me <strong>the</strong> (NaSa) archive’s most<br />

important images will always remain <strong>the</strong> black-and-white<br />

ones, in part because <strong>the</strong>ir fner grain carries a higher visual<br />

acuity and renders more detail, but mostly because of <strong>the</strong><br />

way <strong>the</strong>y distill light in a world without air. 70<br />

as a result, not only does <strong>the</strong> handheld black-and-white photography<br />

from apollo’s 12 and 14 through 17 ofer fur<strong>the</strong>r aes<strong>the</strong>tic reexamination, <strong>the</strong><br />

imagery from <strong>the</strong> automated metric and panoramic cameras (installed in <strong>the</strong><br />

service module) also ofer opportunities in visual exploration and discovery.<br />

<strong>the</strong> writer, flm maker, and photographer Michael benson chose a diferent<br />

approach in conveying <strong>the</strong> sense of light, scale and landscape in space exploration<br />

photography.benson researched and edited <strong>the</strong> still imagery that had been captured<br />

and beamed back to earth by <strong>the</strong> robotic exploration of our solar system. published<br />

in 2003, Beyond, Visions of <strong>the</strong> Interplanetary Probes often displays rediscovered<br />

photographs that have never been registered on a negative. 71 <strong>the</strong> subject matter<br />

is most of our solar system’s inner and outer planets, <strong>the</strong>ir Moons, asteroids and<br />

<strong>the</strong> Sun.<strong>the</strong> images were taken by earth and Moon orbiting, and interplanetary<br />

robotic space probes like OrbView,terra, aqua, Galileo, Lunar Orbiter, Magellan,<br />

Solar and heliospheric Observatory (SOhO),Viking Orbiters and its landers, Near<br />

earth asteroid rendezvous (Near),Voyager and <strong>the</strong> hubble <strong>Space</strong> telescope.<br />

benson addresses his experience researching and editing <strong>the</strong> images. <strong>the</strong><br />

results of this became a kind of philosophical treatise on <strong>the</strong> history of <strong>the</strong><br />

photographic imaging systems used in <strong>the</strong>se robotic probes. benson’s ideas on<br />

<strong>the</strong> nature of art in <strong>the</strong>se images become relevant here:<br />

I meditate on <strong>the</strong> fact that questions of authorship would<br />

tend to disqualify a space probe’s pictures from serious<br />

70. Michael Light,“<strong>the</strong> Skin of <strong>the</strong> Moon,” Full Moon (New York, NY:alfred a. Knopf, 1999).<br />

71. Michael benson, Beyond-Visions of <strong>the</strong> Interplanetary Probes (New York, NY: harry N. abrams,<br />

2003) p. 295.

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