The Moon Landing psyop is falling apart since the old technology utilized can’t stand up to analysis anymore and only the Boomers can “remember” it being staged live. We’re already entering the Revelation of the Method phase that reliably precedes the Old News Admission phase.
Jason Farago just published a New York Times interactive photo-video piece headlined “How Lunar Photography Brought the Heavens Down to Earth.” Farago celebrates the alleged artistic genius of the Apollo moon photos, viewing them as the climax of the overlapping artistic and scientific histories of moon explorations and representations.
Moon landing skeptic and professional photographer Massimo Mazzucco says that’s bullshit. Farago’s extravagant praise of the Apollo astronauts’ brilliant use of deep depth of field just means they knew how to crank the f-stop up to f16 or f32 (which I figured out about five seconds after buying the cheapest available Pentax when I was a journalism student back in 1976). His orgasmic effusions about the beautifully-rendered lunar surface texture sound like something an LSD tripper might say while staring hypnotically at the ground in some godforsaken stretch of barren desert. And his ranting about how many of the moon landing photos are so perfectly composed and executed that they look totally fake really takes the cake:
“The photographs were in fact so good—and the 70mm stock so detailed—that doubts set in on the blue sphere below. With their rich chiaroscuro and starless skies, Bean and Conrad’s photos looked uncannily like a Hollywood stage set.”
Because they were taken on a Hollywood stage set. This is obvious to any professional photographer who bothers to actually analyze the images.
I have been a photographer for the first part of my life, let’s say between age 20 and 40.. And I was a professional, at the top level. I was working for magazines all over the world. I was using actually the same cameras and film and lighting that supposedly were used in the Apollo missions.
I’ll give you one quick anecdote so you understand the point of view of a professional. I learned my trade from a famous photographer, now deceased. He just passed away a few months ago. His name was Oliviero Toscani. He’s actually the guy who made the Benton campaign all over the world. He was very, very famous. I would put him in the top 10 in the world history of fashion photography. I was his assistant for about three years. Then we parted ways. I went on to have my own career.
Back in 2000, when I saw the lunar pictures for the first time—all of them, not just the few that were published before, but all of them that were put out by NASA on the internet—I looked at them and I could see all the defects that I would find myself when I tried to replicate sunlight in the studio. So I got very suspicious. I called Toscani and I said, “Oliviero, what did you think the first time you saw the Apollo moon pictures?” And his answer was, and I quote him:
“I always thought that had they given me the job, I would have done a much better job.”
I’m not saying that Man never landed on the Moon, that there aren’t secret Nazi military bases there, or even that it’s impossible for Man’s alien progenitors to have left clues about their original landing on Earth there. (That’s a James Hogan reference, if you’re wondering about that last one. Very good and genuine science fiction, that trilogy.) I am saying that the Apollo missions staged by NASA from 1961–1972 never landed anyone on the Moon, probably never got anywhere near the Moon, and were definitely faked.
The amount of evidence proving that the Apollo missions were fake is simply overwhelming now, and the more technology improves, the more obvious it is. Which, of course, is why we’re rapidly approaching the point that the US government is going to admit it and the media will promptly claim that everyone always knew this all along and cite the very sources that we skeptics have been pointing to for decades.