It is common
knowledge that the Hasselblad had been chosen by NASA for their lunar
missions. Many readers here have
wondered if Leica has ever been involved with NASA in any form. I have written about this topic here in the
past, but with renewed efforts by private companies to launch new lunar
missions in the not too distant future, I feel this topic warrants new
attention.
An
interesting, but relatively unknown fact is that NASA initially had chosen the
Leica MDa as the camera to be used on their lunar missions. The MDa was basically identical to the M4
except it had no viewfinder or rangefinder.
The camera was meant for work with microscopes or the Visoflex where a
built-in viewfinder and rangefinder was not necessary.
By the time
the first lunar missions were planned, the Hasselblad had evolved as the main
camera for most missions. The main reason
NASA chose the Leica MDa over the Hasselblad was weight. Of all the systems for the Apollo missions,
one could never be tested because of the low gravity of the moon. That was the take-off module. To gain as much of a weight advantage as
possible, NASA did everything they could to save weight. That included the camera equipment. The Leica MDa with 35mm f/1.4 Summilux was
definitely lighter than anything Hasselblad had to offer. Leitz modified several cameras and lenses to
feature large levers to allow camera operation with the bulky gloves of the
space suits. The astronauts chosen for
the lunar missions all received extensive training in the use of the camera.
Lunar Leica MDa, an off-the-shelf camera with only few modifications. These appear to be a soft shutter release, a larger shutter speed dial and a large film rewind knob. Modification of the lens large levers for the aperture and focus settings, all designed for easy operation with the gloves of the space suits
Yet, as is common
knowledge, the Leica never made it to the moon.
The credit goes to one NASA engineer who figured out that the
interchangeable film backs for the Hasselblad were lighter than the Leica MDa
with its Summilux lens. Subsequently
NASA decided to use the Hasselblad after all.
The Saturn 5 rockets had no problem delivering the payload to the
moon. For the return trip it was
subsequently decided to remove the film backs from the cameras and to leave the
cameras on the moon where they still reside today. A total of 12 Hasselblad cameras are sitting
in the lunar dust, ready to be picked up.
An
intriguing question is if they might be still able to operate properly after
all these years in the extremely harsh environment of the lunar surface.
But there
are more Leica - NASA connections. One
virtually unknown fact is that NASA also used the Leicafelx SL. For what purpose is unknown at this
point. I have also found that in 1966,
NASA ordered 150 Leica cameras.
Unfortunately it was not stated which cameras they were.
The camera appears to be without visible modifications other than the deeply knurled shutter speed dial to accommodate the heavy gloves of the space suits
Another
Leica camera was used in conjunction with a spectrograph. It was used on the Gemini V and VIII missions.
Longer missions during the Gemini program gave astronauts more time for
scientific experiments, often created and monitored by other government
agencies or academic institutions. Scientists at the U.S. Weather Bureau (now
NOAA) created this camera attachment so it could simultaneously record a
spectrum and an infrared image to determine cloud heights.
The camera appears to be a Leica M3. It is unknown if any special modifications were necessary for
this specialized use
A little
known fact is that another Leica M3 accompanied the astronauts on a September
1995 Endeavour space shuttle mission. As
reported by the Houston Chronicle…
NASA Photographer Makes
History With Trusty Camera
MARK CARREAU Staff
SAT 02/10/1996 HOUSTON CHRONICLE
Odds are that Andrew Patnesky,
""Pat" to his colleagues, has used the vintage Leica camera that
swings from his leathery neck like an old dog tag to photograph every American
astronaut since Alan Shepard.
It was only fitting that the
trademark photo gear with the thick rubber band binding its aging components
together accompanied a shuttle crew into orbit recently, something the
75-year-old NASA photographer couldn't do.
"I think the world of that camera,"
said Patnesky, who shuns more modern gear with the automated features that
focus and advance film in favor of the all-manual Leica M3.
"I have other cameras, but they
don't measure up," he said. ""Anyone can just go shoot. Anyone
can be a photographer, but not everyone can be a photojournalist."
Patnesky fretted over the Leica's
absence during its orbital journey aboard the shuttle Endeavour last September.
The separation was prolonged for several weeks after the shuttle's return so
that the Leica could be unpacked and its journey officially documented.
"I feel kind of naked without
it," he joked recently, clearly relieved that the old camera was available
once again for his patrols of the space center's astronaut training facilities.
Patnesky staked his claim to the
government-owned gear when he spotted it in an equipment closet soon after he
joined NASA in 1961. The Johnson Space Center, then known as the Manned
Spacecraft Center, was just beginning to take shape in Houston.
"None of the other dingbats
would use it. So I said, `Hey, give it to me,' " recalled Patnesky, who
spares no one, least of all himself, from his playful verbal digs.
Relying on his 21 years of experience
as a photographer with the old U.S. Army Air Corps and then its successor, the
Air Force, Patnesky began to chronicle, with the trusty Leica, the
personalities who led America to the moon.
In those days, he said, the news
media was thirsty for a steady stream of photographs of astronauts as they
trained for their Apollo flights in exotic locales, from the Gulf of Mexico
where they rehearsed post-splashdown procedures in rough seas to the deserts of
Mexico.
During one of the Mexican excursions
- it was a training jaunt by Shepard and astronaut Edgar Mitchell to prepare
for their Apollo 14 flight - an instructor-geologist challenged Patnesky to
descend into a rocky crater for photographs.
As he made his way to the crater
floor, Patnesky slipped between the boulders. The Leica's fragile view finder
broke away, disappearing between the rocks. Rather than replace the camera,
though, he obtained a new view finder and lashed it in place with the first of
a succession of wide rubber bands, lending the camera its rag tag character.
To this day Patnesky finds the Leica
perfect for his needs, rubber bands and all.
With its precise mechanics and acute
optics, the old camera makes little shutter noise and requires no flash when
its operator is photographing in the Mission Control Center, the space shuttle
simulator or the administrative offices.
"I like to shoot on a
noninterference basis," he said. ""That is how you get the best
shots."
The strategy has permitted Patnesky
to photograph all of the American presidents with astronauts from John Kennedy
to Bill Clinton. It allowed him to capture the drama of the Challenger accident
as it was reflected in the faces of the personnel in Mission Control, as well
as the majesty of Anwar Sadat, the late president of Egypt, during a state
visit.
His favorite subjects, though, are
the astronauts, from the original Mercury explorers to Neil Armstrong and Buzz
Aldrin, the first lunar explorers, and now the shuttle astronauts and their
recent Russian cosmonaut guests.
"My friendship with the
astronauts means a helluva lot to me. I admire those guys for all the hours
they put in," said Patnesky. ""One way or another I've
photographed every one of them."
One of 10 children born to a
Pennsylvania coal mining family, he commutes 110 miles to work each day from a
home north of Houston and shares time with his wife in a second home near San
Antonio.
Wiry and healthy, Patnesky will log
his 56th complete year of government service on Oct. 1. He is coy about his
retirement plans.
But he feels so strongly about his
association with the astronauts that he is willing to part with his Leica when
he leaves NASA. He wants it to go on display at the Astronaut Hall of Fame, just
outside the gates of the Kennedy Space Center in Titusville, Fla.
An even
earlier Leica camera, a Leica Ig model, was used by astronaut John H. Glenn,
Jr., to take the first human-shots, color still photographs of the Earth during
his three-orbit mission on February 20, 1962. Glenn's pictures paved the way
for future Earth photography experiments on American human spaceflight
missions.
Because
Glenn was wearing a spacesuit, complete with helmet during his February 20,
1962 mission, he could not get his eye close to a built-in viewfinder. Therefore NASA selected the high-quality
Leica Ig camera that allowed them to attach a customized viewfinder on top.
This special attachment featured a suction cup on the back side to allow Glenn
to easily place the device against the visor when he was required to keep it
down. The viewfinder was removable when Glenn did not need his visor down, and
a velcro strip on the rounded top let him manage its location inside the
spacecraft. Glenn found the camera easy
to use, in part because he could exploit the advantages of zero-gravity.
"When I
needed both hands, I just let go of the camera and it floated there in front of
me," he said in his later memoir.
The 1957
Leica Ig was the last Leica screwmount model made, with production ending in
1963. It was the successor to the If and
is the only screwmount camera with the word 'Leica' engraved on the front of
the camera. This camera had the same profile as the IIIg but without the
viewfinder/rangefinder incorporated into the top. As with both the Ic and If there were two
accessory shoes mounted for attaching a separate viewfinder and rangefinder.
The rewind knob was partially recessed into the top plate. As with the Ic and the If, the Ig was
intended for scientific or Visoflex use.
I will keep
on researching the Leica – NASA connection, and as soon as I have anything else
to report, I will do so.
Post Script:
Reader Eric Hurtado sent some additional pictures of the lunar Leica from France.
These
pictures show additional modifications, an enlarged grip pad on the film
advance lever as well as on the lever to open and close the lock for the
removable base plate. The base plate
lock is especially interesting since it indicates that it was apparently
planned to have the astronauts change film when necessary. Also visible is the reinforced top plate with
an accessory shoe attached and an electronic connection for which there is no
explanation.
For
additional pictures, in color, please go to:
