by Mike Bara
The NASA image however, is a different story. It contains the full range of 256 shades of gray, which would seem to mean it is a “better” image and more likely to be the authentic article. But the histogram contains something curious.
Close-up of histogram. Note huge spike at color level zero-Absolute black.
There, at the far left of the graph, is shade zero, or absolute black. What is curious is that by far the most pixels in the NASA image are absolute black. In fact, color zero and the next few colors over (near absolute black) make up more than 33% of the entire image. What that means is that somebody put a lot of black and near black in the NASA image.
Now the truth is, almost nothing in any image is ever absolute black or white. But to find that (by far) the biggest number of pixels is absolute, perfect black is more than a little suspicious. On a properly processed image, the histogram should be pretty much a bell curve, bulging in the middle and then dropping off at both ends. The NASA image doesn’t do this. It spikes on shade zero, absolute black.
So what’s the most likely reason for this? I can think of only one. Somebody took a paintbrush tool, set it to color zero, or absolute black, and went to town on it.
And I can prove it.
As you look at the Ziggurat image, obviously some of the most tell-tale signs of artificiality are in the shadowed areas, particularly the shadow cast by the west wall. In my enhanced version of the original, you can plainly see the wall and how it casts a shadow into the depression below.
Contrast enhanced image of the Daedalus Ziggurat.
But on the NASA version, this shadow is so dark that there is virtually no detail there at all. No wall, no shades of gray in the crater, just pitch-black darkness. Everything you need to see to confirm the wall and the artificiality of the Ziggurat is simply not there. It’s gone.
Adobe, the makers of Photoshop, are crystal clear on the meaning of this: “If many pixels are bunched up at either the shadow or highlight ends of the chart, it may indicate that image detail in the shadows or highlights may be clipped—blocked up as pure black or pure white. There is little you can do to recover this type of image.”
In other words, it’s a deliberate manipulation of the image in question.
Unenhanced image of the NASA version of the Daedalus Ziggurat.
Histogram analysis of the shadowed area of the west wall of the Ziggurat.
What the histograms show us is that while the image produced by NASA has a wide dynamic range, the areas of shadow, where the details that make the Ziggurat stand out reside, have virtually no dynamic range. They’re absolute black. And that can only mean one thing; they were painted over by someone at NASA with a black paintbrush tool.
To test this, all we have to do is select the areas in question, and examine their histograms. The results are conclusive.
In the shadowed area where we can see the wall in the original version, virtually all of the pixels are absolute, indisputably black. The same applies to the dark shadowed area just behind the temple section of the Ziggurat. These specific areas of the image—the ones that would provide the smoking gun for the Ziggurat’s artificiality — have been “blocked up as pure black” by NASA.
Case closed.
Histogram analysis of the shadowed area of the west wall of the Ziggurat showing 99% of pixels in area are shade zero; absolute black.
Oh, I’m aware that the deceptive Mr. Robbins has tried to cover his ass by claiming that because of the lighting conditions on the Moon some areas are absolute black. But the fact is that contrary to his fallacious claims that there are “no crater wall nor mountain to scatter light onto it,” there is a very bright, sunlit area just to left of the selection marquee that should be scattering plenty of light into the shadowed area, but isn’t.
Enhancement of NASA original image of AS11-38-5564 showing areas of the Daedalus Ziggurat digitally altered by NASA.
Because NASA blacked it out.
Still don’t believe me? OK, here’s one more test. I’ll show you exactly where the brush strokes are…
You see, in Photoshop, there is another enhancement tool that’s commonly used in cases like this. It’s one that somebody with “20 years” of experience doing Photoshop should know about, but Mr. Robbins apparently doesn’t. It’s called the “Adjust Lighting… Shadows/Highlights” tool. It contains a nifty little slider named “Lighten Shadows:” that allows you to, well, lighten shadows. Let’s see what it does to the shadows on NASA’s image.
Well golly, look at that. It allows us to see exactly where the goons at NASA applied the pure black paintbrush to the shadows around the Ziggurat. You can even see that they probably used an airbrush tool, because the edges are jagged.
One final point, if you look at the shadow created by the western wall of the Ziggurat that has been blacked out by the NASA paintbrush artist, you can see that he made a mistake and only covered the offending parts and not the complete shadow. Some of the area appears gray, and if we zoom up and scan it we can see that it contains a moderate range of gray shades. What this means is that Robbins assertion about there being “no light scattering” in the area is also proven wrong. Absolutely, completely wrong. It’s patently obvious to any competent Photoshop user that the original lighting in this area was almost certainly very close to the lighting seen in “asll20pyramid20smallue2.jpg,” which means that his claims that the lighting on that image is “not possible” and therefore a sign of “fraud” is also complete idiocy.
Histogram analysis of western side of the Daedalus Ziggurat shadow not blacked out by NASA.
So as it stands, while we may never know the exact origins of the original Daedalus Ziggurat image, we know with absolute certainty that the NASA version of AS-11-38-5564 has been deliberately faked to hide something from us. My bet is it’s a really big Ziggurat on the Moon.
What I have proven here is that the chief critics of the Daedalus Ziggurat are not only wrong, they are foolishly and sloppily wrong. Either they didn’t want to study the images in the depth that I did before releasing it to Mr. Hoagland, or they simply lacked the intellectual capacity to do so. I lean towards the latter, but let’s face it, buffoons like Mr. Robbins and Expat are just haters who attack everything I do, no matter how many times I embarrass them. I doubt this will be the last time I have to respond to these louts, but I certainly hope it’s now obvious they don’t know what they’re talking about. I would say they were liars and/or idiots, but that’s their territory. The difference is I can actually prove what I say.
At any rate, we now have indisputable proof that NASA alters and puts fraudulent images on the web. They managed, through a combination of the techniques I have exposed here, to obscure the reality of Daedalus Ziggurat, at least to some degree. But they have in the process exposed themselves once again as frauds and deceivers, and brought down some of their staunchest allies in the process. I only wish Dr. Phil Plait had chimed in on it too.
Fortunately for NASA, there will be plenty more “useful idiots” to take the place of those that have now been exposed. Fortunately for us, the guy at NASA who did the fake missed about a dozen other Ancient Alien artifacts on the photo. So regardless of whether we ever get the real, unaltered version of the Ziggurat to compare to the original, we at least have those artifacts to point to.
AS17-151-23260.
ULO’S
Before we conclude, I would be remiss if I didn’t mention the work of one especially talented Ancient Alien artifacts hunter. In 2008, photographer Allan Sturm came out with an e-book entitled “ULO’s, Unidentified Lunar Objects Revealed in NASA Photography.” It contains what I consider some of the best images of bases, ruins and industrial complexes all over the lunar surface, and from a wide variety of missions. Allan’s skill in colorizing the features is also a tremendous asset to the book, which helps give the readers the crucial visual cues to the structures they’re looking at. I wanted Allan’s work to be a central part of this book, but for personal re
asons he declined. However, I consider some of his findings so crucial (and so obvious) that I don’t feel they can be excluded from this book.
Some of my favorite “ULO’s” can be found on NASA frames AS08-13-2267, AS15-M-2502, and especially AS17-151-23260. If you can find a copy of his now out of print book, I encourage you to get one. If not, go get copies of these images and start looking around for yourself. You’ll be stunned at what you find.
But I want to focus especially on AS17-151-23260. It’s a wide shot of the crater Copernicus, and that is an area of the Moon that has interested me for some time. The photo shows not only the crater, but the very uneven ground on the ejecta blanket surrounding it.
The area of greatest interest is just beyond the crater rim on the left side of the photo. It doesn’t take much enhancement work to see that the entire area is so uneven because the ejecta material is covering the ruins of a vast complex of artificial structures buried just beneath the lunar sands. There are all manner of partially buried mechanical and industrial structures there, easily revealed by their geometric shape and organized layout.
Sectional enlargement of Copernicus crater rim from AS 17-151-23260.
AS 17-151-23260.
Closer inspection reveals what look like roads, over passes, long tube structures and shattered, battered equipment still hanging above gaping holes in the surface.
But the most impressively artificial structure is an area I call the “Power Plant.”
The power plant reminds me of the rebel base on ice planet Hoth from the Star Wars movie “The Empire Strikes Back” because there are no less than 6 partially buried wheel-like “generators” with regularly placed spokes in them. To the left of the close-up is a long tube (which extends well beyond this cropped sectional) which connects to some other part of the installation. To the right is another gaping hole in the lunar floor that has girders and other construction materials hanging over it.
Once again, there can be no doubt, debate or rational argument that these structures are anything but artificial. There is zero chance that the wheels or anything else in the immediate area was formed any kind of natural process. This, along with everything else you’ve seen in this book is de facto proof of the Ancient Alien presence on the Moon.
close-up of the Power Plant from AS17-151-23260.
But there is still just a bit more.
Ultra close-up of the “wheels.”
In 2009, NASA launched the LCROSS (Lunar Crater Observation and Sensing Satellite) to the Moon in an effort to detect water in a crater there. Launched together with the Lunar Reconnaissance Orbiter, LCROSS detached from the orbiter and its Centaur upper stage was directed to a collision course with a south polar crater named Caebeus. The idea was that what was left of LCROSS (called the Shepherding Spacecraft) would study the plume generated from the impact (equivalent to 2 tons of TNT) by flying through it. In this way, NASA hoped to determine if there was water in sufficient amounts there to one supply a lunar base. Later, the Shepherding Spacecraft would itself crash into the Moon.
Expectations were so high at NASA that there would be a visible plume of material for visual and spectral analysis that they encouraged amateur astronomers to make observations of they saw. There was just one problem; when the Centaur stage hit, there wasn’t any plume at all. Instead, the booster just disappeared into the lunar interior like a rock dropping into a tar pit. Photos of the area taken by major telescopes (like Mount Palomar) showed no evidence of the impact at all.
The “Power Plant.”
NASA enhancement of Visible Camera Image from LCROSS Shepherding Spacecraft.
So what had happened?
Well, as usual, my co-author on Dark Mission, Richard C. Hoagland, was right on top of it. Seven days later, NASA claimed that the Centaur impact (which was supposed to be the big one) had generated a feeble few “bright pixels” on the Shepherding Spacecraft’s visual light camera. They released an image showing what they purported to be the “plume.”
Instead, what it showed was the Centaur booster had crashed into an area that was covered in geometric shapes, and had apparently failed to generate a plume because it had crashed through into a vast complex below the lunar surface. It seemed obvious from the images that what NASA was claiming as the “plume” was actually a reflection off of some kind of tubing or structure under the surface. So in attempting to find water, NASA had instead inadvertently “bombed” an Ancient Alien underground base.
Enhancement showing geometric substructure beneath the lunar surface in the crater Caebeus.
Which should just about wrap it up as far as the doubters are concerned.
1 http://www.disclose.tv/forum/pictures-of-pyramids-on-the-moon-t53252-20.html
EPILOGUE
Through the course of these pages, we have seen what I consider to be indisputable proof that there was once an Ancient Alien presence on the Moon on a vast scale. We’ve looked at the early histories of lunar anomalies, from the inexplicable bright flashes to the odd color changes and “vaporous” appearance of these transient events. We have come up with a theory to account for these early observations, and then had that theory—that these bright reflections are intense specular reflections off a titanic glass meteor shield constructed eons ago—confirmed. We’ve seen the otherwise inexplicable Surveyor 6 image of the Sun’s light bent around the lunar surface exactly as an atmosphere would. We’ve seen the Apollo 15 Trans Lunar Injection photo showing the mysterious “airglow” layer around the Moon—a layer of glass. We’ve seen the Tower and the Shard and the Crisium Spire, all indisputable evidence that this glass shield exists, even if it has been battered and beaten almost to dust in certain places. And we’ve seen the ground truth; the domes over the Cleomedes craters, the odd structures on the rim of Tycho, the astonishing ruins surrounding Copernicus crater, and the stunning reality of the Daedalus Ziggurat. But even with all of this, we are left with a few final questions; who built these structures? And more importantly, what happened to them?
Up until now, our search for Ancient Aliens on the Moon has been like a police procedural TV show, gathering evidence, making suppositions, looking for supporting evidence. But now, we must delve into the realm of the purely speculative.
The question of who built them would seem to be an easy one to answer. If we believe in the history books that teach us that we went from dumb old cavemen with stone tools and bearskins to smart, modern us with our hydrogen bombs and our striped toothpaste in one straight line, then they must be alien ruins. They must have come from somewhere else. Whether it was the giant Nefilim of the bible, the bug-eyed Grays of the modern motif or the proverbial little green men, they weren’t human. Not in any way. Yet, so much of what we see on the Moon looks familiar. It looks like stuff that we would build. The architecture has a human feel to it. How then to explain that?
If the Ancient Alien theory implies anything, it is that perhaps we did not evolve in that simple straight line from caveman to quarterback. That there were some ups and downs in between.
In my previous books, Dark Mission and The Choice, I pointed out the substantial and credible evidence to support this idea, so I won’t recite all of it here. But I’m drawn again to the Hopi prophecies I discussed in The Choice. The Hopi tell us that this is the 4th world of Man, and that the previous 3 worlds were destroyed in unimaginable catastrophes of their own making. In the last World they say, our intellects had become so vast that we had many technological inventions not seen yet in this World. Inventions that would have enabled us to build bases on the Moon, and presumably elsewhere in the solar system. Maybe we even built a race of sentient robots, Cylons if you will—to do the dangerous work on the Moon and to make our lives easier. Maybe that’s what “Data’s Head” is.
I think that is some of what we’re seeing on these images. We’re seeing the last remnants of that previous version of Man. We’re seeing the bases and habitats and industries and machines that they left behind when they were o
vertaken by whatever disaster struck them down.
Yet clearly, some of these ruins are older than that. What kind of technology could re-shape a mountain in to a hexagonal structure made of titanium and glass, and towering miles above the Taurus-Littrow valley? What kind of technology can plow and modify the landscape around Daedalus and Copernicus, the way somebody did so long ago? Those kinds of efforts seem beyond the simple technologies we can imagine. They seem almost god-like.
So I think in the end we’re seeing a bit of both. Some of what we’ve found on the Moon is Alien, built by a civilization that has no relationship to human beings. But some of it—a lot of it in fact—was built by somebody else. Somebody a bit more closely related to us. Maybe that’s what Neil Armstrong meant when he said “That’s one small step for Man… one giant leap for Mankind.” Maybe he didn’t make a mistake in that speech at all. Maybe what he was heralding was the return of a genetically related “Mankind” to their proper place amongst the stars.
As to what happened to the builders, be they humanoid or Ancient Alien, it looks to me like some of what is left was simply abandoned. Whoever was doing whatever they were doing on our Moon finished their project and left. What they left behind has been slowly decaying ever since. Other parts of these ruins look more haphazard, like they were suddenly and decisively overwhelmed by the cataclysm the Hopi talk about. Whatever the reasons, it seems clear that what we’ve found in the pages of this book is very ancient, and very dead.
