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Photographer captures the town of Banff, surrounded by impressive mountains. Banff National Park, Alberta, Canada
This intriguing observation from the NASA/ESA Hubble Space Telescope shows a gravitationally lensed galaxy with the long-winded identification SGAS J143845+145407. Gravitational lensing has resulted in a mirror image of the galaxy near the center of this image, creating a captivating centerpiece. A third distorted image of the galaxy appears as a bridge between them.
Gravitational lensing occurs when the mass of an enormous celestial body – such as a galaxy cluster – curves spacetime and causes the path of light from distant objects to visibly bend around it, as if by a lens. Appropriately, the body causing the light to curve is called a gravitational lens, and the distorted background object is referred to as being "lensed.” Gravitational lensing can result in multiple images of the original galaxy, as seen in this image, or in the background object appearing as a distorted arc or even a ring. Another important consequence of this lensing distortion is magnification, allowing astronomers to observe objects that would otherwise be too far away or be too faint to see.
Hubble has a special flair for detecting lensed galaxies. The telescope's sensitivity and crystal-clear vision let it see faint and distant gravitational lenses that ground-based telescopes cannot detect because of the blurring effect of Earth's atmosphere. Hubble was the first telescope to resolve details within lensed images of galaxies and is capable of imaging both their shape and internal structure.
This particular lensed galaxy is from a set of Hubble observations that take advantage of gravitational lensing to peer inside galaxies in the early universe. The lensing reveals details that allow astronomers to better understand star formation in early galaxies, which gives scientists insight into how the overall evolution of galaxies unfolded.
Text credit: European Space Agency (ESA)
Image credit: ESA/Hubble & NASA, J. Rigby
For more information: www.nasa.gov/image-feature/goddard/2022/hubble-captures-a...
Citi Field is a ballpark located in Flushing Meadows–Corona Park
captured on my walk to the subway after attending Fan Week at the US Open
“Eyes can only capture objects that already seen in mind.
And mind can only see things that already written in heart.”
At night, the lighting focused on the edifice of the Lincoln Memorial creates an optical illusion with the shadows of the columns in the appearance of an obelisk, not unlike the Washington Monument at the other end of the reflecting pool. I captured this image of the shadow of my wife taking what appears to be a cell phone picture of the Washington Monument within the Lincoln Memorial. Anyway, I thought it was cool....
The Salton Sea being captured in technology as the sun rises above the mountains on the first day of the new year (hopefully a year that the masses decide to open the world to reality again)
Captured Both by my camera and in the feeder! Once they get in, the squirrels are quite happy to stay a while. Near the red Squirrel hide, Barrhill Woods, Kirkudbright, Dumfries and Galloway, Scotland.
Taken with my iPhone...for a few minutes the grass began to glow in the setting sun! Taken in the Hollister Hills.
i really was mesmerized by this. The flower, a tulip, was being a good "model" :)
the flower was bought to show love and prayers to my mom`s good friend who passed away . . .
Last July, the Webb telescope released its very first image: the deepest and sharpest image ever seen. Zooming in on the data, scientists found 3 young, distant galaxies similar to rare, small galaxies called “green peas” in our cosmic backyard. Because the light has traveled so far to get to us, we’re seeing these 3 galaxies as they were up to 13.1 billion years ago.
Specifically, the galactic trio share chemical characteristics — oxygen, hydrogen, and neon signatures — with “green pea” galaxies. (“Green peas” resembled green dots in their discovery images.) Due to their similarities, researchers may be able to study nearby “green peas” in detail to learn more about distant early galaxies.
While Webb’s infrared vision is incredibly sensitive, in this case Webb had some help from space’s “magnifying glass.” The effect of gravitational lensing meant that the mass of the galaxy cluster in Webb’s image actually magnified these tiny, distant galaxies by up to 10 times.
The farthest of the 3 galaxies contains only 2% the oxygen found in a galaxy like ours. This suggests the galaxy is extremely young, as it contains very few heavy elements (like oxygen) recycled from earlier stars. Learn more: www.nasa.gov/feature/goddard/2023/nasa-s-webb-telescope-r...
In this image: The James Webb Space Telescope’s Near-Infrared Spectrograph captured the chemical fingerprints of selected galaxies behind SMACS 0723, including three faint, distant objects. When corrected for the wavelength stretch caused by the expansion of space over billions of years, the spectra of these galaxies (shown in red) exhibit features emitted by oxygen, hydrogen, and neon that show a stunning resemblance to those seen from so-called green pea galaxies found nearby (in green). Additionally, the Webb observations made it possible to measure the amount of oxygen in these cosmic dawn galaxies for the first time. The spectral lines have been stretched vertically in order to clarify these relationships.
Credit: NASA’s Goddard Space Flight Center/Rhoads et al. 2023
Image description: Two different sets of spectral data, comparing the chemical fingerprints of green pea galaxies with young, distant galaxies observed by the Webb telescope. On the top is the green pea galaxies data, shown in two squiggly horizontal lines of bright green, and below that is the Webb data, shown in three lines of red. The data sets share remarkably similar line patterns representing the elemental signatures of oxygen, neon, and hydrogen. From left to right, both data sets generally start off with a high frequency of peaks and dips, which gradually taper out into just occasional peaks by the end.
boathouse at Cragside
Music: Right Click and select "Open link in new tab"
www.youtube.com/watch?v=4hPUqz1Gj8k
Captured Time · Portico Quartet
Archway resp. arcade of the Château de Hautefort, connecting its western with its eastern wing, Dordogne, France
Some background information:
The Château de Hautefort (in English: "Hautefort Castle") is situated on a plateau in the northern part of the French department of Dordogne. It overlooks the village of Hautefort and is located approximately 34 kilometers (21 miles) northeast of the town of Périgueux. The building complex is the largest Baroque castle in southwestern France and one of the most significant castles in the Périgord region. Located in the far eastern part of the White Périgord (in French: "Périgord blanc"), the castle was classified as a historic monument in 1958. Since 1967, its French formal gardens and the landscaped park have also been listed as historic monuments.
As early as the 9th century, a fortress was located at the site of the present-day Hautefort Castle, belonging to the viscounts of Limoges. In 1030, the castle became the property of Guy de Lastours after he defeated the rebellious viscounts at Arnac on behalf of the Count of Périgord. Following his death in 1046, his sole daughter Aloaarz brought the property into her marriage with Aymar de Laron, who adopted the Lastours name.
Through the marriage of Agnes de Lastours in 1160, the castle passed to the family of her husband, Constantin de Born. Constantin and his brother Bertran de Born, quarreled over the castle, as they supported opposing factions of the English princes Henry the Young King and Richard the Lionheart. Bertran sided with Prince Henry, while Constantin aligned himself with Richard's camp. In 1182, Bertran managed to expel Constantin from the castle, but in the following year, after Henry's death, Richard the Lionheart laid siege to the fortress. After eight days, he captured it, took Bertran prisoner, and demolished the fortifications.
However, King Henry II of England granted Bertran his freedom and even restored the castle to him. In 1184, the rebuilding of the castle began. By 1196, Bertran retired to the Cistercian Abbey of Dalon and became a monk, while the grounds passed to his son. At that time, the structure consisted of a large donjon and several smaller towers connected by curtain walls and battlements.
In the course of the Hundred Years' War, English soldiers occupied the castle in 1355 and forced its owners to recognize the English king as their liege lord. However, in 1406, the castle returned to French control. Shortly before, the last male representative of the family, Bertrand, had died, and the property passed to his sole daughter, Marthe. Her son Antoine, from her second marriage to Hélie de Gontaut, adopted the name of the Hautefort lordship when he became the new lord of the castle. In 1588, the northwestern entrance wing of the castle was altered and fortified – perhaps influenced by the French Wars of Religion. This renovation likely replaced a less defensible Renaissance-style structure.
In 1614, under François de Hautefort, the seigneurie was elevated to a marquisate. Accordingly, he sought to replace the outdated structure with a representative château. In 1633, the marquis commissioned Nicolas Rambourg, an architect from Périgueux, to undertake a major renovation of the estate. When François passed away in 1640, the work was far from complete, leaving the task of continuing the project to his successor, his grandson Jacques-François. Jacques-François' sister, Marie, gained fame at the Parisian royal court as the platonic companion of King Louis XIII.
The death of Nicolas Rambourg in 1649 temporarily halted construction, but in 1651, the inauguration of a château chapel on the ground floor of the new logis was celebrated. In 1669, the marquis resumed the renovation project, enlisting the Parisian architect Jean Maigret. Maigret completed the château as a symmetrical three-wing complex in the style of classical Baroque, adding the current south tower and relocating the chapel there in 1670. Although the second marquis died in 1680, Maigret's work on the château continued until 1695. During the renovations, the defensive elements that had still been present at the beginning of the 17th century were gradually dismantled.
During the French Revolution, the citizens of Hautefort prevented the château's destruction. From 1793 to 1795, the estate was used as a prison. But after the revolutionary period, Sigismonde Charlotte Louise de Hautefort, the daughter of the last marquis, Louis Frédéric Emmanuel, regained control of the family seat. In 1853, the redesign of the château's gardens was commissioned and the plans were drawn up by Paul de Lavenne, one of the most renowned landscape architects in France at the time. He reimagined the baroque gardens on the terraces surrounding the château and designed a large English landscape garden with broad sightlines into the surrounding countryside.
After the death of Maxence de Hautefort in 1887, his second wife sold the estate in 1890 to wealthy industrialist Bertrand Artigues. Artigues undertook various restoration projects and demolished the old outbuildings to the northwest of the château. Despite these efforts, the structural condition of the château remained poor. After Bertrand Artigues passed away in 1908, his heirs sold the château in 1913 to a real estate speculator. Between then and 1925, the speculator sold off all the furnishings and interior elements, including paneling and parquet floors. Subsequently, the parceled estate was sold off piece by piece.
In 1929, Baron Henry de Bastard and his wife Simone, the daughter of banker and patron David David-Weill, purchased the château. They began extensive restoration work in 1930, which continued until 1965. The couple undertook a complete restoration of both the interior and exterior of the buildings and also worked to restore the baroque garden parterres based on historical plans. While the flowerbeds were replanted, the design created by Paul de Lavenne was preserved.
After the death of the baron in 1957, his widow opened the château to the public. However, this decision proved disastrous for the estate. In 1968, a major fire broke out, caused by a carelessly discarded cigarette butt from a visitor. The fire devastated the main northeastern wing, including its interiors and furnishings. Only the side wings with their round towers at the ends remained intact. But the baroness wasted no time and began restoration work as early as September of the same year. Using old photographs, the destroyed wing and its rooms were faithfully reconstructed and refurnished.
Today, the Château de Hautefort, along with its park and large sections of the French gardens, can be visited for an admission fee. Visitors can explore the interior rooms, including the grand reception hall, the château lord’s bedroom, Marie de Hautefort’s room in the Louis Quinze style, the chapel, and the kitchen. Furthermore, it is worth mentioning that the palace has also served as a film location for several productions. The last one was the movie "Ever After" from 1998, starring Drew Barrymore and Anjelica Huston.
The glasses are cheap reading glasses that my daughter likes to wear sometimes for playing, but we think they really suit her!
Today's bonus rerun OARCB (old ass rivet counter boomer) mundane high sun, silver box, gravel pile, leaning, wirey, mindless wedgie!
So let's return now to those thrilling days of yesteryear and continue my never ending fetish to capture a train in a perfect NGPN (National Geographic Pristine Nature) setting.
Today the Wayback Machine is set to Deepwater, WV on November, 24, 1984, 40 years ago tomorrow.
Through his lively and free application of paint, and by eschewing high finish, Guardi asserts his works are not mere topographic records. His distinctive style produced "magical" effects that captured Venice's unique beauty. Flashes of colour, light and shadow animate surfaces. The scenes are carefully composed, both focused and diffuse: the architecture acts as framework, embellished and enriched by detail - the people strolling, the gondolas, the sails and the masts of ships. Guardi and his workshop painted many such images - in different sizes, some in sets - to meet varying demands of buyers.
After several minutes of dedication and patience, you manage to capture a yellow ball of light created with light painting, reflected in a nook of a beach. The feeling when seeing the image displayed on the camera’s small screen is almost indescribable. It is a moment of pure awe and satisfaction.
First, there is the emotion of achievement: all the planning, creativity, and effort have borne fruit in an image that shines with its own magic. The yellow ball of light, with its warm and mysterious glow, seems to float in the air, creating an impressive contrast with the natural surroundings of the beach. The rocky surface and the soft shadows of the nook provide a perfect frame for this luminous work of art.
As it was approaching sundown I looked of and saw this lovely sky with wispy clouds and just had to capture this momentin time, X marks the spot.
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