This is also known as the "eye of god nebula" or NGC 7293, and at 650 light years distance it is the closest planetary nebula to Earth. Wanted to capture the faint outer shells of the nebula, so I ended up getting over 33 hours of exposure time on it. Took a bit of effort in processing to balance the bright core with the outer shells, but overall I'm pleased with the final result. [Also made a starless version for the hell of it](i.imgur.com/uo4TJDk.jpg)

 

Thanks to trees and the fact this nebula only gets 33 degrees up here, I could only photograph it for a maximum of 3 hours per night. Also because it's low in the southern sky I had to [turn off the streetlamp at the end of my driveway](gfycat.com/madeverlastingindianpangolin) with a laser pointer while shooting it. Captured over 14 nights from September 2nd to October 20th, 2021 from a Bortle 6 zone.

 

---

 

**[Equipment:](i.imgur.com/6T8QNsv.jpg)**

 

* TPO 6" F/4 Imaging Newtonian

 

* Orion Sirius EQ-G

 

* ZWO ASI1600MM-Pro

 

* Skywatcher Quattro Coma Corrector

 

* ZWO EFW 8x1.25"/31mm

 

* Astronomik LRGB+CLS Filters- 31mm

 

* Astrodon 31mm Ha 5nm, Oiii 3nm, Sii 5nm

 

* Agena 50mm Deluxe Straight-Through Guide Scope

 

* ZWO ASI-290mc for guiding

 

* Moonlite Autofocuser

 

**Acquisition:** 33 hours 36 minutes (Camera at Unity Gain, -15°C)

 

* Ha- 175x360"

 

* Oiii- 161x360"

 

* Darks- 30

 

* Flats- 30 per filter

 

**Capture Software:**

 

* Captured using [N.I.N.A.](nighttime-imaging.eu) and PHD2 for guiding and dithering.

 

**[PixInsight Processing:](www.youtube.com/watch?v=u7FuApFSGuA)**

 

* BatchPreProcessing

 

* StarAlignment

 

* [Blink](youtu.be/sJeuWZNWImE?t=40)

 

* ImageIntegration

 

* DrizzleIntegration (2x, Var β=1.5)

 

**Linear:**

 

* DynamicCrop

 

* DynamicBackgroundExtraction 2x

 

* EZ Decon + Denoise per channel

 

* EZ soft stretch per channel to bring nonlinear

 

**Combining Channels:**

 

* Pixelmath to make RGB image using [ForaxX's HOO palette](thecoldestnights.com/2020/06/pixinsight-dynamic-narrowban...):

 

>R= Ha

 

>G= ((Oiii\*Ha)\^~(Oiii\*Ha))\*Ha + ~((Oiii\*Ha)\^~(Oiii\*Ha))\*Oiii

 

>B= Oiii

 

**Creating Synthetic Luminance:**

 

* linear Ha and Oiii channels stretched slightly with ArcsinhStretch

 

> This was used to preserve the details in the core of the nebula, which were a little blown out from EZ soft stretch

 

* Pixelmath to combine the core stretch image with the soft stretch image 70:30 to make a Synthetic Luminance

 

> mask used just to add this to the brightest parts of the soft stretch image

 

**Nonlinear:**

 

* LRGBCombination with Synthetic Luminance

 

* Shitloads of [Curve](i.imgur.com/zN7Wsvb.jpg)Transformations to adjust lightness, contrast, saturation, hues, etc.

 

* EZ HDR

 

* HistogramTransformation to further stretch the image

 

* MLT noise reduction

 

* CloneStamp to remove a severely ringed star that I forgot about during Deconvolution

 

* more curves

 

* ColorSaturation to boost the blue in the core

 

* SCNR Green

 

* AutomaticBackgroundExtraction

 

* even more curves

 

* EZ Star Reduction

 

* noise generator to add noise back into reduced stars

 

* another round of MLT noise reduction

 

* Extract Luminance --> LRGBCombination for background chrominance noise reduction

 

* MMT noise reduction to reduce background splotchiness

 

* LocalHistorgramEqualization (nebula core only)

 

* More curves

 

* Resample to 80%

 

* Annotation

This nebula is also called the 'popped balloon nebula' and 'the garlic nebula'

 

This is certainly one of my longer projects, coming in at just under 50 hours of exposure time total. Due to how faint this target is I couldn't shoot it when the moon was up at all, so it took me over 3 months to get enough exposure time in on it. It was also pretty difficult to process, particularly when stretching, in order to bring out the faint details in the nebula without overstretching the noise and keeping the stars reasonably balanced (iirc I tried about 5 different stretching workflows on it before settling on the one described below). Captured over 19 nights from September through December, 2021 from a Bortle 6 zone.

 

---

 

**[Equipment:](i.imgur.com/6T8QNsv.jpg)**

 

* TPO 6" F/4 Imaging Newtonian

 

* Orion Sirius EQ-G

 

* ZWO ASI1600MM-Pro

 

* Skywatcher Quattro Coma Corrector

 

* ZWO EFW 8x1.25"/31mm

 

* Astronomik LRGB+CLS Filters- 31mm

 

* Astrodon 31mm Ha 5nm, Oiii 3nm, Sii 5nm

 

* Agena 50mm Deluxe Straight-Through Guide Scope

 

* ZWO ASI-290mc for guiding

 

* Moonlite Autofocuser

 

**Acquisition:** 49 hours 54 minutes (Camera at Unity Gain, -15°C)

 

* Ha- 184x600"

 

* Oiii- 89x600" + 44x360"

 

> Accidentally had the wrong Oiii sequence template for a few nights, but it didn't seem to harm the stack by including the 360" data

 

* Darks- 30

 

* Flats- 30 per filter

 

**Capture Software:**

 

* Captured using [N.I.N.A.](nighttime-imaging.eu) and PHD2 for guiding and dithering.

 

**PixInsight Processing:**

 

* BatchPreProcessing

 

* SubframeSelector

 

* StarAlignment

 

* [Blink](youtu.be/sJeuWZNWImE?t=40)

 

* ImageIntegration

 

* DrizzleIntegration (2x, Var β=1.5)

 

**Linear:**

 

* DynamicCrop

 

* AutomaticBackgroundExtraction

 

* DynamicBackgroundExtraction

 

* EZ Denoise per channel

 

**Stretching to nonlinear:** (per channel)

 

> Probably the hardest part of processing this image. I tried several other workflows before settling on this one, which I used for my photo of [sh2-216 earlier this year](www.reddit.com/r/astrophotography/comments/l57hmg/sh2216_...).

 

* MaskedStretch to 0.1 background

 

* Starnet++ starmask made, subtracted from 0.3 Gray image and colvolved

 

* Previous image used as a mask to stretch nebulosity without stretching stars

 

* Previous two steps were repeated 2X with incremental HistogramTransformations

 

* One final unmasked histogramtransformation

 

**Combining Channels:**

 

* Monochrome Ha and Oiii images combined into a color image using [ForaxX's HOO palette](thecoldestnights.com/2020/06/pixinsight-dynamic-narrowban...):

 

>R= Ha

 

>G= ((Oiii\*Ha)\^~(Oiii\*Ha))\*Ha + ~((Oiii\*Ha)\^~(Oiii\*Ha))\*Oiii

 

>B= Oiii

 

**Nonlinear:**

 

* Create Synthetic luminance with Pixelmath:

 

> Max(Ha, Oiii)

 

* LRGBCombination using synthetic luminance for chrominance noise reduction

 

* Shitloads of CurveTransformations to adjust lightness, saturation, contrast, hues, etc.

 

* MLT noise reduction

 

* LocalHistogramEqualization

 

* EZ Star Reduction

 

* even more curves

 

> probably a few other processes should go here that I'm forgetting about. I completely redid the nonlinear processing 3 times and didn't bother to save the image histories, so I'm going off memory for this.

 

* IntegerResample to 50%

 

* Annotation

LeicaCL

SF40

Description: This image of the North American Nebula NGC 7000 was developed from 60x300s subs or 5.0 hours of total exposure time. In order to isolate and develop the O(III) signal, the nonlinear post processed image was first split into its RGB components, followed by the application of appropriate weighting factors to the green and red channels, further followed by LRGB Combination. The resulting image was post processed using Curves Transformation with various color masks.

 

Date / Location: 20, 25, 26 June 2022 / Washington D.C.

 

Equipment:

Scope: WO Zenith Star 81mm f/6.9 with WO 6AIII Flattener/Focal Reducer x0.8

OSC Camera: ZWO ASI 2600 MC Pro at 100 Gain and 50 Offset

Mount: iOptron GEM28-EC

Guide Scope: ZWO ASI 30mm f/4

Guide Camera: ZWO ASI 120mm mini

Light Pollution Filter: Optolong L-eXtreme Dual Bandpass

Processing Software: Pixinsight

 

Processing Steps:

 

Preprocessing:

I preprocessed 60x300s subs (= 5.0 hours) in Pixinsight to get an integrated image using the following process steps: Image Calibration > Cosmetic Correction > Subframe Selector > Debayer > Select Reference Star and do a Star Align > Image Integration.

 

Linear Postprocessing:

Dynamic Background Extractor (doing subtraction to remove light pollution gradients and division for flat field correction) > Background Neutralization > Color Calibration > Blur Xterminator > Noise Xterminator.

 

Nonlinear Postprocessing and additional steps:

Histogram Transformation > Star Xterminator to create Starless and Stars Only Images.

Starless Image > Noise Xterminator > Local Histogram Equalization > Multiscale Median Transform > Curves Transformation to boost O(III) signal > Split RGB channels > Create new green and blue channels > LRGB Combination > Curves Transformation using various color masks.

Stars Only Image > Morphological transformation.

Pixel Math to combine the Starless Image with the Stars Only Image to get a Reinstated Image.

Reinstated Image > Dark Structure Enhancement > Topaz AI.

Pixel Math to combine the (non-AI) Reinstated Image with the Topaz AI Image to get a final image.

 

The Butterfly Nebula is the name of [this nebula right next to the star Sadr in Cygnus](i.imgur.com/TiZ9kJ8.png) and I opted to go for a fiery look on this one compared to true color red or a rainbow SHO image. This is my first time processing on an IPS monitor so I'm not entirely used to the colors on it compared to my old VA one. Also made a [starless version using StarNet++](i.imgur.com/Eu3bgKt.jpg).Captured on October 6th and 7th, 2020 from a Bortle 6 zone.

 

---

 

**[Equipment:](i.imgur.com/6T8QNsv.jpg)**

 

* TPO 6" F/4 Imaging Newtonian

 

* Orion Sirius EQ-G

 

* ZWO ASI1600MM-Pro

 

* Skywatcher Quattro Coma Corrector

 

* ZWO EFW 8x1.25"/31mm

 

* Astronomik LRGB+CLS Filters- 31mm

 

* Astrodon 31mm Ha 5nm, Oiii 3nm, Sii 5nm

 

* Agena 50mm Deluxe Straight-Through Guide Scope

 

* ZWO ASI-120MC for guiding

 

* Moonlite Autofocuser

 

**Acquisition:** 9 hours 48 minutes (Camera at Unity Gain, -15°C)

 

* Ha- 46x360"

 

* Oiii- 26x360"

 

* Sii- 26x360"

 

* Darks- 30

 

* Flats- 30 per filter

 

**Capture Software:**

 

* Captured using [N.I.N.A.](nighttime-imaging.eu/) and PHD2 for guiding and dithering.

 

**PixInsight Processing:**

 

* BatchPreProcessing

 

* SubframeSelector

 

* StarAlignment

 

* [Blink](youtu.be/sJeuWZNWImE?t=40)

 

* ImageIntegration

 

* DrizzleIntegration (2x, Varβ=1.5)

 

**Linear:**

 

* DynamicCrop

 

* AutomaticBackgroundExtraction

 

* DynamicBackgroundExtraction

 

* [EZ Decon and Denoise](darkarchon.internet-box.ch:8443/) (Ha only)

 

* STF applied via HistogramTransformation to bring each channel nonlinear

 

**Combining Channels:**

 

* PixelMath to make classic SHO to RGB image

 

* Greens and magentas nuked using SCNR

 

* Pixelmath to make RGB image using [ForaxX's palette](thecoldestnights.com/2020/06/pixinsight-dynamic-narrowban...)

 

> R= (Oiii\^~Oiii)\*Sii + ~(Oiii\^~Oiii)\*Ha

 

> G= ((Oiii\*Ha)\^~(Oiii\*Ha))\*Ha + ~((Oiii\*Ha)\^~(Oiii\*Ha))\*Oiii

 

> B= Oiii

 

* Pixelmath to blend classic and ForaxX SHO images 50:50

 

**Nonlinear:**

 

* LRGBCombination with Ha as luminance

 

* Invert>SCNR>Invert with star mask to remove magenta stars.

 

* Shitloads of [Curve](i.imgur.com/vCjArSv.jpg)Transformations to adjust lightness, saturation, contrast, hues, etc

 

* LocalHistogramTransformation

 

* ACDNR

 

* DarkStructureEnhance

 

* More curves

 

* SCNR to remove greens

 

* EZ Star Reduction

 

* DarkStructureEnhance

 

* Resample to 63%

 

* Annotation

The Eiffel Tower (French: La Tour Eiffel, nickname La dame de fer, the iron lady) is an iron lattice tower located on the Champ de Mars in Paris, named after the engineer Gustave Eiffel, whose company designed and built the tower. Erected in 1889 as the entrance arch to the 1889 World's Fair, it has become both a global cultural icon of France and one of the most recognizable structures in the world. The tower is the tallest structure in Paris and the most-visited paid monument in the world; 7.1 million people ascended it in 2011. The third level observatory's upper platform is at 279.11 m the highest accessible to public in the European Union and the highest in Europe as long as the platform of the Ostankino Tower, at 360 m, remains closed as a result of the fire of August 2000. The tower received its 250 millionth visitor in 2010.

 

The tower stands 320 metres (1,050 ft) tall, about the same height as an 81-storey building. During its construction, the Eiffel Tower surpassed the Washington Monument to assume the title of the tallest man-made structure in the world, a title it held for 41 years, until the Chrysler Building in New York City was built in 1930. However, because of the addition, in 1957, of the antenna atop the Eiffel Tower, it is now taller than the Chrysler Building. Not including broadcast antennas, it is the second-tallest structure in France, after the Millau Viaduct.

 

The tower has three levels for visitors. Tickets can be purchased to ascend, by stairs or lift (elevator), to the first and second levels. The walk from ground level to the first level is over 300 steps, as is the walk from the first to the second level. The third and highest level is accessible only by lift - stairs exist but they are not usually open for public use. Both the first and second levels feature restaurants.

 

The tower has become the most prominent symbol of both Paris and France, often in the establishing shot of films set in the city.

  

History

  

Origin

  

First drawing of the Eiffel Tower by Maurice Koechlin

 

The design of the Eiffel Tower was originated by Maurice Koechlin and Émile Nouguier, two senior engineers who worked for the Compagnie des Establissments Eiffel after discussion about a suitable centrepiece for the proposed 1889 Exposition Universelle, a World's Fair which would celebrate the centennial of the French Revolution. In May 1884 Koechlin, working at his home, made an outline drawing of their scheme, described by him as "a great pylon, consisting of four lattice girders standing apart at the base and coming together at the top, joined together by metal trusses at regular intervals". Initially Eiffel himself showed little enthusiasm, but he did sanction further study of the project, and the two engineers then asked Stephen Sauvestre, the head of company's architectural department, to contribute to the design. Sauvestre added decorative arches to the base, a glass pavilion to the first level and other embellishments. This enhanced version gained Eiffel's support, and he bought the rights to the patent on the design which Koechlin, Nougier and Sauvestre had taken out, and the design was exhibited at the Exhibition of Decorative Arts in the autumn of 1884 under the company name. On 30 March 1885 Eiffel read a paper on the project to the Société des Ingiénieurs Civils: after discussing the technical problems and emphasising the practical uses of the tower, he finished his talk by saying that the tower would symbolise "not only the art of the modern engineer, but also the century of Industry and Science in which we are living, and for which the way was prepared by the great scientific movement of the eighteenth century and by the Revolution of 1789, to which this monument will be built as an expression of France's gratitude."

 

Little happened until the beginning of 1886, when Jules Grévy was re-elected as President and Édouard Lockroy was appointed as Minister for Trade. A budget for the Exposition was passed and on 1 May Lockroy announced an alteration to the terms of the open competition which was being held for a centerpiece for the exposition, which effectively made the choice of Eiffel's design a foregone conclusion: all entries had to include a study for a 300 m (980 ft) four-sided metal tower on the Champ de Mars. On 12 May a commission was set up to examine Eiffel's scheme and its rivals and on 12 June it presented its decision, which was that all the proposals except Eiffel's were either impractical or insufficiently worked out. After some debate about the exact site for the tower, a contract was finally signed on 8 January 1887. This was signed by Eiffel acting in his own capacity rather than as the representative of his company, and granted him one and a half million francs toward the construction costs: less than a quarter of the estimated cost of six and a half million francs. Eiffel was to receive all income from the commercial exploitation of the tower during the exhibition and for the following twenty years. Eiffel later established a separate company to manage the tower, putting up half the necessary capital himself.

  

The "Artists Protest"

  

Caricature of Gustave Eiffel comparing the Eiffel tower to the Pyramids.

 

The projected tower had been a subject of some controversy, attracting criticism both from those who did not believe that it was feasible and also from those who objected on artistic grounds. Their objections were an expression of a longstanding debate about relationship between architecture and engineering. This came to a head as work began at the Champ de Mars: A "Committee of Three Hundred" (one member for each metre of the tower's height) was formed, led by the prominent architect Charles Garnier and including some of the most important figures of the French arts establishment, including Adolphe Bouguereau, Guy de Maupassant, Charles Gounod and Jules Massenet: a petition was sent to Charles Alphand, the Minister of Works and Commissioner for the Exposition, and was published by Le Temps.

 

"We, writers, painters, sculptors, architects and passionate devotees of the hitherto untouched beauty of Paris, protest with all our strength, with all our indignation in the name of slighted French taste, against the erection…of this useless and monstrous Eiffel Tower … To bring our arguments home, imagine for a moment a giddy, ridiculous tower dominating Paris like a gigantic black smokestack, crushing under its barbaric bulk Notre Dame, the Tour Saint-Jacques, the Louvre, the Dome of les Invalides, the Arc de Triomphe, all of our humiliated monuments will disappear in this ghastly dream. And for twenty years … we shall see stretching like a blot of ink the hateful shadow of the hateful column of bolted sheet metal"

 

Gustave Eiffel responded to these criticisms by comparing his tower to the Egyptian Pyramids : "My tower will be the tallest edifice ever erected by man. Will it not also be grandiose in its way ? And why would something admirable in Egypt become hideous and ridiculous in Paris ?" These criticisms were also masterfully dealt with by Édouard Lockroy in a letter of support written to Alphand, ironically saying "Judging by the stately swell of the rhythms, the beauty of the metaphors, the elegance of its delicate and precise style, one can tell that …this protest is the result of collaboration of the most famous writers and poets of our time", and going on to point out that the protest was irrelevant since the project had been decided upon months before and was already under construction. Indeed, Garnier had been a member of the Tower Commission that had assessed the various proposals, and had raised no objection. Eiffel was similarly unworried, pointing out to a journalist that it was premature to judge the effect of the tower solely on the basis of the drawings, that the Champ de Mars was distant enough from the monuments mentioned in the protest for there to be little risk of the tower overwhelming them, and putting the aesthetic argument for the Tower: "Do not the laws of natural forces always conform to the secret laws of harmony?"

 

Some of the protestors were to change their minds when the tower was built: others remained unconvinced. Guy de Maupassant[20] supposedly ate lunch in the Tower's restaurant every day. When asked why, he answered that it was the one place in Paris where one could not see the structure. Today, the Tower is widely considered to be a striking piece of structural art.

  

Construction

  

Foundations of the Eiffel Tower

  

Eiffel Tower under construction between 1887 and 1889

 

Work on the foundations started in January 1887. Those for the east and south legs were straightforward, each leg resting on four 2 m (6.6 ft) concrete slabs, one for each of the principal girders of each leg but the other two, being closer to the river Seine were more complicated: each slab needed two piles installed by using compressed-air caissons 15 m (49 ft) long and 6 m (20 ft) in diameter driven to a depth of 22 m (72 ft)[21] to support the concrete slabs, which were 6 m (20 ft) thick. Each of these slabs supported a block built of limestone each with an inclined top to bear a supporting shoe for the ironwork. Each shoe was anchored into the stonework by a pair of bolts 10 cm (4 in) in diameter and 7.5 m (25 ft) long. The foundations were complete by 30 June and the erection of the ironwork began. The very visible work on-site was complemented by the enormous amount of exacting preparatory work that was entailed: the drawing office produced 1,700 general drawings and 3,629 detailed drawings of the 18,038 different parts needed:

 

The task of drawing the components was complicated by the complex angles involved in the design and the degree of precision required: the position of rivet holes was specified to within 0.1 mm (0.04 in) and angles worked out to one second of arc. The finished components, some already riveted together into sub-assemblies, arrived on horse-drawn carts from the factory in the nearby Parisian suburb of Levallois-Perret and were first bolted together, the bolts being replaced by rivets as construction progressed. No drilling or shaping was done on site: if any part did not fit it was sent back to the factory for alteration. In all there were 18,038 pieces of puddle iron using two and a half million rivets.

 

At first the legs were constructed as cantilevers but about halfway to the first level construction was paused in order to construct a substantial timber scaffold. This caused a renewal of the concerns about the structural soundness of the project, and sensational headlines such as "Eiffel Suicide!" and "Gustave Eiffel has gone mad: he has been confined in an Asylum" appeared in the popular press. At this stage a small "creeper" crane was installed in each leg, designed to move up the tower as construction progressed and making use of the guides for the lifts which were to be fitted in each leg. The critical stage of joining the four legs at the first level was complete by March 1888. Although the metalwork had been prepared with the utmost precision, provision had been made to carry out small adjustments in order to precisely align the legs: hydraulic jacks were fitted to the shoes at the base of each leg, each capable of exerting a force of 800 tonnes, and in addition the legs had been intentionally constructed at a slightly steeper angle than necessary, being supported by sandboxes on the scaffold.

 

No more than three hundred workers were employed on site, and because Eiffel took safety precautions, including the use of movable stagings, guard-rails and screens, only one man died during construction.

  

Inauguration and the 1889 Exposition

  

The 1889 Exposition Universelle for which the Eiffel Tower was built

 

The main structural work was completed at the end of March 1889 and on the 31st Eiffel celebrated this by leading a group of government officials, accompanied by representatives of the press, to the top of the tower. Since the lifts were not yet in operation, the ascent was made by foot, and took over an hour, Eiffel frequently stopping to make explanations of various features. Most of the party chose to stop at the lower levels, but a few, including Nouguier, Compagnon, the President of the City Council and reporters from Le Figaro and Le Monde Illustré completed the climb. At 2.35 Eiffel hoisted a large tricolore, to the accompaniment of a 25-gun salute fired from the lower level. There was still work to be done, particularly on the lifts and the fitting out of the facilities for visitors, and the tower was not opened to the public until nine days after the opening of the Exposition on 6 May, and even then the lifts had not been completed.

 

The tower was an immediate success with the public, and lengthy queues formed to make the ascent. Tickets cost 2 francs for the first level, 3 for the second and 5 for the top, with half-price admission on Sundays, and by the end of the exhibition there had been nearly two million visitors.

 

Eiffel had a permit for the tower to stand for 20 years; it was to be dismantled in 1909, when its ownership would revert to the City of Paris. The City had planned to tear it down (part of the original contest rules for designing a tower was that it could be easily demolished) but as the tower proved valuable for communication purposes, it was allowed to remain after the expiry of the permit. In the opening weeks of the First World War the powerful radio transmitters using the tower were used to jam German communications, seriously hindering their advance on Paris and contributing to the Allied victory at the First Battle of the Marne.

  

Subsequent events

  

10 September 1889 Thomas Edison visited the tower. He signed the guestbook with the following message— To M Eiffel the Engineer the brave builder of so gigantic and original specimen of modern Engineering from one who has the greatest respect and admiration for all Engineers including the Great Engineer the Bon Dieu, Thomas Edison.

  

19 October 1901 Alberto Santos-Dumont in his Dirigible No.6 won a 10,000-franc prize offered by Henri Deutsch de la Meurthe for the first person to make a flight from St Cloud to the Eiffel tower and back in less than half an hour.

  

1910 Father Theodor Wulf measured radiant energy at the top and bottom of the tower. He found more at the top than expected, incidentally discovering what are today known as cosmic rays.[28]

  

4 February 1912 Austrian tailor Franz Reichelt died after jumping 60 metres from the first deck of Eiffel tower with his home-made parachute.

  

1914 A radio transmitter located in the tower jammed German radio communications during the lead-up to the First Battle of the Marne.

  

1925 The con artist Victor Lustig "sold" the tower for scrap metal on two separate, but related occasions.

  

1930 The tower lost the title of the world's tallest structure when the Chrysler Building was completed in New York City.

  

1925 to 1934 Illuminated signs for Citroën adorned three of the tower's four sides, making it the tallest advertising space in the world at the time.

  

1940–1944 Upon the German occupation of Paris in 1940, the lift cables were cut by the French so that Adolf Hitler would have to climb the steps to the summit. The parts to repair them were allegedly impossible to obtain because of the war. In 1940 German soldiers had to climb to the top to hoist the swastika[citation needed], but the flag was so large it blew away just a few hours later, and was replaced by a smaller one. When visiting Paris, Hitler chose to stay on the ground. It was said that Hitler conquered France, but did not conquer the Eiffel Tower. A Frenchman scaled the tower during the German occupation to hang the French flag. In August 1944, when the Allies were nearing Paris, Hitler ordered General Dietrich von Choltitz, the military governor of Paris, to demolish the tower along with the rest of the city. Von Choltitz disobeyed the order. Some say Hitler was later persuaded to keep the tower intact so it could later be used for communications. The lifts of the Tower were working normally within hours of the Liberation of Paris.

  

3 January 1956 A fire damaged the top of the tower.

  

1957 The present radio antenna was added to the top.

  

1980s A restaurant and its supporting iron scaffolding midway up the tower was dismantled; it was purchased and reconstructed on St. Charles Avenue and Josephine Street in the Garden District of New Orleans, Louisiana, by entrepreneurs John Onorio and Daniel Bonnot, originally as the Tour Eiffel Restaurant, later as the Red Room and now as the Cricket Club (owned by the New Orleans Culinary Institute). The restaurant was re-assembled from 11,000 pieces that crossed the Atlantic in a 40-foot (12 m) cargo container.

  

31 March 1984 Robert Moriarty flew a Beechcraft Bonanza through the arches of the tower.

  

1987 A.J. Hackett made one of his first bungee jumps from the top of the Eiffel Tower, using a special cord he had helped develop. Hackett was arrested by the Paris police upon reaching the ground.

  

27 October 1991 Thierry Devaux, along with mountain guide Hervé Calvayrac, performed a series of acrobatic figures of bungee jumping (not allowed) from the second floor of the Tower. Facing the Champ de Mars, Thierry Devaux was using an electric winch between each figure to go back up. When firemen arrived, he stopped after the sixth bungee jump.

  

New Year's Eve 1999 The Eiffel Tower played host to Paris's Millennium Celebration. On this occasion, flashing lights and four high-power searchlights were installed on the tower, and fireworks were set off all over it. An exhibition above a cafeteria on the first floor commemorates this event. Since then, the light show has become a nightly event. The searchlights on top of the tower make it a beacon in Paris's night sky, and the 20,000 flash bulbs give the tower a sparkly appearance every hour on the hour.

  

28 November 2002 The tower received its 200,000,000th guest.

  

2004 The Eiffel Tower began hosting an ice skating rink on the first floor each winter.

  

Design of the tower

  

Material

  

The Eiffel Tower from below

  

The puddle iron structure of the Eiffel Tower weighs 7,300 tonnes, while the entire structure, including non-metal components, is approximately 10,000 tonnes. As a demonstration of the economy of design, if the 7,300 tonnes of the metal structure were melted down it would fill the 125-metre-square base to a depth of only 6 cm (2.36 in), assuming the density of the metal to be 7.8 tonnes per cubic metre. Depending on the ambient temperature, the top of the tower may shift away from the sun by up to 18 cm (7.1 in) because of thermal expansion of the metal on the side facing the sun.

  

Wind considerations

  

At the time the tower was built many people were shocked by its daring shape. Eiffel was criticised for the design and accused of trying to create something artistic, or inartistic according to the viewer, without regard to engineering. Eiffel and his engineers, however, as experienced bridge builders, understood the importance of wind forces and knew that if they were going to build the tallest structure in the world they had to be certain it would withstand the wind. In an interview reported in the newspaper Le Temps, Eiffel said:

 

Now to what phenomenon did I give primary concern in designing the Tower? It was wind resistance. Well then! I hold that the curvature of the monument's four outer edges, which is as mathematical calculation dictated it should be […] will give a great impression of strength and beauty, for it will reveal to the eyes of the observer the boldness of the design as a whole.[37]

 

Researchers have found that Eiffel used empirical and graphical methods accounting for the effects of wind rather than a specific mathematical formula. Careful examination of the tower shows a basically exponential shape; actually two different exponentials, the lower section overdesigned to ensure resistance to wind forces. Several mathematical explanations have been proposed over the years for the success of the design; the most recent is described as a nonlinear integral equation based on counterbalancing the wind pressure on any point on the tower with the tension between the construction elements at that point. As a demonstration of the tower's effectiveness in wind resistance, it sways only 6–7 cm (2–3 in) in the wind.

  

Accommodation

  

When built, the first level contained two restaurants: an "Anglo-American Bar", and a 250 seat theatre. A 2.6 m (8 ft 6 in) promenade ran around the outside.

 

On the second level, the French newspaper Le Figaro had an office and a printing press, where a special souvenir edition, Le Figaro de la Tour, was produced. There was also a pâtisserie.

 

On the third level were laboratories for various experiments and a small apartment reserved for Gustave Eiffel to entertain guests. This is now open to the public, complete with period decorations and lifelike models of Gustave and some guests.

  

Engraved names

  

Gustave Eiffel engraved on the tower seventy-two names of French scientists, engineers and other notable people. This engraving was painted over at the beginning of the twentieth century but restored in 1986–1987 by the Société Nouvelle d'exploitation de la Tour Eiffel, a company contracted to operate business related to the Tower.

  

Maintenance

  

Maintenance of the tower includes applying 50 to 60 tonnes of paint every seven years to protect it from rust. The height of the Eiffel Tower varies by 15 cm due to temperature.

  

Aesthetic considerations

  

In order to enhance the impression of height, three separate colours of paint are used on the tower, with the darkest on the bottom and the lightest at the top. On occasion the colour of the paint is changed; the tower is currently painted a shade of bronze. On the first floor there are interactive consoles hosting a poll for the colour to use for a future session of painting.

 

The only non-structural elements are the four decorative grillwork arches, added in Stephen Sauvestre's sketches, which served to reassure visitors that the structure was safe, and to frame views of other nearby architecture.

 

One of the great Hollywood movie clichés is that the view from a Parisian window always includes the tower. In reality, since zoning restrictions limit the height of most buildings in Paris to 7 storeys, only a very few of the taller buildings have a clear view of the tower.

  

Popularity

  

More than 200,000,000 people have visited the tower since its construction in 1889, including 6,719,200 in 2006. The tower is the most-visited paid monument in the world.

  

Passenger lifts

  

Ground to the second level

 

The original lifts (elevators) to the first and second floors were provided by two companies. Both companies had to overcome many technical obstacles as neither company (or indeed any company) had experience with installing lifts climbing to such heights with large loads. The slanting tracks with changing angles further complicated the problems. The East and West lifts were supplied by the French company Roux Combaluzier Lepape, using hydraulically powered chains and rollers. The North and South lifts were provided by the American company Otis using car designs similar to the original installation but using an improved hydraulic and cable scheme. The French lifts had a very poor performance and were replaced with the current installations in 1897 (West Pillar) and 1899 (East Pillar) by Fives-Lille using an improved hydraulic and rope scheme. Both of the original installations operated broadly on the principle of the Fives-Lille lifts.

 

The Fives-Lille lifts from ground level to the first and second levels are operated by cables and pulleys driven by massive water-powered pistons. The hydraulic scheme was somewhat unusual for the time in that it included three large counterweights of 200 tonnes each sitting on top of hydraulic rams which doubled up as accumulators for the water. As the lifts ascend the inclined arc of the pillars, the angle of ascent changes. The two lift cabs are kept more or less level and indeed are level at the landings. The cab floors do take on a slight angle at times between landings.

 

The principle behind the lifts is similar to the operation of a block and tackle but in reverse. Two large hydraulic rams (over 1 metre diameter) with a 16 metre travel are mounted horizontally in the base of the pillar which pushes a carriage (the French word for it translates as chariot and this term will be used henceforth to distinguish it from the lift carriage) with 16 large triple sheaves mounted on it. There are 14 similar sheaves mounted statically. Six wire ropes are rove back and forth between the sheaves such that each rope passes between the 2 sets of sheaves 7 times. The ropes then leave the final sheaves on the chariot and pass up through a series of guiding sheaves to above the second floor and then through a pair of triple sheaves back down to the lift carriage again passing guiding sheaves.

 

This arrangement means that the lift carriage, complete with its cars and passengers, travels 8 times the distance that the rams move the chariot, the 128 metres from the ground to the second floor. The force exerted by the rams also has to be 8 times the total weight of the lift carriage, cars and passengers, plus extra to account for various losses such as friction. The hydraulic fluid was water, normally stored in three accumulators, complete with counterbalance weights. To make the lift ascend, water was pumped using an electrically driven pump from the accumulators to the two rams. Since the counterbalance weights provided much of the pressure required, the pump only had to provide the extra effort. For the descent, it was only necessary to allow the water to flow back to the accumulators using a control valve. The lifts were operated by an operator perched precariously underneath the lift cars. His position (with a dummy operator) can still be seen on the lifts today.

 

The Fives-Lille lifts were completely upgraded in 1986 to meet modern safety requirements and to make the lifts easier to operate. A new computer-controlled system was installed which completely automated the operation. One of the three counterbalances was taken out of use, and the cars were replaced with a more modern and lighter structure. Most importantly, the main driving force was removed from the original water pump such that the water hydraulic system provided only a counterbalancing function. The main driving force was transferred to a 320 kW electrically driven oil hydraulic pump which drives a pair of hydraulic motors on the chariot itself, thus providing the motive power. The new lift cars complete with their carriage and a full 92 passenger load weigh 22 tonnes.

 

Owing to elasticity in the ropes and the time taken to get the cars level with the landings, each lift in normal service takes an average of 8 minutes and 50 seconds to do the round trip, spending an average of 1 minute and 15 seconds at each floor. The average journey time between floors is just 1 minute.

 

The original Otis lifts in the North and South pillars in their turn proved to be inferior to the new (in 1899) French lifts and were scrapped from the South pillar in 1900 and from the North pillar in 1913 after failed attempts to repower them with an electric motor. The North and South pillars were to remain without lifts until 1965 when increasing visitor numbers persuaded the operators to install a relatively standard and modern cable hoisted system in the north pillar using a cable-hauled counterbalance weight, but hoisted by a block and tackle system to reduce its travel to one third of the lift travel. The counterbalance is clearly visible within the structure of the North pillar. This latter lift was upgraded in 1995 with new cars and computer controls.

 

The South pillar acquired a completely new fairly standard electrically driven lift in 1983 to serve the Jules Verne restaurant. This was also supplied by Otis. A further four-ton service lift was added to the South pillar in 1989 by Otis to relieve the main lifts when moving relatively small loads or even just maintenance personnel.

 

The East and West hydraulic (water) lift works are on display and, at least in theory, are open to the public in a small museum located in base of the East and West tower, which is somewhat hidden from public view. Because the massive mechanism requires frequent lubrication and attention, public access is often restricted. However, when open, the wait times are much less than the other, more popular, attractions. The rope mechanism of the North tower is visible to visitors as they exit from the lift.

  

Second to the third level

  

The original spiral stairs to the third floor which were only 80 centimetres wide. Note also the small service lift in the background.

 

The original lifts from the second to the third floor were also of a water-powered hydraulic design supplied by Léon Edoux. Instead of using a separate counterbalance, the two lift cars counterbalanced each other. A pair of 81-metre-long hydraulic rams were mounted on the second level reaching nearly halfway up to the third level. A lift car was mounted on top of the rams. Ropes ran from the top of this car up to a sheave on the third level and back down to a second car. The result of this arrangement was that each car only travelled half the distance between the second and third levels and passengers were required to change lifts halfway walking between the cars along a narrow gangway with a very impressive and relatively unobstructed downward view. The ten-ton cars held 65 passengers each or up to four tons.

 

One interesting feature of the original installation was that the hoisting rope ran through guides to retain it on windy days to prevent it flapping and becoming damaged. The guides were mechanically moved out of the way of the ascending car by the movement of the car itself. In spite of some antifreeze being added to the water that operated this system, it nevertheless had to close to the public from November to March each year.

 

The original lifts complete with their hydraulic mechanism were completely scrapped in 1982 after 97 years of service. They were replaced with two pairs of relatively standard rope hoisted cars which were able to operate all the year round. The cars operate in pairs with one providing the counterbalance for the other. Neither car can move unless both sets of doors are closed and both operators have given a start command. The commands from the cars to the hoisting mechanism are by radio obviating the necessity of a control cable. The replacement installation also has the advantage that the ascent can be made without changing cars and has reduced the ascent time from 8 minutes (including change) to 1 minute and 40 seconds. This installation also has guides for the hoisting ropes but they are electrically operated. The guide once it has moved out of the way as the car ascends automatically reverses when the car has passed to prevent the mechanism becoming snagged on the car on the downward journey in the event it has failed to completely clear the car. Unfortunately these lifts do not have the capacity to move as many people as the three public lower lifts and long lines to ascend to the third level are common. Most of the intermediate level structure present on the tower today was installed when the lifts were replaced and allows maintenance workers to take the lift halfway.

 

The replacement of these lifts allowed the restructuring of the criss-cross beams in upper part of the tower and further allowed the installation of two emergency staircases. These replaced the dangerous winding stairs that were installed when the tower was constructed.

 

Restaurants

 

The tower has two restaurants: Le 58 tour Eiffel, on the first floor 311 ft (95 m) above sea level; and the Le Jules Verne, a gastronomical restaurant on the second floor, with a private lift. This restaurant has one star in the Michelin Red Guide. In January 2007, the multi-Michelin star chef Alain Ducasse was brought in to run Jules Verne.

  

Attempted relocation

  

According to interviews given in the early 1980s, Montreal Mayor Jean Drapeau negotiated a secret agreement with French President Charles de Gaulle for the tower to be dismantled and temporarily relocated to Montreal to serve as a landmark and tourist attraction during Expo 67. The plan was allegedly vetoed by the company which operated the tower out of fear that the French government could refuse permission for the tower to be restored to its original location.

  

Economics

  

The American TV show Pricing the Priceless speculates that in 2011 the tower would cost about $480,000,000 to build, that the land under the tower is worth $350,000,000, and that the scrap value of the tower is worth $3,500,000. The TV show estimates the tower makes a profit of about $29,000,000 per year, though it is unlikely that the Eiffel Tower is managed so as to maximize profit.

 

It costs $5,300,000 to repaint the tower, which is done once every seven years. The electric bill is $400,000 per year for 7.5 million kilowatt-hours.

 

The Tokyo Tower in Japan is a very similar structure of very similar size. It was finished in 1958 at a final cost of ¥2.8 billion ($8.4 million in 1958).

  

Source Wikipedia

Put off on processing this for a while because heavy light pollution broadband sucks :-(

 

Captured on November 3rd and 4th, 2023 from, my bortle 8 apartment balcony.

 

**Places where I host my other images:**

 

[Instagram](www.instagram.com/leftysastrophotography/) | [Flickr](www.flickr.com/people/leftysastrophotography/)

 

---

 

**[Equipment:](i.imgur.com/ejpKkwU.jpg)**

 

* TPO 6" F/4 Imaging Newtonian

 

* Orion Sirius EQ-G

 

* ZWO ASI1600MM-Pro

 

* Skywatcher Quattro Coma Corrector

 

* ZWO EFW 8x1.25"/31mm

 

* Astronomik LRGB+CLS Filters- 31mm

 

* Astrodon 31mm Ha 5nm, Oiii 3nm, Sii 5nm

 

* Agena 50mm Deluxe Straight-Through Guide Scope

 

* ZWO ASI-120mc for guiding

 

* Moonlite Autofocuser

 

**Acquisition:** 7 hour 36 minutes (Camera at half Unity Gain, -15°C)

 

* L- 247x60"

 

* R - 70x60"

 

* G - 70x60"

 

* B - 70x60"

  

* Darks- 30

 

* Flats- 30 per filter

 

**Capture Software:**

 

* Captured using [N.I.N.A.](nighttime-imaging.eu) and PHD2 for guiding and dithering.

 

**PixInsight Processing**

 

* BatchPreProcessing

 

* StarAlignment

 

* [Blink](youtu.be/sJeuWZNWImE?t=40)

 

* ImageIntegration

 

**Luminance Linear:**

 

* DynamicCrop

 

* DynamicBackgroundExtraction

 

* NoiseXterminator

 

* ArcsinhStretch+HistogramTransformation to bring nonlinear

 

**RGB Linear:**

 

* DynamicCrop

 

* DynamicBackgroundExtraction

 

* ChannelCombination

 

* SpectrophotometricColorCalibration

 

* HSV Repair

 

* Slight SCNR green

 

* AcrsinhStretch + HistogramTransformation to stretch nonlinear

 

**Nonlinear:**

 

* added stretch luminance to stretched RGB via LRGBCombination

 

* DeepSNR

 

* shitloads of CurveTransformations to adjust hue, lightness, saturation, etc. (some with star masks)

 

* DynamicCrop again

 

* annotation

Thanks to /u/aatdalt's [video](www.youtube.com/watch?v=SCMyGNZlx5o) and working on C/2022 E3, I now feel good enough about my comet processing to start working through my backlog of comet pics. This was was shot about 3 years ago and has been sitting on my hard drive since then.

 

---

 

**[Equipment:](i.imgur.com/ejpKkwU.jpg)**

 

* TPO 6" F/4 Imaging Newtonian

 

* Orion Sirius EQ-G

 

* ZWO ASI1600MM-Pro

 

* Skywatcher Quattro Coma Corrector

 

* ZWO EFW 8x1.25"/31mm

 

* Astronomik LRGB+CLS Filters- 31mm

 

* Astrodon 31mm Ha 5nm, Oiii 3nm, Sii 5nm

 

* Agena 50mm Deluxe Straight-Through Guide Scope

 

* ZWO ASI-120mc for guiding

 

* Moonlite Autofocuser

 

**Acquisition:** 33 minutes (Camera at Unity Gain, -15°C)

 

* R - 11x60"

 

* G - 11x60"

 

* B - 11x60"

 

* Darks- 30

 

* Flats- 30 per filter

 

**Capture Software:**

 

* Captured using [N.I.N.A.](nighttime-imaging.eu) and PHD2 for guiding and dithering.

 

**[PixInsight Processing](i.imgur.com/VCixUbx.png):**

 

> The flowchart/video above do a MUCH better job at explaining this than my bulleted list

 

* BatchPreProcessing

 

* StarAlignment

 

* [Blink](youtu.be/sJeuWZNWImE?t=40)

 

* CometAlign batch StarXterminator + ImageIntegration to make comet only image

 

* ImageIntegration to make stars only image

 

**Comet Only Processing:**

 

* Channelcombination to convert monochrome R, G, and B stacks into color image

 

* DynamicCrop

 

* DynamicBackgroundExtraction

 

* HistogramTransformation to stretch nonlinear

 

* BackgroundNeutralization

 

* Several curves adjustments for lights, contrast, saturation, hues, etc

 

**Stars only Processing:**

 

* Channelcombination to convert monochrome R, G, and B stacks into color image

 

* DynamicCrop

 

* DynamicBackgroundExtraction

 

* SpectroPhotometricColorCalibration

 

* HSV Repair

 

* ran starX on a copy of this image, subtracted this residual from the original image to make a truly stars only image

 

* ArcsinhStratch + HistogramTransformation to stretch nonlinear

 

**Nonlinear processing:**

 

* combined starless comet pic with stars only pic using Jimmy's pixelmath

 

> mtf(~m,(mtf(m,Starless)+mtf(m,Stars)))

 

* DeepSNR

 

* Several rounds of curve transformations to adjust lightness, contrast, hues, saturation, etc.

 

* ColorSaturation

 

* Even more curves

 

* Extract L --> LRGBCombination for chrominance noise reduction

 

* EZ star reduction + noise generator to add noise back into star reduced areas

 

* even more curves

 

* annotation

Due to clouds I wasn't able to get too much time on this target. Captured on April 4, 6, 12, 15th, 2021 from a Bortle 6 zone

 

**Places where I host my other images:**

 

[Instagram](www.instagram.com/leftysastrophotography/) | [Flickr](www.flickr.com/people/leftysastrophotography/)

 

---

 

**[Equipment:](i.imgur.com/6T8QNsv.jpg)**

 

* TPO 6" F/4 Imaging Newtonian

 

* Orion Sirius EQ-G

 

* ZWO ASI1600MM-Pro

 

* Skywatcher Quattro Coma Corrector

 

* ZWO EFW 8x1.25"/31mm

 

* Astronomik LRGB+CLS Filters- 31mm

 

* Astrodon 31mm Ha 5nm, Oiii 3nm, Sii 5nm

 

* Agena 50mm Deluxe Straight-Through Guide Scope

 

* ZWO ASI-120MC for guiding

 

* Moonlite Autofocuser

 

**Acquisition:** 7 hours 36 minutes (Camera at Unity Gain, -15°C)

 

* Lum - 123x120"

 

* Red - 35x120"

 

* Green - 35x120"

 

* Blue - 35x120"

 

* Darks- 30

 

* Flats- 30 per filter

 

**Capture Software:**

 

* Captured using [N.I.N.A.](nighttime-imaging.eu) and PHD2 for guiding and dithering.

 

**PixInsight Processing:**

 

* BatchPreProcessing

 

* StarAlignment

 

* [Blink](youtu.be/sJeuWZNWImE?t=40)

 

* ImageIntegration

  

* DynamicCrop

 

* DynamicBackgroundExtraction

 

**Luminance:**

 

* EZ Denoise

 

* ArcsinhStretch + histogramtransformation to bring nonlinear

 

**RGB:**

 

* ChannelCombinaiton to combine monochrome R, G, B stacks into color image

 

* PhotometricColorCalibration

  

* Slight SCNR

 

* HSV Repair

 

* ArcsinhStretch + histogramtransformation to bring nonlinear

 

**Nonlinear:**

 

* LRGBCombination with stretched L as luminance

 

* Several CurveTransformations to adjust lightness, contrast, colors, saturation, etc.

 

* ACDNR

 

* EZ StarReduction

 

* Final Curves

 

* Annotation

Description: This is my image of Bode’s Galaxy M81 (or NGC 3031) in Ursa Major based on 5.85 hours of total exposure time. The ZWO Duo-Band light pollution filter used by me passes light at H-alpha and O(III) wavelengths at bandwidths of 15nm and 35nm, respectively. Achieving a good color balance proved to be one of my main challenges. To that end, I applied small doses of Curves Transformation in a series of steps checking for a good balance at each stage. I also used the same principle when applying the Local Histogram Transformation as well as the Histogram Transformation. This progressive approach helped me to build confidence in developing color in my image.

Date / Location: 10, 11 and 20 April 2022 / Washington D.C.

Equipment:

Scope: WO Zenith Star 81mm f/6.9 with WO 6AIII Flattener/Focal Reducer x0.8

OSC Camera: ZWO ASI 2600 MC Pro at 100 Gain

Mount: iOptron GEM28-EC

Guide Scope: ZWO ASI 30mm f/4

Guide Camera: ZWO ASI 120mm-mini

Light Pollution Filter: ZWO Duo-Band Light Pollution Filter

Processing Software: Pixinsight

Processing Steps:

Preprocessing: I preprocessed 117x180s subs (= 5.85 hours) in Pixinsight to get an integrated image using the following steps: Image Calibration > Cosmetic Correction > Subframe Selector > Debayer > Select Reference Star and Star Align > Image Integration.

Linear Postprocessing: Rotation > Dynamic Crop > Dynamic Background Extractor (subtraction to remove light pollution gradients) > Dynamic Background Extractor (division for flat field corrections) > Background Neutralization > Color Calibration > Noise Xterminator.

Nonlinear Postprocessing: First Histogram Transformation > First Local Histogram Equalization > First Curves Transformation > SCNR Noise Reduction > Second Local Histogram Equalization > Second Curves Transformation > Third Local Histogram Equalization > Third Curves Transformation > Second Histogram Transformation > Fourth Local Histogram Equalization > Fourth Curves Transformation > Fifth Curves Transformation > Third Histogram Transformation > Fourth Histogram Transformation.

Scope: WO Zenith Star 81mm f/6.9 with WO 6AIII Flattener/Focal Reducer x0.8

 

OSC Camera: ZWO ASI 2600 MC Pro at 100 Gain and 50 Offset

 

Mount: iOptron GEM28-EC

 

Guider: ZWO Off-Axis Guider

 

Guide Camera: ZWO ASI 174mm mini

 

Light Pollution Filter: Optolong L-eXtreme Dual Bandpass

 

Date: 12-13 July 2023

 

Location: Washington D.C.

 

Exposure: 48x300s subs (= 4.0 hours)

 

Software: Pixinsight

 

Processing Steps:

 

Preprocessing: FITS data > Image Calibration > Cosmetic Correction > Subframe Selector > Debayer > Select Reference Star and Star Align > Image Integration.

 

Linear Postprocessing: Integrated image > Dynamic Crop > Dynamic Background Extractor (subtraction to remove light pollution gradients and division for flat field corrections) > Background Neutralization > Color Calibration > Blur Xterminator > Noise Xterminator.

 

Nonlinear Postprocessing: Linear postprocessed image > Histogram Transformation > Star Xterminator to decompose into Starless and Stars Only images.

 

Starless image > Histogram Transformation > Noise Xterminator > Local Histogram Equalization > Split RGB Channels > Adjust the weights of the RGB channels and use Pixel Math to generate new modified RGB channels > Apply LRGB Combination with the L channel unchecked and the RGB channels checked with the new modified B and G being the sources of the G and B channels, respectively, to get a new RGB color image.

 

Apply HDR multiscale transform to both the L channel image (= the R channel image for an OSC camera) and the new RGB color image.

 

Reapply LRGB combination specifically to the new RGB color image this time with the L channel checked and the RGB channels unchecked to get a new Starless image.

 

Process the new Starless image with Curves Transformation using color masks.

 

Use Pixel Math to rejoin the processed new Starless image with the Stars Only image to get a rejoined image.

 

Rejoined image > Topaz Labs > DeNoise AI > Gigapixel AI.

 

Use Pixel Math to combine 25% x Rejoined image + 75% x AI image = Final Result.

Description: I developed this image of the Heart Nebula IC 1805 from 110x300s subs or 9.17 hours of total exposure time. The Optolong L-eXtreme Dual Bandpass Light Pollution Filter passes H-alpha and OIII wavelengths such that the red from the H-alpha tends to swamp out the blue from the O(III). In the nonlinear postprocessing phase I apply Histogram Transformation, Local Histogram Equalization and Curves Transformations in small doses in multiple steps.

 

Date / Location: 26-28 January 2023 / Washington D.C.

 

Equipment:

Scope: WO Zenith Star 81mm f/6.9 with WO 6AIII Flattener/Focal Reducer x0.8

OSC Camera: ZWO ASI 2600 MC Pro at 100 Gain and 50 Offset

Mount: iOptron GEM28-EC

Guider: ZWO Off-Axis Guider

Guide Camera: ZWO ASI 174mm mini

Focuser: ZWO EAF

Light Pollution Filter: Optolong L-eXtreme Dual Bandpass

 

Processing Software: Pixinsight

 

Processing Steps:

Preprocessing: I preprocessed 110x300s subs (= 9.17 hours) in Pixinsight to get an integrated image using the following process steps: Image Calibration > Cosmetic Correction > Subframe Selector > Debayer > Select Reference Star and Star Align > Image Integration.

Linear Postprocessing: Dynamic Crop > Dynamic Background Extractor (both subtraction to remove light pollution gradients and division for flat field corrections) > Background Neutralization > Color Calibration > Noise Xterminator.

Nonlinear Postprocessing and additional steps: Histogram Transformation (multiple times) > Local Histogram Equalization (multiple times) > Curves Transformation (multiple times) > SCNR Noise Reduction.

A sensitive dependence on initial conditions in which a small change in one state of a deterministic nonlinear system can result in large differences in a later state.

A very small change in initial conditions had created a significantly different outcome.

 

x

MIDIA ARTE / MEDIA ART

 

[fladry + jones]: Robb Fladry and Barry Jones – The War is Over 2007

 

Agricola de Cologne – One Day on Mars

 

Alan Bigelow – “When I Was President”

 

Alessandra Ribeiro Parente Paes, Daniel Fernandes Gamez, Glauber Kotaki Rodrigues, Igor Albuquerque Bertolino, Karina Yuko Haneda, Marcio Pedrosa Tirico da Silva Junior. Orientadores: Mércia Albuquerque e Mauro Baptista – Reativo

 

Alessandro Capozzo – Talea

 

Alex Hetherington – Untitled (sexback, folly artist)

 

Alexandre Campos, Bruno Massara e Lucilene Soares Alves – Novos Olhares sobre a Mobilidade

 

Alexandre Cardoso Rodrigues Nunes, Bruno Coimbra Franco, Diego Filipe Braga R. Nascimento, Fábio Rinaldi Batistine, Yumi Dayane Shimada. Orientadores: Mércia Albuquerque e Carlos Alberto Barbosa – Abra Sua Gaveta

 

All: Alcione de Godoy, ADILSON NG, CAMILLO LOUVISE COQUEIRO, MARINA QUEIROZ MAIA, RODOLFO ROSSI JULIANI, VINÍCIUS NAKAMURA DE BRITO – Vita Ex Machina

 

Andreas Zingerele – Extension of Human Sight

 

Andrei R. Thomaz – O Tabuleiro dos Jogos que se bifurcam

 

Andrei R. Thomaz – First Person Movements

 

Andrei R. Thomaz e Marina Camargo – Eclipses

 

Brit Bunkley – Eclipses

 

Brit Bunkley – Spin

 

cali man – appendXship

 

Carlindo da Conceição Barbosa, Kauê de Oliveira Souza, Guilherme Tetsuo Takei, Renato Michalischen, Ricardo Rodrigues Martins, Tassia Deusdara Manso, Thalyta de Almeida Barbosa.

Orientadores: Mauricio Mazza e Carlos Alberto Barbosa – Da Música ao Caos

 

Christoph Korn – waldstueck

 

Corpos Informáticos: Bia Medeiros – UAI 69

 

Daniel Duda – do pixel ao pixel

 

Daniel Kobayashi, Felipe Crivelli Ayub, Fernando Boschetti, Luiz Felipe M. Coelho, Marcelo Knelsen, Mauro Falavigna, Rafael de A. Campos, Wellington K. Guimarães Bastos. Orientadores: Mércia Albuquerque e Gizela Belluzo de Campos – A Casa Dentro da Porta

 

David Clark - 88 Constellations for Wittgenstein

 

Thais Paola Galvez, Josias Silva, Diego Abrahão Modesto, Nilson Benis, Vinicius Augusto Naka de Vasconcelos, Wilson Ruano Junior, Marcela Moreira da Silva. Orientadores: Paulo Costa e Mauricio Mazza – Rogério Caos

 

Diogo Fuhrmann Misiti, Guilherme Pilz, João Henrique - Caleidoscópio Felliniano: 8 1/2

 

Agence TOPO: Elene Tremblay, Marcio Lana-Lopez,Maryse Larivière, Marie-Josée Hardy, James Prior – Mês / My contacts

 

Eliane Weizmann, Fernando Marinho e Leocádio Neto – Story teller

 

Fabian Antunes Silva – Pusada Recant Abaetuba

 

Edgar Franco e Fabio FON - Freakpedia - A verdadeira enciclopédia livre

 

Fernando Aquino – UAI-Justiça

 

Henry Gwiazda – claudia and paul

 

Henry Gwiazda – a doll`s house is……

 

Henry Gwiazda – there`s whispering......

 

Architecture in Metaverse: Hidenori Watanave - "Archidemo" - Architecture in Metaverse

 

Isabel Margarida Aranda Mansilla – Cyber Birds Dance

 

Dana Sperry - Sketch for an Intermezzo for the Masses, no. 7

 

Jorb Ebner - sans femme et sans aviateur

 

Josephine Anstey e Dave Pape – Office Diva

 

Joshua Andrew Fishburn – Layers

 

Joshua Andrew Fishburn – Waiting

 

Joshua Andrew Fishburn – Peculiaris

 

Kevin Evensen – Veils of Light

 

lemeh42: santini michele e paoloni lorenza - Study on human form and humanity #01

 

Linda Hilfling Nielsen – misspelling generator

 

Lisa Link – If I worked for 493 years

 

Marcelo Padre – Estro

 

Martha Carrer Cruz Gabriel – Locative Painting

 

Martin John Callanan – I Wanted to See All of the News From Today

 

Mateus Knelsen, Ana Clara, Felipe Vasconcelos, Rafael Jacobsen, Ronaldo Silva - A pós-modernidade em recortes: Tide Hellmeister e as relações Design e cultura

 

Mateus Knelsen, Felipe Szulc, Mileine Assai Ishii, Pamela Cardoso, Tânia Taura – Homo ex Machina

 

Michael Takeo Magruder – Sequence-n (labyrinth)

 

Michael Takeo Magruder – Sequence-n (horizon)

 

Michael Takeo Magruder + Drew Baker + David Steele – The Vitruvian World

 

Nina Simões - Rehearsing Reality ( An interactive non-linear docufragmentary)

 

Nurit Bar-Shai – Nothing Happens

 

projectsinge: Blanquet jerome – Monkey_Party

 

QUBO GAS: Jef Ablézot, Morgan Dimnet & Laura Henno – WATERCOLEUS PARK

 

rachelmauricio castro – 360

 

rachelmauricio castro – R.G.B.

 

rachelmauricio castro – tybushwacka

 

Rafael Rozendaal – future physics

 

Regina Célia Pinto – Ninhos e Magia

 

Ronaldo Ribeiro da Silva (Roni Ribeiro) – Bípedes

 

Rubens Pássaro – ISTO NÃO É PARANÓIA

 

Rui Filipe Antunes – xTNZ

 

Selcuk ARTUT & Cem OCALAN – NewsPaperBox

 

Stuart Pound – Dominat Culture

 

Stuart Pound – SF

 

Stuart Pound – Life on Mars

 

Susan Jowsey and Marcus Williams – The Trouble

 

Tanja Vujinovic – Osciloo

 

Weinberger Hannah – “Without Title”

   

CINEMA DOCUMENTA

 

Antonello Matarazzo – Interferenze

 

Bruno Natal - Dub Echoes

 

Carlo Sansolo - Panoramika Eletronika

 

Kevin Logan – Recitation

 

Kodiak Bachine e Apollo 9 – Nuncupate

 

Linda Hilfing Nielsen - Participation 0.0

 

Maren Sextro e Holger Wick - Slices, Pioneers of Electronic Music – Vol.1 – Richie

 

Matthew Bate - What The Future Sounded Like

 

Thomas Ziegler, Jason Gross e Russell Charmo - OHM+ the early gurus of electronic music

   

CINEMA DIGITAL

 

A Study of 4D Julia sets

 

Baraka / Baraka from DVD to 4K / Baraka with the monkey

 

Beatbox360

 

Enquanto a noite não chega (While we wait for the night â?" first Brazilian film in 4K)/(primeiro filme brasileiro em 4k)

 

Era la Notte

 

Flight to the Center of the Milky Way

 

Growth by aggregation 2

 

Jet Instabilities in a stratified fluid flow

 

Keio University Concert

 

Manny Farber (Tribute to)

 

Scalable City

 

The Nonlinear Evolution of the Universe

 

The Prague train

   

FILE INOVAÇÃO / FILE INNOVATION

 

Interface Cérebro-Computador – Eduardo Miranda

 

Sistema comercial de Reconhecimento Automático - Genius Instituto de Tecnologia

 

Robô de visão omnidirecional – Jun Okamoto

 

Loo Table: mesa interativa - André V. Perrotta, Erico Cheung e Luis Stateri dos Santos, da empresa Loodik

 

Simulador de Ondas e Simulador de Turbilhão - Steger produção de efeitos especiais ltda.

   

GAMES INSTALAÇÕES / INSTALLATIONS GAMES

 

Giles Askham – Aquaplayne

 

Jonah Warren & Steven Sanborn – Transpose

 

Jonah Warren & Steven Sanborn – Full Body Games

 

Fabiano Onça e Coméia – Tantalus Quest

 

Julian Oliver - levelHead

   

GAMES

 

Andreas Zecher – Understanding Games

 

Andrei R. Thomaz – Cubos de Cor

 

Arvi Teikari – Once In Space

 

Fabrício Fava – Futebolando

 

Golf Question Mark – Golf

 

Introversion.co.uk – Darwinia

 

Jens Andersson and Ida Rödén – Rorschach

 

Jonatan Söderström – CleanAsia!

 

Jonatan Söderström – AdNauseum2

 

Jorn Ebner – sans femme et sans avieteur

 

Josh Nimoy – BallDroppings

 

Josiah Pisciotta – Gish

  

Marek Walczak and Martin Wattenberg – Thinking Machine 7

 

Mariana Rillo – Desmanche

 

Mark Essen - Punishment: The punishing

 

Mark Essen - RANDY BALMA: MUNICIPAL ABORTIONIST

 

Playtime – SFZero

 

QUBO GAS: Jef Ablézot, Morgan Dimnet & Laura Henno - WATERCOULEUR PARK

 

QueasyGames - Jonathan Mak – Everyday Shooter

 

R-S-G: Radical Software Group - Kriegspiel - Guy Debord's Game of War

  

Shalin Shodhan (www.experimentalgameplay.com) – On a Rainy Day

 

Shalin Shodhan (www.experimentalgameplay.com) – Cytoplasm

 

Shalin Shodhan (www.experimentalgameplay.com) – Particle Rain

 

Tales of Tales: Auriea Harvey & Michaël Samyn - The Graveyard

 

Tanja Vujinovic – Osciloo

 

ThatGameCompany – Jenova Chen – Clouds

 

ThatGameCompany – Jenova Chen - flOw

   

JOGOS BR

 

JOGOS BR 1

 

Ayri - Uma Lenda Amazônica - Sylker Teles da Silva / Outline Interactive

 

Capoeira Experience - Andre Ivankio Hauer Ploszaj / Okio Serviços de Comunicação Multimídia Ltda.

 

Cim-itério - Wagner Gomes Carvalho / Green Land Studios

 

Incorporated (Emprego Maluco) - Tiago Pinheiro Teixeira / Interama Jogos Eletrônicos

 

Iracema Aventura – Odair Gaspar / Perceptum Software Ltda.

 

Nevrose: Sangue e Loucura Sob o Sol do Sertão - Rodrigo Queiroz de Oliveira

/ Gamion Realidade Virtual & Games

 

Raízes do Mal – Marcos Cruz Alves / Ignis Entretenimento e Informática Ltda.

 

JOGOS BR 2 – Jogos Completos

 

Cave Days - Winston George A. Petty / Insolita Studios

 

Peixis!

(JOGO EM DESENVOLVIMENTO) - Wallace Santos Lages / Ilusis Interactive Graphics

 

JOGOS BR 2 – Demos Jogáveis

 

Brasilia Tropicalis - Thiago Salgado Aiache de Moraes / Olympya Games

 

Conspiração Dumont - Guilherme Mattos Coutinho

 

Flora - Francisco Oliveira de Queiroz

 

Fórmula Galaxy – Artur Corrêa / Vencer Consultoria e Projetos Ltda.

 

Inferno - Alexandre Vrubel / Continuum Entertainment Ltda

 

Lex Venture - Tiago Pinheiro Teixeira / Interama Jogos Eletrônicos

 

Trem de Doido (DEMO EM DESENVOLVIMENTO) - Marcos André Penna Coutinho

 

Zumbi, o rei dos Palmeiras - Nicholas Lima de Souza

    

HIPERSÔNICA / HIPERSONICA

  

Hipersônica Performance

 

Andrei Thomaz, Francisco Serpa, Lílian Campesato e Vitor Kisil – Sonocromática

 

Bernhard Gal – Gal Live

 

+Zero: Fabrizio Augusto Poltronieri, Jonattas Marcel Poltronieri, Raphael Dall'Anese - +Zero do Brasil

 

Luiz duVa - Concerto para duo de laptops

 

Henrique Roscoe (a.k.a. 1mpar) – HOL

 

Jose Ignacio Hinestrosa e Testsu Kondo – Fricciones

 

Alexandre Fenerich e Giuliano Obici – Nmenos1

 

Orqstra de Laptops de São Paulo - EvEnTo 3 Movimentos para Orquestra

    

Hipersônica Participantes

 

Agricola de Cologne - soundSTORY - sound as a tool for storytelling

 

Jen-Kuan Chang – Drishti II

 

Jen-Kuan Chang – Discordance

 

Jen-Kuan Chang – Nekkhamma

 

Jen-Kuan Chang - She, Flush, Vegetable, Lo Mein, and Intolerable Happiness

 

Jerome Soudan – Mimetic

 

Matt Lewis e Jeremy Keenan – Animate Objects

 

Robert Dow - Precipitation within sight

 

Tetsu Kondo – Dendraw

 

Tomas Phillips – Drink_Deep

   

Hipersônica Screening

 

Art Zoyd's: Amandine Top – EYECATCHER 1

 

Art Zoyd's: Amandine Top – EYECATCHER 2, Man with a movie câmera

 

Art Zoyd's: Amandine Top – Movie-Concert for The Fall of the Usher House

 

Flames aka Flames: Raphael Freire - Performance Audiovisual Sincronizada: Sociedade Pós-Moderna, Novas Tecnologias e Espaço Urbano

 

Celia Eid e Sébastien Béranger – Gymel

 

Duprass: Liora Belford e Ido Govrin – Free Field

 

Duprass: Liora Belford e Ido Govrin – Pink / Noise

 

Citrullo International: Carlo Hitermann – H2O

 

1mpar: Henrique Roscoe – HOL

 

Jay Needham - Narrative Half-life

 

Daniel Carvalho - butterbox – diving

 

Daniel Carvalho - OUT_FLOW PART I

 

Bernard Loibner – Meltdown

 

Soundsthatmatter – trotting

 

Soundsthatmatter – briji

 

Fernando Velázquez – Nómada

 

Bjorn Erik Haugen – Regress

 

Audiobeamers: Felipe Frozza - Paesaggi Liquidi II

 

David Muth - You Are The Sony Of My Life

 

Dennis Summers – Plase Shift Videos

   

INSTALAÇÕES / INSTALLATIONS

 

Anaisa Franco – Connected Memories

 

Andrei Thomaz & Sílvia Laurentiz – 1º Subsolo

 

Graffiti Research Lab – Various

 

Hisako K. Yamakawa – Kodama

 

r3nder.net+i2off.org – is.3s

 

Jarbas Jacome – Crepúsculo dos Ídolos

 

Julio Obelleiro & Alberto García – Magnéticos

 

Julio Obelleiro & Alberto García – The Magic Torch

 

Mariana Manhães – Liquescer (Jarrinho)

 

Mariana Manhães – Liquescer (Jarrinho Azul)

 

Rejane Cantoni e Leonardo Crescenti – PISO

 

Sheldon Brown – Scalable City

 

Soraya Braz e Fábio FON – Roaming

 

Takahiro Matsuo – Phantasm

 

Ursula Hentschlaeger – Outer Space IP

 

Ursula Hentschlaeger – Phantasma

 

Ursula Hentschlaeger – Binary Art Site

   

SYMPOSIUM

 

Agnus Valente

 

Anaisa Franco

 

Andre Thomaz e Silvia Laurentiz

 

Christin Bolewski

 

Giles Askham

 

Graffiti Research Lab: James Powderly

 

Hidenori Watanave

 

Ivan Ivanoff e Jose Jimenez

 

Jarbas Jácome

 

João Fernando Igansi Nunes

 

Marcos Moraes

 

Mediengruppe Bitnik; Carmen Weisskopf, Domagoj Smoljo, Silvan Leuthold, Sven König [SWI]

 

Mesa Redonda (LABO) - Cicero Silva, Lev Manovich (teleconferencia) e Noah Wardrip-Fruin

 

Mesa Redonda [BRA] – (Hipersônica) Renata La Rocca, Gabriela Pereira Carneiro, Ana Paula Nogueira de Carvalho, Clarissa Ribeiro Pereira de Almeida. Mediação: Vivian Caccuri

 

Mesa Redonda [BRA] - [Ministro da Cultura: Gilberto Gil | Secretário do Audiovisual do Ministério da Cultura: Sílvio Da-Rin | Secretário de Políticas Culturais do Ministério da Cultura: Alfredo Manevy ]

 

Mesa Redonda [BRA] - Inovação - Lala Deheinzelin, Gian Zelada, Alessandro Dalla, Ivandro Sanches, Eduardo Giacomazzi. Mediação: Joana Ferraz

 

Mesa Redonda 4k - Jane de Almeida, Sheldon Brownn, Mike Toillion, Todd Margolis, Peter Otto

 

Nardo Germano

 

Nori Suzuki

 

Sandra Albuquerque Reis Fachinello

 

Satoru Tokuhisa

 

Sheldon Brown

 

Soraya Braz e Fabio FON

 

Suzete Venturelli, Mario Maciel e bolsistas do CNPq/UnB (Johnny Souza, Breno Rocha, João Rosa e Samuel Castro [BRA]

 

Ursula Hentschlaeger

 

Valzeli Sampaio

x

So I had originally planned on shooting NGC 2683, but thanks to several failed plate solves in a row my telescope photographed this random patch of sky for an hour and a half, before it recentered on my main target. There's [really nothing in this field except a few PGC galaxies](i.imgur.com/bt7JMQi.jpg). One day I'll get around to processing the 2683 data...

 

Captured on November 17th, 2022, from a Bortle 4 zone.

 

---

 

**[Equipment:](i.imgur.com/ejpKkwU.jpg)**

  

* TPO 6" F/4 Imaging Newtonian

 

* Orion Sirius EQ-G

 

* ZWO ASI1600MM-Pro

 

* Skywatcher Quattro Coma Corrector

 

* ZWO EFW 8x1.25"/31mm

 

* Astronomik LRGB+CLS Filters- 31mm

 

* Astrodon 31mm Ha 5nm, Oiii 3nm, Sii 5nm

 

* Agena 50mm Deluxe Straight-Through Guide Scope

 

* ZWO ASI-120mc for guiding

 

* Moonlite Autofocuser

 

**Acquisition:** 1 hours 33 minutes (Camera at half Unity Gain, -15°C)

 

* L- 15x180"

 

* R - 6x180"

 

* G - 6x180"

 

* B - 4x180

 

* Darks- 30

 

* Flats- 30 per filter

 

**Capture Software:**

 

* Captured using [N.I.N.A.](nighttime-imaging.eu) and PHD2 for guiding and dithering.

 

**PixInsight Processing**

 

* BatchPreProcessing

 

* StarAlignment

 

* [Blink](youtu.be/sJeuWZNWImE?t=40)

 

* ImageIntegration

 

**Luminance Linear:**

 

* DynamicCrop

 

* DynamicBackgroundExtraction

 

* NoiseXterminator

 

* ArcsinhStretch+HistogramTransformation to bring nonlinear

 

**RGB Linear:**

 

* DynamicCrop

 

* DynamicBackgroundExtraction

 

* ChannelCombination

 

* SpectrophotometricColorCalibration

 

* HSV Repair

 

* Slight SCNR green

 

* AcrsinhStretch + HistogramTransformation to stretch nonlinear

 

**Nonlinear:**

 

* added stretched luminance to stretched RGB via LRGBCombination

 

* NoiseX

 

* shitloads of CurveTransformations to adjust hue, lightness, saturation, etc. (some with star/lum masks)

 

* MLT for chrominance noise reduction

 

* Invert > SCNR > invert with star mask to remove magentas from stars

 

* more curves

 

* BlurXterminator (Star correction only)

 

* Resample to 70%

 

* annotation

Description: This image of the Pelican Nebula IC 5070 was developed from 48x300s subs or 4.0 hours of total exposure time. A processed dual bandpass integrated image was separated into Starless and Stars only images. The Starless image was processed and split into its RGB components, followed by the application of appropriate weighting factors to the individual RGB channels, further followed by LRGB Combination. The resulting image was post processed with various color masks using Curves Transformation to generate a final image which was rejoined with the Stars image. The rejoined image was processed in Topaz AI. The final image is a combination of a non-AI rejoined image and the Topaz AI image.

 

Date / Location: 12-13 July 2023 / Washington D.C.

 

Equipment:

Scope: WO Zenith Star 81mm f/6.9 with WO 6AIII Flattener/Focal Reducer x0.8

OSC Camera: ZWO ASI 2600 MC Pro at 100 Gain and 50 Offset

Mount: iOptron GEM28-EC

Guider: ZWO Off-Axis Guider

Guide Camera: ZWO ASI 174mm mini

Focuser: ZWO EAF

Light Pollution Filter: Optolong L-eXtreme Dual Bandpass

 

Processing Software: Pixinsight

 

Processing Steps:

 

Preprocessing:

I preprocessed 48x300s subs (= 4.0 hours) in Pixinsight to get an integrated image using the following process steps: Image Calibration > Cosmetic Correction > Subframe Selector > Debayer > Select Reference Star and do a Star Align > Image Integration.

 

Linear Postprocessing:

Dynamic Crop > Dynamic Background Extractor (doing subtraction to remove light pollution gradients and division for flat field correction) > Background Neutralization > Color Calibration > Blur Xterminator > Noise Xterminator.

 

Nonlinear Postprocessing and additional steps:

Histogram Transformation > Star Xterminator to create Starless and Stars Only Images.

Starless Image > Noise Xterminator > Local Histogram Equalization > Split RGB channels > Create new green and blue channels > LRGB Combination > Curves Transformation using various color masks.

Stars Only Image > Morphological transformation.

Pixel Math to combine the Starless Image with the Stars Only Image to get a Rejoined Image.

Rejoined Image > Topaz AI.

Pixel Math to combine the non-AI Rejoined Image with the Topaz AI Image to get a final image.

 

The BZ reaction with no front breaking or stirring.

 

This image has quite a different white balance and was made with a different camera than the more red-looking ones posted here.

 

Chemistry by Michael Rogers

The Messier Catalog is a collection of 110 star clusters, nebulae, and galaxies that Charles Messier found while he was looking for comets in the 1700's. Because of the small telescopes at the time, these objects are some of the biggest/brightest ones visible in the sky, and are popular targets for amateur astronomers to observe and photograph. Though it is possible to observe them all in one night (Messier Marathon), I opted to sink anywhere from 30 mins to 19 hours into each one in order to produce the best images possible with my equipment. I technically started on this catalog the first night I did astrophotography (I did M101), but it wasn't until last spring that I started photographing star clusters and really pushing to photograph all 110 objects. The majority of these were shot from the roof of my light polluted apartment in downtown Athens, GA (bortle 7), but I also traveled to dark sites for some of them.

 

---

 

Equipment:

 

Telescopes/Lenses

 

TPO 6" F/4 Imaging Newtonian

Tamron 17-50mm f/2.8

Meade ETX125-EC

Agena 50mm Deluxe Guide Scope (autoguiding telescope)

Tracking Mount:

 

Orion Sirius EQ-G

Cameras:

 

ZWO ASI1600MM-Pro

Canon T3i (Astro-modified)

ZWO ASI120MC (Autoguiding camera)

Filters:

 

Astronomik LRGB+CLS Filters- 31mm

Astrodon 31mm Ha 5nm, Oiii 3nm, Sii 5nm

Starguy 2" CLS-CCD

Accessories:

 

ZWO EFW 8x1.25"/31mm

Moonlite Autofocuser

DeepSkyDad Autofocuser

Skywatcher Quattro Coma Corrector

Baader MPCC

 

---

 

Processing:

 

(This is an extremely generalized processing workflow in PixInsight.)

 

Calibrate with dark and flat frames (bias frames also used for DSLR images)

 

Stack individual frames together to create a single image with high SNR. (This combines many images each with a few minutes of exposure into images which effectively have several hours of exposure, and rejects out any satellites that flew in front of the camera)

 

Crop (removes stacking artifacts)

 

Background extraction

 

Deconvolution sharpening and noise reduction

 

Color calibration (not necessary for false color images:)

 

Stretch to nonlinear state (this brightens the picture. The images straight off the camera are very close to black)

 

More noise reduction

 

Final tweaks of contrast, luminance, color balance, and saturation curves

Crop/resample to 1000x1000 for mosaic image, which was then assembled in Photoshop

 

---

 

Some highlights/superlatives:

 

M16: The famous 'Pillars of Creation' are located at the center of this nebula

 

M31: The Andromeda Galaxy, which is naked eye visible under dark skies

 

M40: The sexiest Messier object.

 

M45: The closest Messier object (430ly). In japanese the cluster is called 'Subaru' and is the logo for the car company. The stars are naked eye visible even under moderate light pollution

 

M65/66: These are the oldest photos in the composite (photographed March 22nd, 2018). I had previously done some of the other objects but I reshot them at later dates. These galaxies are also part of the Leo Triplet.

 

M70: The newest photo in the composite (photographed June 25th, 2020)

 

M87: The small blue splotch in this galaxy is the relativistic jet of material shot out by the black hole that was photographed last year. Coincidentally I took this photo on the same night that the photo was released

 

M101: This was the first space object I ever photographed, and I ended up reshooting it twice to track my improvement. (Don't plan on reshooting it this year, though)

 

M109: The most distant Messier object (~83 Million ly), though some sources say that M58 is further away.

 

89 were photographed from my apartment roof in downtown Athens, GA

 

10 were photographed from dark sites (Bortle 3/4) (M6, M7, M33, M41, M44, M69, M70, M78, M79, M101

 

7 are false color images (M8, M16, M17 M18, M43, M52, and M76)

Bold hues of yellow, orange and green vie for attention. See them in action here: youtu.be/YX48RFB0RX0

x

MIDIA ARTE / MEDIA ART

 

[fladry + jones]: Robb Fladry and Barry Jones – The War is Over 2007

 

Agricola de Cologne – One Day on Mars

 

Alan Bigelow – “When I Was President”

 

Alessandra Ribeiro Parente Paes, Daniel Fernandes Gamez, Glauber Kotaki Rodrigues, Igor Albuquerque Bertolino, Karina Yuko Haneda, Marcio Pedrosa Tirico da Silva Junior. Orientadores: Mércia Albuquerque e Mauro Baptista – Reativo

 

Alessandro Capozzo – Talea

 

Alex Hetherington – Untitled (sexback, folly artist)

 

Alexandre Campos, Bruno Massara e Lucilene Soares Alves – Novos Olhares sobre a Mobilidade

 

Alexandre Cardoso Rodrigues Nunes, Bruno Coimbra Franco, Diego Filipe Braga R. Nascimento, Fábio Rinaldi Batistine, Yumi Dayane Shimada. Orientadores: Mércia Albuquerque e Carlos Alberto Barbosa – Abra Sua Gaveta

 

All: Alcione de Godoy, ADILSON NG, CAMILLO LOUVISE COQUEIRO, MARINA QUEIROZ MAIA, RODOLFO ROSSI JULIANI, VINÍCIUS NAKAMURA DE BRITO – Vita Ex Machina

 

Andreas Zingerele – Extension of Human Sight

 

Andrei R. Thomaz – O Tabuleiro dos Jogos que se bifurcam

 

Andrei R. Thomaz – First Person Movements

 

Andrei R. Thomaz e Marina Camargo – Eclipses

 

Brit Bunkley – Eclipses

 

Brit Bunkley – Spin

 

cali man – appendXship

 

Carlindo da Conceição Barbosa, Kauê de Oliveira Souza, Guilherme Tetsuo Takei, Renato Michalischen, Ricardo Rodrigues Martins, Tassia Deusdara Manso, Thalyta de Almeida Barbosa.

Orientadores: Mauricio Mazza e Carlos Alberto Barbosa – Da Música ao Caos

 

Christoph Korn – waldstueck

 

Corpos Informáticos: Bia Medeiros – UAI 69

 

Daniel Duda – do pixel ao pixel

 

Daniel Kobayashi, Felipe Crivelli Ayub, Fernando Boschetti, Luiz Felipe M. Coelho, Marcelo Knelsen, Mauro Falavigna, Rafael de A. Campos, Wellington K. Guimarães Bastos. Orientadores: Mércia Albuquerque e Gizela Belluzo de Campos – A Casa Dentro da Porta

 

David Clark - 88 Constellations for Wittgenstein

 

Thais Paola Galvez, Josias Silva, Diego Abrahão Modesto, Nilson Benis, Vinicius Augusto Naka de Vasconcelos, Wilson Ruano Junior, Marcela Moreira da Silva. Orientadores: Paulo Costa e Mauricio Mazza – Rogério Caos

 

Diogo Fuhrmann Misiti, Guilherme Pilz, João Henrique - Caleidoscópio Felliniano: 8 1/2

 

Agence TOPO: Elene Tremblay, Marcio Lana-Lopez,Maryse Larivière, Marie-Josée Hardy, James Prior – Mês / My contacts

 

Eliane Weizmann, Fernando Marinho e Leocádio Neto – Story teller

 

Fabian Antunes Silva – Pusada Recant Abaetuba

 

Edgar Franco e Fabio FON - Freakpedia - A verdadeira enciclopédia livre

 

Fernando Aquino – UAI-Justiça

 

Henry Gwiazda – claudia and paul

 

Henry Gwiazda – a doll`s house is……

 

Henry Gwiazda – there`s whispering......

 

Architecture in Metaverse: Hidenori Watanave - "Archidemo" - Architecture in Metaverse

 

Isabel Margarida Aranda Mansilla – Cyber Birds Dance

 

Dana Sperry - Sketch for an Intermezzo for the Masses, no. 7

 

Jorb Ebner - sans femme et sans aviateur

 

Josephine Anstey e Dave Pape – Office Diva

 

Joshua Andrew Fishburn – Layers

 

Joshua Andrew Fishburn – Waiting

 

Joshua Andrew Fishburn – Peculiaris

 

Kevin Evensen – Veils of Light

 

lemeh42: santini michele e paoloni lorenza - Study on human form and humanity #01

 

Linda Hilfling Nielsen – misspelling generator

 

Lisa Link – If I worked for 493 years

 

Marcelo Padre – Estro

 

Martha Carrer Cruz Gabriel – Locative Painting

 

Martin John Callanan – I Wanted to See All of the News From Today

 

Mateus Knelsen, Ana Clara, Felipe Vasconcelos, Rafael Jacobsen, Ronaldo Silva - A pós-modernidade em recortes: Tide Hellmeister e as relações Design e cultura

 

Mateus Knelsen, Felipe Szulc, Mileine Assai Ishii, Pamela Cardoso, Tânia Taura – Homo ex Machina

 

Michael Takeo Magruder – Sequence-n (labyrinth)

 

Michael Takeo Magruder – Sequence-n (horizon)

 

Michael Takeo Magruder + Drew Baker + David Steele – The Vitruvian World

 

Nina Simões - Rehearsing Reality ( An interactive non-linear docufragmentary)

 

Nurit Bar-Shai – Nothing Happens

 

projectsinge: Blanquet jerome – Monkey_Party

 

QUBO GAS: Jef Ablézot, Morgan Dimnet & Laura Henno – WATERCOLEUS PARK

 

rachelmauricio castro – 360

 

rachelmauricio castro – R.G.B.

 

rachelmauricio castro – tybushwacka

 

Rafael Rozendaal – future physics

 

Regina Célia Pinto – Ninhos e Magia

 

Ronaldo Ribeiro da Silva (Roni Ribeiro) – Bípedes

 

Rubens Pássaro – ISTO NÃO É PARANÓIA

 

Rui Filipe Antunes – xTNZ

 

Selcuk ARTUT & Cem OCALAN – NewsPaperBox

 

Stuart Pound – Dominat Culture

 

Stuart Pound – SF

 

Stuart Pound – Life on Mars

 

Susan Jowsey and Marcus Williams – The Trouble

 

Tanja Vujinovic – Osciloo

 

Weinberger Hannah – “Without Title”

   

CINEMA DOCUMENTA

 

Antonello Matarazzo – Interferenze

 

Bruno Natal - Dub Echoes

 

Carlo Sansolo - Panoramika Eletronika

 

Kevin Logan – Recitation

 

Kodiak Bachine e Apollo 9 – Nuncupate

 

Linda Hilfing Nielsen - Participation 0.0

 

Maren Sextro e Holger Wick - Slices, Pioneers of Electronic Music – Vol.1 – Richie

 

Matthew Bate - What The Future Sounded Like

 

Thomas Ziegler, Jason Gross e Russell Charmo - OHM+ the early gurus of electronic music

   

CINEMA DIGITAL

 

A Study of 4D Julia sets

 

Baraka / Baraka from DVD to 4K / Baraka with the monkey

 

Beatbox360

 

Enquanto a noite não chega (While we wait for the night â?" first Brazilian film in 4K)/(primeiro filme brasileiro em 4k)

 

Era la Notte

 

Flight to the Center of the Milky Way

 

Growth by aggregation 2

 

Jet Instabilities in a stratified fluid flow

 

Keio University Concert

 

Manny Farber (Tribute to)

 

Scalable City

 

The Nonlinear Evolution of the Universe

 

The Prague train

   

FILE INOVAÇÃO / FILE INNOVATION

 

Interface Cérebro-Computador – Eduardo Miranda

 

Sistema comercial de Reconhecimento Automático - Genius Instituto de Tecnologia

 

Robô de visão omnidirecional – Jun Okamoto

 

Loo Table: mesa interativa - André V. Perrotta, Erico Cheung e Luis Stateri dos Santos, da empresa Loodik

 

Simulador de Ondas e Simulador de Turbilhão - Steger produção de efeitos especiais ltda.

   

GAMES INSTALAÇÕES / INSTALLATIONS GAMES

 

Giles Askham – Aquaplayne

 

Jonah Warren & Steven Sanborn – Transpose

 

Jonah Warren & Steven Sanborn – Full Body Games

 

Fabiano Onça e Coméia – Tantalus Quest

 

Julian Oliver - levelHead

   

GAMES

 

Andreas Zecher – Understanding Games

 

Andrei R. Thomaz – Cubos de Cor

 

Arvi Teikari – Once In Space

 

Fabrício Fava – Futebolando

 

Golf Question Mark – Golf

 

Introversion.co.uk – Darwinia

 

Jens Andersson and Ida Rödén – Rorschach

 

Jonatan Söderström – CleanAsia!

 

Jonatan Söderström – AdNauseum2

 

Jorn Ebner – sans femme et sans avieteur

 

Josh Nimoy – BallDroppings

 

Josiah Pisciotta – Gish

  

Marek Walczak and Martin Wattenberg – Thinking Machine 7

 

Mariana Rillo – Desmanche

 

Mark Essen - Punishment: The punishing

 

Mark Essen - RANDY BALMA: MUNICIPAL ABORTIONIST

 

Playtime – SFZero

 

QUBO GAS: Jef Ablézot, Morgan Dimnet & Laura Henno - WATERCOULEUR PARK

 

QueasyGames - Jonathan Mak – Everyday Shooter

 

R-S-G: Radical Software Group - Kriegspiel - Guy Debord's Game of War

  

Shalin Shodhan (www.experimentalgameplay.com) – On a Rainy Day

 

Shalin Shodhan (www.experimentalgameplay.com) – Cytoplasm

 

Shalin Shodhan (www.experimentalgameplay.com) – Particle Rain

 

Tales of Tales: Auriea Harvey & Michaël Samyn - The Graveyard

 

Tanja Vujinovic – Osciloo

 

ThatGameCompany – Jenova Chen – Clouds

 

ThatGameCompany – Jenova Chen - flOw

   

JOGOS BR

 

JOGOS BR 1

 

Ayri - Uma Lenda Amazônica - Sylker Teles da Silva / Outline Interactive

 

Capoeira Experience - Andre Ivankio Hauer Ploszaj / Okio Serviços de Comunicação Multimídia Ltda.

 

Cim-itério - Wagner Gomes Carvalho / Green Land Studios

 

Incorporated (Emprego Maluco) - Tiago Pinheiro Teixeira / Interama Jogos Eletrônicos

 

Iracema Aventura – Odair Gaspar / Perceptum Software Ltda.

 

Nevrose: Sangue e Loucura Sob o Sol do Sertão - Rodrigo Queiroz de Oliveira

/ Gamion Realidade Virtual & Games

 

Raízes do Mal – Marcos Cruz Alves / Ignis Entretenimento e Informática Ltda.

 

JOGOS BR 2 – Jogos Completos

 

Cave Days - Winston George A. Petty / Insolita Studios

 

Peixis!

(JOGO EM DESENVOLVIMENTO) - Wallace Santos Lages / Ilusis Interactive Graphics

 

JOGOS BR 2 – Demos Jogáveis

 

Brasilia Tropicalis - Thiago Salgado Aiache de Moraes / Olympya Games

 

Conspiração Dumont - Guilherme Mattos Coutinho

 

Flora - Francisco Oliveira de Queiroz

 

Fórmula Galaxy – Artur Corrêa / Vencer Consultoria e Projetos Ltda.

 

Inferno - Alexandre Vrubel / Continuum Entertainment Ltda

 

Lex Venture - Tiago Pinheiro Teixeira / Interama Jogos Eletrônicos

 

Trem de Doido (DEMO EM DESENVOLVIMENTO) - Marcos André Penna Coutinho

 

Zumbi, o rei dos Palmeiras - Nicholas Lima de Souza

    

HIPERSÔNICA / HIPERSONICA

  

Hipersônica Performance

 

Andrei Thomaz, Francisco Serpa, Lílian Campesato e Vitor Kisil – Sonocromática

 

Bernhard Gal – Gal Live

 

+Zero: Fabrizio Augusto Poltronieri, Jonattas Marcel Poltronieri, Raphael Dall'Anese - +Zero do Brasil

 

Luiz duVa - Concerto para duo de laptops

 

Henrique Roscoe (a.k.a. 1mpar) – HOL

 

Jose Ignacio Hinestrosa e Testsu Kondo – Fricciones

 

Alexandre Fenerich e Giuliano Obici – Nmenos1

 

Orqstra de Laptops de São Paulo - EvEnTo 3 Movimentos para Orquestra

    

Hipersônica Participantes

 

Agricola de Cologne - soundSTORY - sound as a tool for storytelling

 

Jen-Kuan Chang – Drishti II

 

Jen-Kuan Chang – Discordance

 

Jen-Kuan Chang – Nekkhamma

 

Jen-Kuan Chang - She, Flush, Vegetable, Lo Mein, and Intolerable Happiness

 

Jerome Soudan – Mimetic

 

Matt Lewis e Jeremy Keenan – Animate Objects

 

Robert Dow - Precipitation within sight

 

Tetsu Kondo – Dendraw

 

Tomas Phillips – Drink_Deep

   

Hipersônica Screening

 

Art Zoyd's: Amandine Top – EYECATCHER 1

 

Art Zoyd's: Amandine Top – EYECATCHER 2, Man with a movie câmera

 

Art Zoyd's: Amandine Top – Movie-Concert for The Fall of the Usher House

 

Flames aka Flames: Raphael Freire - Performance Audiovisual Sincronizada: Sociedade Pós-Moderna, Novas Tecnologias e Espaço Urbano

 

Celia Eid e Sébastien Béranger – Gymel

 

Duprass: Liora Belford e Ido Govrin – Free Field

 

Duprass: Liora Belford e Ido Govrin – Pink / Noise

 

Citrullo International: Carlo Hitermann – H2O

 

1mpar: Henrique Roscoe – HOL

 

Jay Needham - Narrative Half-life

 

Daniel Carvalho - butterbox – diving

 

Daniel Carvalho - OUT_FLOW PART I

 

Bernard Loibner – Meltdown

 

Soundsthatmatter – trotting

 

Soundsthatmatter – briji

 

Fernando Velázquez – Nómada

 

Bjorn Erik Haugen – Regress

 

Audiobeamers: Felipe Frozza - Paesaggi Liquidi II

 

David Muth - You Are The Sony Of My Life

 

Dennis Summers – Plase Shift Videos

   

INSTALAÇÕES / INSTALLATIONS

 

Anaisa Franco – Connected Memories

 

Andrei Thomaz & Sílvia Laurentiz – 1º Subsolo

 

Graffiti Research Lab – Various

 

Hisako K. Yamakawa – Kodama

 

r3nder.net+i2off.org – is.3s

 

Jarbas Jacome – Crepúsculo dos Ídolos

 

Julio Obelleiro & Alberto García – Magnéticos

 

Julio Obelleiro & Alberto García – The Magic Torch

 

Mariana Manhães – Liquescer (Jarrinho)

 

Mariana Manhães – Liquescer (Jarrinho Azul)

 

Rejane Cantoni e Leonardo Crescenti – PISO

 

Sheldon Brown – Scalable City

 

Soraya Braz e Fábio FON – Roaming

 

Takahiro Matsuo – Phantasm

 

Ursula Hentschlaeger – Outer Space IP

 

Ursula Hentschlaeger – Phantasma

 

Ursula Hentschlaeger – Binary Art Site

   

SYMPOSIUM

 

Agnus Valente

 

Anaisa Franco

 

Andre Thomaz e Silvia Laurentiz

 

Christin Bolewski

 

Giles Askham

 

Graffiti Research Lab: James Powderly

 

Hidenori Watanave

 

Ivan Ivanoff e Jose Jimenez

 

Jarbas Jácome

 

João Fernando Igansi Nunes

 

Marcos Moraes

 

Mediengruppe Bitnik; Carmen Weisskopf, Domagoj Smoljo, Silvan Leuthold, Sven König [SWI]

 

Mesa Redonda (LABO) - Cicero Silva, Lev Manovich (teleconferencia) e Noah Wardrip-Fruin

 

Mesa Redonda [BRA] – (Hipersônica) Renata La Rocca, Gabriela Pereira Carneiro, Ana Paula Nogueira de Carvalho, Clarissa Ribeiro Pereira de Almeida. Mediação: Vivian Caccuri

 

Mesa Redonda [BRA] - [Ministro da Cultura: Gilberto Gil | Secretário do Audiovisual do Ministério da Cultura: Sílvio Da-Rin | Secretário de Políticas Culturais do Ministério da Cultura: Alfredo Manevy ]

 

Mesa Redonda [BRA] - Inovação - Lala Deheinzelin, Gian Zelada, Alessandro Dalla, Ivandro Sanches, Eduardo Giacomazzi. Mediação: Joana Ferraz

 

Mesa Redonda 4k - Jane de Almeida, Sheldon Brownn, Mike Toillion, Todd Margolis, Peter Otto

 

Nardo Germano

 

Nori Suzuki

 

Sandra Albuquerque Reis Fachinello

 

Satoru Tokuhisa

 

Sheldon Brown

 

Soraya Braz e Fabio FON

 

Suzete Venturelli, Mario Maciel e bolsistas do CNPq/UnB (Johnny Souza, Breno Rocha, João Rosa e Samuel Castro [BRA]

 

Ursula Hentschlaeger

 

Valzeli Sampaio

x

Description: This is an image of the Needle Galaxy NGC 4565, an edge-on spiral galaxy in Coma Berenices, as developed by me from a total exposure time of 6.75 hours. In order to reduce the brightness of stellar background I applied a morphological transformation in postprocessing.

 

Date/Location: 14, 18 February 2023 / Washington D.C.

 

Equipment:

Scope: WO Zenith Star 81mm f/6.9 with WO 6AIII Flattener/Focal Reducer x0.8

OSC Camera: ZWO ASI 2600 MC Pro at 100 Gain and 50 Offset

Mount: iOptron GEM28-EC

Guider: ZWO Off-Axis Guider

Guide Camera: ZWO ASI 174mm mini

Focuser: ZWO EAF

Light Pollution Filter: Chroma LoGlow Broadband

 

Processing Software: Pixinsight

 

Processing Steps:

 

Preprocessing: I preprocessed 81x300s subs (= 6.75 hours) in Pixinsight to get an integrated image using the following steps: Image Calibration > Cosmetic Correction > Subframe Selector > Debayer > Select Reference Star and Star Align > Image Integration.

 

Linear Postprocessing: Rotation > Dynamic Crop > Dynamic Background Extractor (both subtraction to remove light pollution gradients and division for flat field corrections) > Background Neutralization > Color Calibration > Noise Xterminator.

 

Nonlinear Postprocessing: First Histogram Transformation > Local Histogram Equalization > First Curves Transformation > SCNR Noise Reduction > Second Histogram Transformation > Morphological Transformation > Second Curves Transformation > Third Histogram Transformation.

uploading some old comics

Hundreds of photographers have probably been up here - their tracks and little places of flattened bluebells used to kneel or stand as they took photographs are everywhere - this probably won't be that unique a picture, then!

 

That white cloud didn't shift all the time I was there, which made ND grads a waste of time what with the highlight nonlinearity

The bighorn sheep (Ovis canadensis) is a species of sheep native to North America. It is named for its large horns. A pair of horns might weigh up to 14 kg (30 lb); the sheep typically weigh up to 143 kg (315 lb). Recent genetic testing indicates three distinct subspecies of Ovis canadensis, one of which is endangered: O. c. sierrae.

 

Sheep originally crossed to North America over the Bering Land Bridge from Siberia; the population in North America peaked in the millions, and the bighorn sheep entered into the mythology of Native Americans. By 1900, the population had crashed to several thousand due to diseases introduced through European livestock and overhunting.

 

Taxonomy and genetics

Ovis canadensis is one of two species of mountain sheep in North America; the other species being O. dalli, the Dall sheep. Wild sheep crossed the Bering land bridge from Siberia into Alaska during the Pleistocene (about 750,000 years ago); subsequently, they spread through western North America as far south as Baja California and northwestern mainland Mexico. Divergence from their closest Asian ancestor (snow sheep) occurred about 600,000 years ago. In North America, wild sheep diverged into two extant species — Dall sheep, which occupy Alaska and northwestern Canada, and bighorn sheep, which range from southwestern Canada to Mexico. However, the status of these species is questionable given that hybridization has occurred between them in their recent evolutionary history.

 

Subspecies

Former

In 1940, Ian McTaggart-Cowan split the species into seven subspecies, with the first three being mountain bighorns and the last four being desert bighorns:

 

Rocky Mountain bighorn sheep, O. c. canadensis, found from British Columbia to Arizona.

 

Badlands bighorn sheep (or Audubon's bighorn sheep), O. c. auduboni, occurred in North Dakota, South Dakota, Montana,

Wyoming, and Nebraska. This subspecies has been extinct since 1925.

 

California bighorn sheep, O. c. californiana, found from British Columbia south to California and east to North Dakota. The definition of this subspecies has been updated (see below).

 

Nelson's bighorn sheep, O. c. nelsoni, the most common desert bighorn sheep, ranges from California through Arizona.

 

Mexican bighorn sheep, O. c. mexicana, ranges from Arizona and New Mexico south to Sonora and Chihuahua.

 

Peninsular bighorn sheep O. c. cremnobates, occur in the Peninsular Ranges of California and Baja California

 

Weems' bighorn sheep, O. c. weemsi, found in southern Baja

 

Yellowstone National Park

Starting in 1993, Ramey and colleagues, using DNA testing, have shown this division into seven subspecies is largely illusory. Most scientists currently recognize three subspecies of bighorn. This taxonomy is supported by the most extensive genetics (microsatellite and mitochondrial DNA) study to date (2016) which found high divergence between Rocky Mountain and Sierra Nevada bighorn sheep, and that these two subspecies both diverged from desert bighorn before or during the Illinoian glaciation (about 315–94 thousand years ago). Thus, the three subspecies of O. canadensis are:

 

Rocky Mountain bighorn sheep (O. c. canadensis) – occupying the U.S. and Canadian Rocky Mountains, and the Northwestern United States.

Sierra Nevada bighorn sheep (O. c. sierrae) – formerly California bighorn sheep, a genetically distinct subspecies that only occurs in the Sierra Nevada in California. However, historic observer records suggest that bighorn sheep may have ranged as far west as the California Coastal Ranges, which are contiguous to the Sierra Nevada via the Transverse Ranges. An account of "wild sheep" in the vicinity of the Mission San Antonio near Jolon, California and the mountains around San Francisco Bay dates to circa 1769.

Desert bighorn sheep (O. c. nelsoni) – occurring throughout the desert regions of the Southwestern United States and Northwestern Mexico. The 2016 genetics study suggested a more modest divergence of this desert bighorn sheep into three lineages consistent with the earlier work of Cowan: Nelson's (O. c. nelsoni), Mexican (O. c. mexicana), and Peninsular (O. c. cremnobates). These three lineages occupy desert biomes that vary significantly in climate, suggesting exposure to different selection regimens.

In addition, two populations are currently considered endangered by the United States government:

 

Description

Bighorn sheep are named for the large, curved horns borne by the rams (males). Ewes (females) also have horns, but they are shorter with less curvature. They range in color from light brown to grayish or dark, chocolate brown, with a white rump and lining on the backs of all four legs. Males typically weigh 58–143 kg (128–315 lb), are 90–105 cm (35–41 in) tall at the shoulder, and 1.6–1.85 m (63–73 in) long from the nose to the tail. Females are typically 34–91 kg (75–201 lb), 75–90 cm (30–35 in) tall, and 1.28–1.58 m (50–62 in) long. Male bighorn sheep have large horn cores, enlarged cornual and frontal sinuses, and internal bony septa. These adaptations serve to protect the brain by absorbing the impact of clashes. Bighorn sheep have preorbital glands on the anterior corner of each eye, inguinal glands in the groin, and pedal glands on each foot. Secretions from these glands may support dominance behaviors.

 

Bighorns from the Rocky Mountains are relatively large, with males that occasionally exceed 230 kg (500 lb) and females that exceed 90 kg (200 lb). In contrast, Sierra Nevada bighorn males weigh up to only 90 kg (198 lb) and females to 60 kg (132 lb). Males' horns can weigh up to 14 kg (30 lb), as much as all the bones in the male's body.

 

Natural history

The Rocky Mountain and Sierra Nevada bighorn sheep occupy the cooler mountainous regions of Canada and the United States. In contrast, the desert bighorn sheep subspecies are indigenous to the hot desert ecosystems of the Southwestern United States and Mexico. Bighorn sheep inhabit alpine meadows, grassy mountain slopes, and foothill country near rugged, rocky cliffs and bluffs. Since bighorn sheep cannot move through deep snow, they prefer drier slopes, where the annual snowfall is less than about 150 cm (60 in) per year. A bighorn's winter range usually has lower elevations than its summer range.

 

Bighorn sheep are highly susceptible to certain diseases carried by domestic sheep, such as psoroptic scabies and pneumonia; additional mortality occurs as a result of accidents involving rock falls or falling off cliffs (a hazard of living in steep, rugged terrain). Bighorns are well adapted to climbing steep terrain, where they seek cover from predators. Predation primarily occurs with lambs, which are hunted by coyotes, bobcats, gray foxes, wolverines, jaguars, ocelots, lynxes, and golden eagles.

 

Bighorn sheep of all ages are threatened by black bears, grizzly bears, wolves, and especially mountain lions, which are perhaps best equipped with the agility to prey on them in uneven, rocky habitats. Fire suppression techniques may limit visibility through shrublands, and therefore increase cover and predation rates by mountain lions. Bighorn sheep are considered good indicators of land health because the species is sensitive to many human-induced environmental problems. In addition to their aesthetic value, bighorn sheep are considered desirable game animals by hunters.

 

Bighorn sheep graze on grasses and browse shrubs, particularly in fall and winter, and seek minerals at natural salt licks. Females tend to forage and walk, possibly to avoid predators and protect lambs, while males tend to eat and then rest and ruminate, which lends to more effective digestion and greater increase in body size.

 

Social structure and reproduction

Bighorn sheep live in large herds and do not typically follow a single leader ram, unlike the mouflon, the ancestor of the domestic sheep, which has a strict dominance hierarchy. Before the mating season or "rut", the rams attempt to establish a dominance hierarchy to determine access to ewes for mating. During the prerut period, most of the characteristic horn clashing occurs between rams, although this behavior may occur to a limited extent throughout the year. Bighorn sheep exhibit agonistic behavior: two competitors walk away from each other and then turn to face each other before jumping and lunging into headbutts. Rams' horns can frequently exhibit damage from repeated clashes. Females exhibit a stable, nonlinear hierarchy that correlates with age. Females may fight for high social status when they are integrated into the hierarchy at one to two years of age.

 

Rocky Mountain bighorn rams employ at least three different courting strategies. The most common and successful is the tending strategy, in which a ram follows and defends an estrous ewe. Tending takes considerable strength and vigilance, and ewes are most receptive to tending males, presumably feeling they are the most fit. Another tactic is coursing, when rams fight for an already tended ewe. Ewes typically avoid coursing males, so the strategy is ineffective. The rams also employ a blocking strategy. They prevent a ewe from accessing tending areas before she even enters estrus.

 

Bighorn ewes have a six-month gestation. In temperate climates, the peak of the rut occurs in November, with one, or rarely two, lambs being born in May. Most births occur in the first two weeks of the lambing period. Pregnant ewes of the Rocky Mountains migrate to alpine areas in spring, presumably to give birth in areas safer from predation, but are away from areas with good quality forage. Lambs born earlier in the season are more likely to survive than lambs born later. Lambs born late may not have access to sufficient milk, as their mothers are lactating at a time when food quality is lower. Newborn lambs weigh from 3.6 to 4.5 kg (8 to 10 lb) and can walk within hours. The lambs are then weaned when they reach four to six months old. The lifespan of ewes is typically 10–14 years and 9–12 years for rams.

 

Bighorn ram skull

Many bighorn sheep populations in the United States experience regular outbreaks of infectious pneumonia, which likely result from the introduction of bacterial pathogens (in particular, Mycoplasma ovipneumoniae, and some strains of Mannheimia haemolytica) carried asymptomatically in domestic sheep. Once introduced, pathogens can transmit rapidly through a bighorn population, resulting in all-age die-offs that sometimes kill up to 90% of the population. In the years following pathogen introduction, bighorn populations frequently experience multiple years of lamb pneumonia outbreaks. These outbreaks can severely limit recruitment and likely play a powerful role in slowing population growth.

 

Relationship with humans

Bighorn sheep were widespread throughout the western United States, Canada, and northern Mexico two hundred years ago. The population was estimated to be 150,000 to 200,000. Unregulated hunting, habitat destruction, overgrazing of rangelands, and diseases contracted from domestic livestock all contributed to the decline, the most drastic occurring from about 1870 through 1950.

 

In 1936, the Arizona Boy Scouts mounted a statewide campaign to save the bighorn sheep. The scouts first became interested in the sheep through the efforts of Major Frederick Russell Burnham. Burnham observed that fewer than 150 of these sheep still lived in the Arizona mountains. The National Wildlife Federation, the Izaak Walton League, and the National Audubon Society also joined the effort. On January 18, 1939, over 600,000 hectares (1,500,000 acres) of land were set aside to create the Kofa National Wildlife Refuge and the Cabeza Prieta National Wildlife Refuge.

 

Many state and federal agencies have actively pursued the restoration of bighorn sheep since the 1940s. However, these efforts have met with limited success, and most of the historical range of bighorns remains unoccupied. Hunting for male bighorn sheep is allowed, but heavily regulated, in Canada and the United States.

 

In culture

Bighorn sheep were among the most admired animals of the Apsaalooka (Crow) people, and what is today called the Bighorn Mountain Range was central to the Apsaalooka tribal lands. In the Bighorn Canyon National Recreation Area book, storyteller Old Coyote describes a legend related to the bighorn sheep. A man possessed by evil spirits attempts to kill his heir by pushing the young man over a cliff, but the victim is saved by getting caught in trees. Rescued by bighorn sheep, the man takes the name of their leader, Big Metal. The other sheep grant him power, wisdom, sharp eyes, sure-footedness, keen ears, great strength, and a strong heart. Big Metal returns to his people with the message that the Apsaalooka people will survive only so long as the river winding out of the mountains is known as the Bighorn River.

 

Bighorn sheep are hunted for their meat and horns, used in ceremonies, as food, and as hunting trophies. They also serve as a source of ecotourism, as tourists come to see the bighorn sheep in their native habitat.

 

The Rocky Mountain bighorn sheep is the provincial mammal of Alberta and the state animal of Colorado and, as such, is incorporated into the symbol for the Colorado Division of Parks and Wildlife. The Desert bighorn sheep is the state mammal of Nevada.

 

The Bighorn sheep was featured in the children's book Buford the Little Bighorn (1967) by Bill Peet. The Bighorn sheep named Buford has a huge pair of horns in the Spring, Summer, Fall, and Winter, similar to Rudolph the Red-Nosed Reindeer.

 

Bighorn sheep were once known by the scientific identification "argali" or "argalia" due to assumption that they were the same animal as the Asiatic argali (Ovis ammon). Lewis and Clark recorded numerous sightings of O. canadensis in the journals of their exploration—sometimes using the name argalia. In addition, they recorded the use of bighorn sheep horns by the Shoshone in making composite bows. William Clark's Track Map produced after the expedition in 1814 indicated a tributary of the Yellowstone River named Argalia Creek and a tributary of the Missouri River named Argalia River, both in what is today Montana. Neither of these tributaries retained these names, however. The Bighorn River, another tributary of the Yellowstone, and its tributary stream, the Little Bighorn River, were both indicated on Clark's map and did retain their names, the latter being the namesake of the Battle of the Little Bighorn.

 

The Bighorn Ram was featured in a series of prints by artist Andy Warhol. In 1983, the artist was commissioned to create a portfolio of ten endangered species to raise environmental awareness. The portfolio, known as "Endangered Species" was created in support of the Endangered Species Act, which was passed by the U.S. Congress in 1973. Other animals within the portfolio include the Siberian Tiger, Bald Eagle and the Giant Panda.

Put off on processing this for a while because heavy light pollution broadband sucks :-(

 

I'd still consider this an improvement over my last attempt at this galaxy back in 2017. Captured on september 12th and 13th, 2023 from, my bortle 8 apartment balcony.

  

---

 

**[Equipment:](i.imgur.com/ejpKkwU.jpg)**

 

* TPO 6" F/4 Imaging Newtonian

 

* Orion Sirius EQ-G

 

* ZWO ASI1600MM-Pro

 

* Skywatcher Quattro Coma Corrector

 

* ZWO EFW 8x1.25"/31mm

 

* Astronomik LRGB+CLS Filters- 31mm

 

* Astrodon 31mm Ha 5nm, Oiii 3nm, Sii 5nm

 

* Agena 50mm Deluxe Straight-Through Guide Scope

 

* ZWO ASI-120mc for guiding

 

* Moonlite Autofocuser

 

**Acquisition:** 7 hour 36 minutes (Camera at half Unity Gain, -15°C)

 

* L- 247x60"

 

* R - 70x60"

 

* G - 70x60"

 

* B - 70x60"

  

* Darks- 30

 

* Flats- 30 per filter

 

**Capture Software:**

 

* Captured using [N.I.N.A.](nighttime-imaging.eu) and PHD2 for guiding and dithering.

 

**PixInsight Processing**

 

* BatchPreProcessing

 

* StarAlignment

 

* [Blink](youtu.be/sJeuWZNWImE?t=40)

 

* ImageIntegration

 

**Luminance Linear:**

 

* DynamicCrop

 

* DynamicBackgroundExtraction

 

* NoiseXterminator

 

* MaskedStretch to 0.1 background

 

* Starnet++ starmask made, subtracted from 0.3 Gray image and colvolved

 

* Previous image used as a mask to stretch nebulosity without stretching stars

 

**RGB Linear:**

 

* DynamicCrop

 

* DynamicBackgroundExtraction

 

* ChannelCombination

 

* SpectrophotometricColorCalibration

 

* HSV Repair

 

* Slight SCNR green

 

* AcrsinhStretch + HistogramTransformation to stretch nonlinear

 

**Nonlinear:**

 

* added stretch luminance to stretched RGB via LRGBCombination

 

* DeepSNR

 

* Several CurveTransformations to adjust hue, lightness, saturation, etc.

 

* Extract L --> LRGBCombination for chrominance noise reduction (masked)

 

* more curves

 

* MultiscaleLinearTransform

 

* LocalHistogramTransformation

 

* even more curves

 

* UnsharpMask to slightly sharpen galaxy

 

* guess what more curves

 

* DynamicCrop again

 

* annotation

In Japanese this cluster is called 'Subaru', and is also [the logo for said car company](upload.wikimedia.org/wikipedia/en/thumb/9/9f/Subaru_Corpo...).

 

Was planning on adding more time into this, but my RGB data ended up with some [pretty bad halos](i.imgur.com/KMjBaz1.png) around the brighter stars (Astronomik filters). Got a good amount of detail with just over an hour of exposure time, especially compared to my previous pic of M45 from 2 years ago. Captured on October 13th, 2020 from a Bortle 6 zone.

 

---

 

**[Equipment:](i.imgur.com/6T8QNsv.jpg)**

 

* TPO 6" F/4 Imaging Newtonian

 

* Orion Sirius EQ-G

 

* ZWO ASI1600MM-Pro

 

* Skywatcher Quattro Coma Corrector

 

* ZWO EFW 8x1.25"/31mm

 

* Astronomik LRGB+CLS Filters- 31mm

 

* Astrodon 31mm Ha 5nm, Oiii 3nm, Sii 5nm

 

* Agena 50mm Deluxe Straight-Through Guide Scope

 

* ZWO ASI-120MC for guiding

 

* Moonlite Autofocuser

 

**Acquisition:** 1 hour 6 minutes (Camera at Unity Gain, -15°C)

 

* Lum- 12x120"

 

* Red- 7x120"

 

* Green- 7x120"

 

* Blue- 7x120"

 

* Darks- 30

 

* Flats- 30 per filter

 

**Capture Software:**

 

* Captured using [N.I.N.A.](nighttime-imaging.eu/) and PHD2 for guiding and dithering.

 

**PixInsight Processing:**

 

* BatchPreProcessing

 

* StarAlignment

 

* [Blink](youtu.be/sJeuWZNWImE?t=40)

 

* ImageIntegration

 

**Linear**

 

* DynamicCrop

 

* AutomaticBackgroundExtraction

 

**Luminance**

 

* ArcsinhStretch

 

* HistogramTransformation

 

**RGB**

 

* LinearFit to Green

 

* ChannelCombination

 

* PhotometricColorCalibration

 

* SCNR

 

* HSVRepair

 

* ArcsinhStretch

 

* HistogramTransformation

 

* LRGBCombinaiton with Luminance

 

**Nonlinear**

 

* Several CurveTransformations to adjust lightness, contrast, saturation, etc

 

* ACDNR

 

* EZ Star Reduction

 

* DynamicCrop

 

* Resample to 90%

 

* Annotation

I'm guessing it's called that because it's kinda headphone shaped. It was discovered in the 30's so I'm assuming only the brightest parts of the nebula were visible to the astronomers.

 

This image is a combination of false color narrowband images for the nebula itself, plus true color RGB stars (the nebula is mostly red and blue in true color). If you zoom in to the center you can see the very blue white dwarf that caused the planetary nebula to form. Also for those curious this is what a [single 10 minute long Ha exposure](i.imgur.com/rJIMkvP.png) looks like (image total is 83.5 hours exposure). Captured over 33 nights from Jan-May 2024 from a bortle 9 zone.

 

---

 

**[Equipment:](i.imgur.com/kDRYMKi.jpg)**

 

* TPO 6" F/4 Imaging Newtonian

 

* Orion Sirius EQ-G

 

* ZWO ASI1600MM-Pro

 

* Skywatcher Quattro Coma Corrector

 

* ZWO EFW 8x1.25"/31mm

 

* Astronomik LRGB+CLS Filters- 31mm

 

* Astrodon 31mm Ha 5nm, Oiii 3nm, Sii 5nm

 

* Agena 50mm Deluxe Straight-Through Guide Scope

 

* ZWO ASI-290mc for guiding

 

* Moonlite Autofocuser

 

**Acquisition:** 83 hours 30 minutes (Camera at -15°C), NB exposures at unity gain and BB at half unity

 

* Ha - 238x600"

 

* Oiii - 247x600"

 

* R - 54x60"

 

* G - 53x60"

 

* B - 54x60"

 

* Darks- 30

 

* Flats- 30 per filter

 

**Capture Software:**

 

* Captured using [N.I.N.A.](nighttime-imaging.eu) and PHD2 for guiding and dithering.

 

**PixInsight Preprocessing:**

 

* BatchPreProcessing

 

* StarAlignment

 

* Blink

 

* ImageIntegration per channel

 

* DrizzleIntegration (2x, Var β=1.5)

 

* Dynamic Crop

 

* DynamicBackgroundExtraction 3x

 

> duplicated each image and removed stars via StarXterminator. Ran DBE with a shitload of points to generate background model. model subtracted from original pic using the following PixelMath (math courtesy of /u/jimmythechicken1)

 

> $T * med(model) / model

 

**Narrowband Linear:**

 

* Blur and NoiseXTerminator

 

* StarXterminator to completely remove stars (to be later replaced by the RGB ones)

 

* ArcsinhStretch to slightly stretch nonlinear

 

* iHDR 2.0 script (low preset) to stretch each channel the rest of the way.

 

> [here's the link to the repo](astrouri.com/pixinsight/scripts/iHDR/) if you want to add it to your own PI install.

 

**RGB Linear:**

 

* ChannelCombination to combine monochrome R G and B frame into color image

 

* SpectroPhotometricColorCalibration

 

* BlurXTerminator for star sharpening (correct only)

 

* HSV Repair

 

* StarXterminator to generate a stars-only image

 

* ArcsinhStretch + HT to stretch nonlinear (to be combined with starless narrowband image later)

 

* Invert > SCNR > invert to remove magentas

 

* Curves to saturate the stars a bit more

 

**Nonlinear:**

 

* PixelMath to combine stretched Ha and Oiii images into color image (/u/dreamsplease's palette)

 

> R = iif(Ha > .15, Ha, (Ha\*.8)+(Oiii\*.2))

 

> G = iif(Ha > 0.5, 1-(1-Oiii)\*(1-(Ha-0.5)), Oiii \*(Ha+0.5))

 

> B = iif(Oiii > .1, Oiii, (Ha\*.3)+(Oiii\*.2))

 

* NoiseX again

 

* Background Neutralization

 

* Shitloads of Curve Transformations to adjust lightness, hues, contrast, saturation, etc

 

* even more curves

 

* Pixelmath to add in the stretched RGB stars only image from earlier

 

> This basically re-linearizes the two images, adds them together, and then stretches them back to before

 

> [more info on it here](www.nightphotons.com/guides/star-addition))

 

> mtf(.005,

 

> mtf(.995,Stars)+

 

> mtf(.995,Starless))

 

* Couple final curves

 

* Resample to 65%

 

* DynamicCrop

 

* Annotation

A little fun with the Halloween lights and 1 second exposure.. (Explore).

Phase diagram, chaotic attractor, fake.

Date: 11 Febr 2011 ( 11 - II - 11 )

Computer Mirror Image: "THE BLUE BUTTERFLY IS 33YO NOW"

 

The picture "Nude Descending a Staircase, No. 2" made by Marcel Duchamp in 1912,

is widely regarded as a Modernist classic and has become one of the most famous of its time

en.wikipedia.org/wiki/Duchamp

 

Using the computer program Photoshop, we can see from the picture a face to appear.

How is it made ?

Use a Photoshop computer-program with 2 layers.

1e Layer : picture "Nude Descending a Staircase".

2e Layer : negative Mirror picture "Nude Descending a Staircase".

Use the function DIFFERENCE between the layers.

 

This new "Work of Art" called "THE BLUE BUTTERFLY IS 33YO NOW",

can only be made visible on a computer

 

~Duchamp~ Artmaking is making the invisible, visible.

~ Aristotle ~ The aim of art is to represent not the outward appearance of things, but their inward significance.

 

UNMOVED MOVER

Motion is therefore "the actuality of any potentiality insofar as it is still a potentiality"

Aristotle describes the "Unmoved Mover" as being perfectly beautiful, indivisible, and contemplating only the perfect contemplation: itself contemplating, the Active Intellect.

1. There exists movement in the world.

2. Things that move were set into motion by something else.

3. If everything that moves were caused to move by something else, there would be an infinite chain of causes. This can't happen.

4. Thus, there must have been something that caused the first movement.

5. From 3, this first cause cannot itself have been moved.

6. From 4, there must be an "Unmoved Mover".

en.wikipedia.org/wiki/Unmoved_mover

 

Lady ”I have no sence of art” GaGa:

"I’m not fucking Duchamp but I love pissing with you”

style.com/stylefile/2010/07/r-mutt-meet-l-gaga/

"I don't want to be a part of the machine, I want the machine to be a part of me"

 

~AHRIMAN has the greatest possible interest in instructing men in mathematics, but not in instructing them that mathematical-mechanistic concepts of the universe are merely illusions. . . . that they are only points of view, like photographs from one side.

~Lucifer & AHRIMAN must be regarded as two scales of a balance and its we who must hold the beam in equipoise.

~'cosmic triad' - Lucifer, Christ and AHRIMAN.

~Electricity is AHRIMANIC light.

~AHRIMANIC "elemental spirits" inhabit our artificial machines.

~In the absolute sense, nothing is good in itself, but is always good or bad according to the use to which it is put.

adventofahriman.com

  

RIP Sri Sathya Sai Baba. Aum Shanti, shanti, shanti.

"Science must confine its inquiry only to things belonging to the human senses, while spiritualism transcends the senses. If you want to understand the nature of spiritual power you can do so only through the path of spirituality and not science. What science has been able to unravel is merely a fraction of the cosmic phenomena ..."

en.wikipedia.org/wiki/Sathya_Sai_Baba

 

Date: 30 jan 2011

O(+> DEDICATED TO "science2art"

Because LOVE is Universal....

www.youtube.com/watch?v=YLpHdJQdhL8

 

Date: 11 Jan 2011 ( 11 - 1 - 11 )

Emergency Protection Sought for Disappearing Miami Blue Butterfly

biologicaldiversity.org/news/press_releases/2011/miam...

 

Date: 7 Aug 2009 ( 7 - 8 - 9 )

Human Butterfly Crop Circle Mystery

youtube.com/watch?v=MhqM7hXvX6k

 

Damien Hirst Butterflies

www.othercriteria.com/browse/hirst/

flickr.com/photos/daydreampilot/2628127181/

 

Watch my internet channels:

science2art.tumblr.com/

twitter.com/#!/Namirha11111

www.facebook.com/science2art

metacafe.com/channels/Namirha/

Copyright free download:

metacafe.com/watch/6066929

 

400x200pix

i1265.photobucket.com/albums/jj508/Namirha/Butterfly400x2...

i41.tinypic.com/hv9ttg.jpg

i51.tinypic.com/mt7a7c.gif

  

In 1912 Impressionist Marcel Duchamp exhibited a

painting entitled NUDE DESCENDING A STAIRCASE.

The painting created a sensation. Worth millions today

it is held by the Philadelphia Museum of Art.

==========================================

The explanation of exactly why this painting

is so famous has always been a mystery.

==========================================

A number of art experts have pointed out that the painting

is similar to Edward Muybridge.

He is known for his pioneering work on animal locomotion

in 1877 and 1878, which used multiple cameras to capture

motion in stop-action photographs

en.wikipedia.org/wiki/Edward_Muybridge

 

This fact was even publicly acknowledged by Duchamp

himself according to the Wikipedia article:

en.wikipedia.org/wiki/Nude_Descending_a_Staircase

 

Of course Duchamp's painting "impressionistically" adds

a sense of motion to the figure which is missing in

Muybridge's still-frame photos.

=========================================

HOWEVER..... the fact that Duchamp got his inspiration

from one of Muybridge's photographs IS NOT WHY

Duchamp's painting is WORLD FAMOUS.

THERE IS ANOTHER SCIENTIFIC REASON

FOR THE WORLD FAME OF

MARCEL DUCHAMP'S PAINTING---

FACT IS...... THE PAINTING IS A DIRECT

VISUAL CONFIRMATION OF THE

EXISTENCE OF GOD.................!!!!!

AND HERE I WILL EXPLAIN WHY:

=========================================

When you look at something new and unfamiliar,

your mind tries to "logically guess" what it is.... then

your mind imagines the object and tries to fit that image

to what it is seeing to see if they can be matched.

For instance, if you are out hunting and you see a

distant object which you think might be a deer, you

must check carefully before you shoot. Your mind

tries different possibilities... is it a man?.... so you try

to fit the object to the mental image of a man.... no...

it won't work.... is it a cow?.... so you try to fit the

object to a cow.... no, can't be.... is it a large dog....

so you imagine it as a large dog.... nope.... won't

work.....is it a scarecrow...so you try to imagine it as a

scarecrow..nope.... wrong again.... wait a minute.... it

could be a motorcycle parked on the side of a dirt road....

immediately you imagine a motorcycle... with a wind shield

and handle bars......... BINGO....... turns out that's

exactly what it is......... thank God you didn't pull that

trigger!

 

WELL.... it turns out almost all objects are "partially

invisible"..... as I have explained before, in fact about

20% of true reality is INVISIBLE to the average person

due to the Secular Trend Braingrowth Deficit... and

this is known as the "Invisible World" of Religion

(commonly called "Heaven").

 

What this means is that we are constantly using the

above described "GUESS AND COMPARE" method

of recognizing objects (and persons too by the way).

In fact it is this fundamental "guess and compare"

method which is what eventually leads the average person

to begin to suspect that there is an "unseen world"..

at least historically that is where Religion comes from.

Now... in fact.... the human visual system does this

automatically and very rapidly... trying in some

cases 3, 4 or half a dozen "guesses" before it

recognizes an unfamiliar object or person.

This (subconscious) process looks very much

like one of Muybridges "freeze motion" photos...

or like Duchamp's Nude Descending the Staircase

for that matter.

 

AND THAT IS EXACTLY WHY

the average person gets an overwhelming

sense of DEJA VUE the minute he first see's

Marcel Duchamp's famous painting.... he says to

himself... "hey..I've see that somewhere before.."

... and guess what.... he has.. in his subconscious mind,

and what it is is :

TWO PICTURES... ONE OF HEAVEN

(an extrapolated possibility) AND ONE OF

EARTH (a known reality).... BEING

QUICLY ALTERNATED FOR COMPARISON

BACK AND FORTH IN THE MIND !!!!

........... and that is

EXACTLY HOW

THE EXISTENCE OF GOD

WAS DISCOVERED

NOT ONLY HISTORICALLY,

BUT BY AVERAGE PEOPLE

EVERY SINGLE DAY !

 

Of course Duchamp is also a pop psychologist and

that is why the figure is "descending a staircase"

because the vision of God is all about ascending

and descending (perceptually) and "stairs" are

a well known historical symbology (ladders too).

also... a "nude" is used to involve the basic

"perceptual ascension" involved in sexual

desire and attraction.

 

However... the "movie film sequence"

of the jittery "glimpses of heaven" that

we undergoe daily when perceiving

unfamiliar objects or scenes is BRILLIANTLY

captured by Duchamp's famous painting.

and that is why Marcel Duchamp's

painting is world famous !

 

Now George Hammond has proved all of this using

the Fusion Frequency of movie films to

prove the existence of the invisible world,

and has confirmed the proof to two decimal point

accuracy using 100 years of published Psychometry

data and showing that it is IDENTICAL to

Linearized Gravity and thus that the "invisible world"

is a simple classical Einsteinian Time and Space

dilation which makes as much as 20% of reality

INVISIBLE to the average person, thus explaining

both "God" and the "Invisible World" (Heaven).

 

HOWEVER..... a GENIUS like Marcel Duchamp

doesn't need theoretical Physics to explain God...

he can "paint God with a paint brush" and the

opinion of world has now confirmed the enduring

validity of his "1912 portrait of God

 

www.archivum.info/sci.psychology.theory/2006-09/00000/GOD...

 

Thomas argued that God, while perfectly united, also is perfectly described by Three Interrelated Persons. These three persons (Father, Son, and Holy Spirit) are constituted by their relations within the essence of God. Thomas wrote that the term "Trinity" "does not mean the relations themselves of the Persons, but rather the number of persons related to each other; and hence it is that the word in itself does not express regard to another."[88] The Father generates the Son (or the Word) by the relation of self-awareness. This eternal generation then produces an eternal Spirit "who enjoys the divine nature as the Love of God, the Love of the Father for the Word."

This Trinity exists independently from the world. It transcends the created world, but the Trinity also decided to give grace to human beings. This takes place through the Incarnation of the Word in the person of Jesus Christ and through the indwelling of the Holy Spirit within those who have experienced salvation by God; according to Aidan Nichols.

(Nature of the Trinity)

en.wikipedia.org/wiki/Thomas_Aquinas#Nature_of_the_Trinity

  

Substantial form (the human soul) configures prime matter (the physical body) and is the form by which a material composite belongs to that species it does; in the case of human beings, that species is rational animal. So, a human being is a matter-form composite that is organized to be a rational animal. Matter cannot exist without being configured by form, but form can exist without matter—which allows for the separation of soul from body. Aquinas says that the soul shares in the material and spiritual worlds, and so has some features of matter and other, immaterial, features (such as access to universals). The human soul is different from other material and spiritual things; it is created by God, but also only comes into existence in the material body.

Aquinas’s account of the soul focuses on epistemology and metaphysics, and because of this he believes it gives a clear account of the immaterial nature of the soul.

(The afterlife and resurrection)

en.wikipedia.org/wiki/Thomas_Aquinas#The_afterlife_and_re...

 

In recent years, the cognitive neuroscientist Walter Freeman proposes that Thomism is the philosophical system explaining cognition that is most compatible with neurodynamics, in a 2008 article in the journal Mind and Matter entitled "Nonlinear Brain Dynamics and Intention According to Aquinas."

(Impact of Thomism)

en.wikipedia.org/wiki/Thomism#Impact_of_Thomism

   

In chaos theory, the butterfly effect is the sensitive dependence on initial conditions, where a small change at one place in a nonlinear system can result in large differences to a later state. The name of the effect, coined by Edward Lorenz, is derived from the theoretical example of a hurricane's formation being contingent on whether or not a distant butterfly had flapped its wings several weeks before.

Although the butterfly effect may appear to be an esoteric and unlikely behavior, it is exhibited by very simple systems: for example, a ball placed at the crest of a hill may roll into any of several valleys fully depending on slight differences in initial position.

The butterfly effect is a common trope in fiction when presenting scenarios involving time travel and with hypotheses where one storyline diverges at the moment of a seemingly minor event resulting in two significantly different outcomes. . . Wikipedia

 

In chaos theory, the butterfly effect is the sensitive dependence on initial conditions; where a small change at one place in a nonlinear system can result in large differences to a later state. For example, the presence or absence of a butterfly flapping its wings could lead to creation or absence of a hurricane.

 

Although the butterfly effect may appear to be an esoteric and unusual behavior, it is exhibited by very simple systems: for example, a ball placed at the crest of a hill might roll into any of several valleys depending on slight differences in initial position.

 

The term "butterfly effect" itself is related to the meteorological work of Edward Lorenz, who popularized the term.

 

The butterfly effect is a common trope in fiction when presenting scenarios involving time travel and with "what if" cases where one storyline diverges at the moment of a seemingly minor event resulting in two significantly different outcomes.

 

A butterfly is a mainly day-flying insect of the order Lepidoptera, the butterflies and moths. Like other holometabolous insects, the butterfly's life cycle consists of four parts, egg, larva, pupa and adult. Most species are diurnal. Butterflies have large, often brightly coloured wings, and conspicuous, fluttering flight. Butterflies comprise the true butterflies (superfamily Papilionoidea), the skippers (superfamily Hesperioidea) and the moth-butterflies (superfamily Hedyloidea). All the many other families within the Lepidoptera are referred to as moths.

 

Butterflies exhibit polymorphism, mimicry and aposematism. Some, like the Monarch, will migrate over long distances. Some butterflies have evolved symbiotic and parasitic relationships with social insects such as ants. Some species are pests because in their larval stages they can damage domestic crops or trees; however, some species are agents of pollination of some plants, and caterpillars of a few butterflies (e.g., Harvesters) eat harmful insects. Culturally, butterflies are a popular motif in the visual and literary arts.

tritone photograph

 

View On White

Decided to just shoot a semi-random part of Cygnus. The large extended Ha region in Cygnus is [unofficially called *Smaug*](i.imgur.com/YZevbVJ.png), and this is a photo specifically of the [area around LBN 325/326](i.imgur.com/nTWyp2I.jpg). The nebulosity in this pic is false color, but the stars are true color RGB. I really love how this turned out with the narrowband palette, especially with the Oiii region on the right side looking almost like a true color Ha region. Captured over a shitload of nights from Aug-Oct 2024 from a bortle 9 zone.

 

---

 

**[Equipment:](i.imgur.com/kDRYMKi.jpg)**

 

* TPO 6" F/4 Imaging Newtonian

 

* Orion Sirius EQ-G

 

* ZWO ASI1600MM-Pro

 

* Skywatcher Quattro Coma Corrector

 

* ZWO EFW 8x1.25"/31mm

 

* Astronomik LRGB+CLS Filters- 31mm

 

* Astrodon 31mm Ha 5nm, Oiii 3nm, Sii 5nm

 

* Agena 50mm Deluxe Straight-Through Guide Scope

 

* ZWO ASI-290mc for guiding

 

* Moonlite Autofocuser

 

**Acquisition:** 57 hours 40 minutes (Camera at -15°C), NB exposures at unity gain and BB at half unity

 

* Ha - 111x600"

 

* Oiii - 127x600"

 

* Sii - 94x600"

 

* R - 48x60"

 

* G - 48x60"

 

* B - 44x60"

 

* Darks- 30

 

* Flats- 30 per filter

 

**Capture Software:**

 

* Captured using [N.I.N.A.](nighttime-imaging.eu) and PHD2 for guiding and dithering.

 

**PixInsight Preprocessing:**

 

* BatchPreProcessing

 

* StarAlignment

 

* Blink

 

* ImageIntegration per channel

 

* DrizzleIntegration (2x, Var β=1.5)

 

* Dynamic Crop

 

* DynamicBackgroundExtraction

 

> duplicated each image and removed stars via StarXterminator. Ran DBE with a shitload of points to generate background model. model subtracted from original pic using the following PixelMath (math courtesy of /u/jimmythechicken1)

 

> $T * med(model) / model

 

**Narrowband Linear:**

 

* Blur and NoiseXTerminator

 

* StarXterminator to completely remove stars (to be later replaced by the RGB ones)

 

* HistogramTransformation to stretch nonlinear

  

**RGB Linear:**

 

* ChannelCombination to combine monochrome R G and B frame into color image

 

* SpectroPhotometricColorCalibration

 

* BlurXTerminator for star sharpening (correct only)

 

* HSV Repair

 

* StarXterminator to generate a stars-only image

 

* ArcsinhStretch + HT to stretch nonlinear (to be combined with starless narrowband image later)

 

* Invert > SCNR > invert to remove magentas

 

* Curves to saturate the stars a bit more

 

**Nonlinear:**

 

* PixelMath to combine monochrome Ha Oiii and Sii images into a color image with *Jimmy's Royale Palette*

 

> R = 0.3\*Oiii+0.7\*(Oiii\^~(0.7\*Ha+0.3\*Sii))\^1.2

 

> G = ((Oiii\*Ha)\^~(Oiii\*Ha))\*Ha + ~((Oiii\*Ha)\^~(Oiii\*Ha))\*Sii

 

> B = 0.9\*Sii+Ha-Oii

 

* NoiseX again

 

* Shitloads of Curve Transformations to adjust lightness, hues, contrast, saturation, etc

 

* more curves

 

* Extract L --> LRGBCombination for chrominance noise reduction

 

* even more curves

 

* Pixelmath to add in the stretched RGB stars only image from earlier

 

> This basically re-linearizes the two images, adds them together, and then stretches them back to before. [More info on it here](www.nightphotons.com/guides/star-addition))

 

> mtf(.005,

 

> mtf(.995,Stars)+

 

> mtf(.995,Starless))

 

* Couple final curves

 

* Resample to 60%

 

* Annotation

The Eiffel Tower (French: La Tour Eiffel, nickname La dame de fer, the iron lady) is an iron lattice tower located on the Champ de Mars in Paris, named after the engineer Gustave Eiffel, whose company designed and built the tower. Erected in 1889 as the entrance arch to the 1889 World's Fair, it has become both a global cultural icon of France and one of the most recognizable structures in the world. The tower is the tallest structure in Paris and the most-visited paid monument in the world; 7.1 million people ascended it in 2011. The third level observatory's upper platform is at 279.11 m the highest accessible to public in the European Union and the highest in Europe as long as the platform of the Ostankino Tower, at 360 m, remains closed as a result of the fire of August 2000. The tower received its 250 millionth visitor in 2010.

The tower stands 320 metres (1,050 ft) tall, about the same height as an 81-storey building. During its construction, the Eiffel Tower surpassed the Washington Monument to assume the title of the tallest man-made structure in the world, a title it held for 41 years, until the Chrysler Building in New York City was built in 1930. However, because of the addition, in 1957, of the antenna atop the Eiffel Tower, it is now taller than the Chrysler Building. Not including broadcast antennas, it is the second-tallest structure in France, after the Millau Viaduct.

The tower has three levels for visitors. Tickets can be purchased to ascend, by stairs or lift (elevator), to the first and second levels. The walk from ground level to the first level is over 300 steps, as is the walk from the first to the second level. The third and highest level is accessible only by lift - stairs exist but they are not usually open for public use. Both the first and second levels feature restaurants.

The tower has become the most prominent symbol of both Paris and France, often in the establishing shot of films set in the city.

 

History

 

Origin

  

First drawing of the Eiffel Tower by Maurice Koechlin

The design of the Eiffel Tower was originated by Maurice Koechlin and Émile Nouguier, two senior engineers who worked for the Compagnie des Establissments Eiffel after discussion about a suitable centrepiece for the proposed 1889 Exposition Universelle, a World's Fair which would celebrate the centennial of the French Revolution. In May 1884 Koechlin, working at his home, made an outline drawing of their scheme, described by him as "a great pylon, consisting of four lattice girders standing apart at the base and coming together at the top, joined together by metal trusses at regular intervals". Initially Eiffel himself showed little enthusiasm, but he did sanction further study of the project, and the two engineers then asked Stephen Sauvestre, the head of company's architectural department, to contribute to the design. Sauvestre added decorative arches to the base, a glass pavilion to the first level and other embellishments. This enhanced version gained Eiffel's support, and he bought the rights to the patent on the design which Koechlin, Nougier and Sauvestre had taken out, and the design was exhibited at the Exhibition of Decorative Arts in the autumn of 1884 under the company name. On 30 March 1885 Eiffel read a paper on the project to the Société des Ingiénieurs Civils: after discussing the technical problems and emphasising the practical uses of the tower, he finished his talk by saying that the tower would symbolise "not only the art of the modern engineer, but also the century of Industry and Science in which we are living, and for which the way was prepared by the great scientific movement of the eighteenth century and by the Revolution of 1789, to which this monument will be built as an expression of France's gratitude."

Little happened until the beginning of 1886, when Jules Grévy was re-elected as President and Édouard Lockroy was appointed as Minister for Trade. A budget for the Exposition was passed and on 1 May Lockroy announced an alteration to the terms of the open competition which was being held for a centerpiece for the exposition, which effectively made the choice of Eiffel's design a foregone conclusion: all entries had to include a study for a 300 m (980 ft) four-sided metal tower on the Champ de Mars. On 12 May a commission was set up to examine Eiffel's scheme and its rivals and on 12 June it presented its decision, which was that all the proposals except Eiffel's were either impractical or insufficiently worked out. After some debate about the exact site for the tower, a contract was finally signed on 8 January 1887. This was signed by Eiffel acting in his own capacity rather than as the representative of his company, and granted him one and a half million francs toward the construction costs: less than a quarter of the estimated cost of six and a half million francs. Eiffel was to receive all income from the commercial exploitation of the tower during the exhibition and for the following twenty years. Eiffel later established a separate company to manage the tower, putting up half the necessary capital himself.

 

The "Artists Protest"

 

Caricature of Gustave Eiffel comparing the Eiffel tower to the Pyramids.

The projected tower had been a subject of some controversy, attracting criticism both from those who did not believe that it was feasible and also from those who objected on artistic grounds. Their objections were an expression of a longstanding debate about relationship between architecture and engineering. This came to a head as work began at the Champ de Mars: A "Committee of Three Hundred" (one member for each metre of the tower's height) was formed, led by the prominent architect Charles Garnier and including some of the most important figures of the French arts establishment, including Adolphe Bouguereau, Guy de Maupassant, Charles Gounod and Jules Massenet: a petition was sent to Charles Alphand, the Minister of Works and Commissioner for the Exposition, and was published by Le Temps.

"We, writers, painters, sculptors, architects and passionate devotees of the hitherto untouched beauty of Paris, protest with all our strength, with all our indignation in the name of slighted French taste, against the erection…of this useless and monstrous Eiffel Tower … To bring our arguments home, imagine for a moment a giddy, ridiculous tower dominating Paris like a gigantic black smokestack, crushing under its barbaric bulk Notre Dame, the Tour Saint-Jacques, the Louvre, the Dome of les Invalides, the Arc de Triomphe, all of our humiliated monuments will disappear in this ghastly dream. And for twenty years … we shall see stretching like a blot of ink the hateful shadow of the hateful column of bolted sheet metal"

Gustave Eiffel responded to these criticisms by comparing his tower to the Egyptian Pyramids : "My tower will be the tallest edifice ever erected by man. Will it not also be grandiose in its way ? And why would something admirable in Egypt become hideous and ridiculous in Paris ?" These criticisms were also masterfully dealt with by Édouard Lockroy in a letter of support written to Alphand, ironically saying "Judging by the stately swell of the rhythms, the beauty of the metaphors, the elegance of its delicate and precise style, one can tell that …this protest is the result of collaboration of the most famous writers and poets of our time", and going on to point out that the protest was irrelevant since the project had been decided upon months before and was already under construction. Indeed, Garnier had been a member of the Tower Commission that had assessed the various proposals, and had raised no objection. Eiffel was similarly unworried, pointing out to a journalist that it was premature to judge the effect of the tower solely on the basis of the drawings, that the Champ de Mars was distant enough from the monuments mentioned in the protest for there to be little risk of the tower overwhelming them, and putting the aesthetic argument for the Tower: "Do not the laws of natural forces always conform to the secret laws of harmony?"

Some of the protestors were to change their minds when the tower was built: others remained unconvinced. Guy de Maupassant[20] supposedly ate lunch in the Tower's restaurant every day. When asked why, he answered that it was the one place in Paris where one could not see the structure. Today, the Tower is widely considered to be a striking piece of structural art.

  

Construction

 

Foundations of the Eiffel Tower

  

Eiffel Tower under construction between 1887 and 1889

Work on the foundations started in January 1887. Those for the east and south legs were straightforward, each leg resting on four 2 m (6.6 ft) concrete slabs, one for each of the principal girders of each leg but the other two, being closer to the river Seine were more complicated: each slab needed two piles installed by using compressed-air caissons 15 m (49 ft) long and 6 m (20 ft) in diameter driven to a depth of 22 m (72 ft)[21] to support the concrete slabs, which were 6 m (20 ft) thick. Each of these slabs supported a block built of limestone each with an inclined top to bear a supporting shoe for the ironwork. Each shoe was anchored into the stonework by a pair of bolts 10 cm (4 in) in diameter and 7.5 m (25 ft) long. The foundations were complete by 30 June and the erection of the ironwork began. The very visible work on-site was complemented by the enormous amount of exacting preparatory work that was entailed: the drawing office produced 1,700 general drawings and 3,629 detailed drawings of the 18,038 different parts needed:

The task of drawing the components was complicated by the complex angles involved in the design and the degree of precision required: the position of rivet holes was specified to within 0.1 mm (0.04 in) and angles worked out to one second of arc. The finished components, some already riveted together into sub-assemblies, arrived on horse-drawn carts from the factory in the nearby Parisian suburb of Levallois-Perret and were first bolted together, the bolts being replaced by rivets as construction progressed. No drilling or shaping was done on site: if any part did not fit it was sent back to the factory for alteration. In all there were 18,038 pieces of puddle iron using two and a half million rivets.

At first the legs were constructed as cantilevers but about halfway to the first level construction was paused in order to construct a substantial timber scaffold. This caused a renewal of the concerns about the structural soundness of the project, and sensational headlines such as "Eiffel Suicide!" and "Gustave Eiffel has gone mad: he has been confined in an Asylum" appeared in the popular press. At this stage a small "creeper" crane was installed in each leg, designed to move up the tower as construction progressed and making use of the guides for the lifts which were to be fitted in each leg. The critical stage of joining the four legs at the first level was complete by March 1888. Although the metalwork had been prepared with the utmost precision, provision had been made to carry out small adjustments in order to precisely align the legs: hydraulic jacks were fitted to the shoes at the base of each leg, each capable of exerting a force of 800 tonnes, and in addition the legs had been intentionally constructed at a slightly steeper angle than necessary, being supported by sandboxes on the scaffold.

No more than three hundred workers were employed on site, and because Eiffel took safety precautions, including the use of movable stagings, guard-rails and screens, only one man died during construction.

  

Inauguration and the 1889 Exposition

 

The 1889 Exposition Universelle for which the Eiffel Tower was built

The main structural work was completed at the end of March 1889 and on the 31st Eiffel celebrated this by leading a group of government officials, accompanied by representatives of the press, to the top of the tower. Since the lifts were not yet in operation, the ascent was made by foot, and took over an hour, Eiffel frequently stopping to make explanations of various features. Most of the party chose to stop at the lower levels, but a few, including Nouguier, Compagnon, the President of the City Council and reporters from Le Figaro and Le Monde Illustré completed the climb. At 2.35 Eiffel hoisted a large tricolore, to the accompaniment of a 25-gun salute fired from the lower level. There was still work to be done, particularly on the lifts and the fitting out of the facilities for visitors, and the tower was not opened to the public until nine days after the opening of the Exposition on 6 May, and even then the lifts had not been completed.

The tower was an immediate success with the public, and lengthy queues formed to make the ascent. Tickets cost 2 francs for the first level, 3 for the second and 5 for the top, with half-price admission on Sundays, and by the end of the exhibition there had been nearly two million visitors.

Eiffel had a permit for the tower to stand for 20 years; it was to be dismantled in 1909, when its ownership would revert to the City of Paris. The City had planned to tear it down (part of the original contest rules for designing a tower was that it could be easily demolished) but as the tower proved valuable for communication purposes, it was allowed to remain after the expiry of the permit. In the opening weeks of the First World War the powerful radio transmitters using the tower were used to jam German communications, seriously hindering their advance on Paris and contributing to the Allied victory at the First Battle of the Marne.

 

Subsequent events

 

10 September 1889 Thomas Edison visited the tower. He signed the guestbook with the following message— To M Eiffel the Engineer the brave builder of so gigantic and original specimen of modern Engineering from one who has the greatest respect and admiration for all Engineers including the Great Engineer the Bon Dieu, Thomas Edison.

 

19 October 1901 Alberto Santos-Dumont in his Dirigible No.6 won a 10,000-franc prize offered by Henri Deutsch de la Meurthe for the first person to make a flight from St Cloud to the Eiffel tower and back in less than half an hour.

 

1910 Father Theodor Wulf measured radiant energy at the top and bottom of the tower. He found more at the top than expected, incidentally discovering what are today known as cosmic rays.[28]

 

4 February 1912 Austrian tailor Franz Reichelt died after jumping 60 metres from the first deck of Eiffel tower with his home-made parachute.

 

1914 A radio transmitter located in the tower jammed German radio communications during the lead-up to the First Battle of the Marne.

 

1925 The con artist Victor Lustig "sold" the tower for scrap metal on two separate, but related occasions.

 

1930 The tower lost the title of the world's tallest structure when the Chrysler Building was completed in New York City.

 

1925 to 1934 Illuminated signs for Citroën adorned three of the tower's four sides, making it the tallest advertising space in the world at the time.

 

1940–1944 Upon the German occupation of Paris in 1940, the lift cables were cut by the French so that Adolf Hitler would have to climb the steps to the summit. The parts to repair them were allegedly impossible to obtain because of the war. In 1940 German soldiers had to climb to the top to hoist the swastika[citation needed], but the flag was so large it blew away just a few hours later, and was replaced by a smaller one. When visiting Paris, Hitler chose to stay on the ground. It was said that Hitler conquered France, but did not conquer the Eiffel Tower. A Frenchman scaled the tower during the German occupation to hang the French flag. In August 1944, when the Allies were nearing Paris, Hitler ordered General Dietrich von Choltitz, the military governor of Paris, to demolish the tower along with the rest of the city. Von Choltitz disobeyed the order. Some say Hitler was later persuaded to keep the tower intact so it could later be used for communications. The lifts of the Tower were working normally within hours of the Liberation of Paris.

 

3 January 1956 A fire damaged the top of the tower.

 

1957 The present radio antenna was added to the top.

 

1980s A restaurant and its supporting iron scaffolding midway up the tower was dismantled; it was purchased and reconstructed on St. Charles Avenue and Josephine Street in the Garden District of New Orleans, Louisiana, by entrepreneurs John Onorio and Daniel Bonnot, originally as the Tour Eiffel Restaurant, later as the Red Room and now as the Cricket Club (owned by the New Orleans Culinary Institute). The restaurant was re-assembled from 11,000 pieces that crossed the Atlantic in a 40-foot (12 m) cargo container.

 

31 March 1984 Robert Moriarty flew a Beechcraft Bonanza through the arches of the tower.

 

1987 A.J. Hackett made one of his first bungee jumps from the top of the Eiffel Tower, using a special cord he had helped develop. Hackett was arrested by the Paris police upon reaching the ground.

 

27 October 1991 Thierry Devaux, along with mountain guide Hervé Calvayrac, performed a series of acrobatic figures of bungee jumping (not allowed) from the second floor of the Tower. Facing the Champ de Mars, Thierry Devaux was using an electric winch between each figure to go back up. When firemen arrived, he stopped after the sixth bungee jump.

 

New Year's Eve 1999 The Eiffel Tower played host to Paris's Millennium Celebration. On this occasion, flashing lights and four high-power searchlights were installed on the tower, and fireworks were set off all over it. An exhibition above a cafeteria on the first floor commemorates this event. Since then, the light show has become a nightly event. The searchlights on top of the tower make it a beacon in Paris's night sky, and the 20,000 flash bulbs give the tower a sparkly appearance every hour on the hour.

 

28 November 2002 The tower received its 200,000,000th guest.

 

2004 The Eiffel Tower began hosting an ice skating rink on the first floor each winter.

 

Design of the tower

 

Material

  

The Eiffel Tower from below

 

The puddle iron structure of the Eiffel Tower weighs 7,300 tonnes, while the entire structure, including non-metal components, is approximately 10,000 tonnes. As a demonstration of the economy of design, if the 7,300 tonnes of the metal structure were melted down it would fill the 125-metre-square base to a depth of only 6 cm (2.36 in), assuming the density of the metal to be 7.8 tonnes per cubic metre. Depending on the ambient temperature, the top of the tower may shift away from the sun by up to 18 cm (7.1 in) because of thermal expansion of the metal on the side facing the sun.

 

Wind considerations

 

At the time the tower was built many people were shocked by its daring shape. Eiffel was criticised for the design and accused of trying to create something artistic, or inartistic according to the viewer, without regard to engineering. Eiffel and his engineers, however, as experienced bridge builders, understood the importance of wind forces and knew that if they were going to build the tallest structure in the world they had to be certain it would withstand the wind. In an interview reported in the newspaper Le Temps, Eiffel said:

Now to what phenomenon did I give primary concern in designing the Tower? It was wind resistance. Well then! I hold that the curvature of the monument's four outer edges, which is as mathematical calculation dictated it should be […] will give a great impression of strength and beauty, for it will reveal to the eyes of the observer the boldness of the design as a whole.[37]

Researchers have found that Eiffel used empirical and graphical methods accounting for the effects of wind rather than a specific mathematical formula. Careful examination of the tower shows a basically exponential shape; actually two different exponentials, the lower section overdesigned to ensure resistance to wind forces. Several mathematical explanations have been proposed over the years for the success of the design; the most recent is described as a nonlinear integral equation based on counterbalancing the wind pressure on any point on the tower with the tension between the construction elements at that point. As a demonstration of the tower's effectiveness in wind resistance, it sways only 6–7 cm (2–3 in) in the wind.

 

Accommodation

 

When built, the first level contained two restaurants: an "Anglo-American Bar", and a 250 seat theatre. A 2.6 m (8 ft 6 in) promenade ran around the outside.

On the second level, the French newspaper Le Figaro had an office and a printing press, where a special souvenir edition, Le Figaro de la Tour, was produced. There was also a pâtisserie.

On the third level were laboratories for various experiments and a small apartment reserved for Gustave Eiffel to entertain guests. This is now open to the public, complete with period decorations and lifelike models of Gustave and some guests.

 

Engraved names

 

Gustave Eiffel engraved on the tower seventy-two names of French scientists, engineers and other notable people. This engraving was painted over at the beginning of the twentieth century but restored in 1986–1987 by the Société Nouvelle d'exploitation de la Tour Eiffel, a company contracted to operate business related to the Tower.

 

Maintenance

 

Maintenance of the tower includes applying 50 to 60 tonnes of paint every seven years to protect it from rust. The height of the Eiffel Tower varies by 15 cm due to temperature.

 

Aesthetic considerations

 

In order to enhance the impression of height, three separate colours of paint are used on the tower, with the darkest on the bottom and the lightest at the top. On occasion the colour of the paint is changed; the tower is currently painted a shade of bronze. On the first floor there are interactive consoles hosting a poll for the colour to use for a future session of painting.

The only non-structural elements are the four decorative grillwork arches, added in Stephen Sauvestre's sketches, which served to reassure visitors that the structure was safe, and to frame views of other nearby architecture.

One of the great Hollywood movie clichés is that the view from a Parisian window always includes the tower. In reality, since zoning restrictions limit the height of most buildings in Paris to 7 storeys, only a very few of the taller buildings have a clear view of the tower.

 

Popularity

 

More than 200,000,000 people have visited the tower since its construction in 1889, including 6,719,200 in 2006. The tower is the most-visited paid monument in the world.

 

Passenger lifts

 

Ground to the second level

The original lifts (elevators) to the first and second floors were provided by two companies. Both companies had to overcome many technical obstacles as neither company (or indeed any company) had experience with installing lifts climbing to such heights with large loads. The slanting tracks with changing angles further complicated the problems. The East and West lifts were supplied by the French company Roux Combaluzier Lepape, using hydraulically powered chains and rollers. The North and South lifts were provided by the American company Otis using car designs similar to the original installation but using an improved hydraulic and cable scheme. The French lifts had a very poor performance and were replaced with the current installations in 1897 (West Pillar) and 1899 (East Pillar) by Fives-Lille using an improved hydraulic and rope scheme. Both of the original installations operated broadly on the principle of the Fives-Lille lifts.

The Fives-Lille lifts from ground level to the first and second levels are operated by cables and pulleys driven by massive water-powered pistons. The hydraulic scheme was somewhat unusual for the time in that it included three large counterweights of 200 tonnes each sitting on top of hydraulic rams which doubled up as accumulators for the water. As the lifts ascend the inclined arc of the pillars, the angle of ascent changes. The two lift cabs are kept more or less level and indeed are level at the landings. The cab floors do take on a slight angle at times between landings.

The principle behind the lifts is similar to the operation of a block and tackle but in reverse. Two large hydraulic rams (over 1 metre diameter) with a 16 metre travel are mounted horizontally in the base of the pillar which pushes a carriage (the French word for it translates as chariot and this term will be used henceforth to distinguish it from the lift carriage) with 16 large triple sheaves mounted on it. There are 14 similar sheaves mounted statically. Six wire ropes are rove back and forth between the sheaves such that each rope passes between the 2 sets of sheaves 7 times. The ropes then leave the final sheaves on the chariot and pass up through a series of guiding sheaves to above the second floor and then through a pair of triple sheaves back down to the lift carriage again passing guiding sheaves.

This arrangement means that the lift carriage, complete with its cars and passengers, travels 8 times the distance that the rams move the chariot, the 128 metres from the ground to the second floor. The force exerted by the rams also has to be 8 times the total weight of the lift carriage, cars and passengers, plus extra to account for various losses such as friction. The hydraulic fluid was water, normally stored in three accumulators, complete with counterbalance weights. To make the lift ascend, water was pumped using an electrically driven pump from the accumulators to the two rams. Since the counterbalance weights provided much of the pressure required, the pump only had to provide the extra effort. For the descent, it was only necessary to allow the water to flow back to the accumulators using a control valve. The lifts were operated by an operator perched precariously underneath the lift cars. His position (with a dummy operator) can still be seen on the lifts today.

The Fives-Lille lifts were completely upgraded in 1986 to meet modern safety requirements and to make the lifts easier to operate. A new computer-controlled system was installed which completely automated the operation. One of the three counterbalances was taken out of use, and the cars were replaced with a more modern and lighter structure. Most importantly, the main driving force was removed from the original water pump such that the water hydraulic system provided only a counterbalancing function. The main driving force was transferred to a 320 kW electrically driven oil hydraulic pump which drives a pair of hydraulic motors on the chariot itself, thus providing the motive power. The new lift cars complete with their carriage and a full 92 passenger load weigh 22 tonnes.

Owing to elasticity in the ropes and the time taken to get the cars level with the landings, each lift in normal service takes an average of 8 minutes and 50 seconds to do the round trip, spending an average of 1 minute and 15 seconds at each floor. The average journey time between floors is just 1 minute.

The original Otis lifts in the North and South pillars in their turn proved to be inferior to the new (in 1899) French lifts and were scrapped from the South pillar in 1900 and from the North pillar in 1913 after failed attempts to repower them with an electric motor. The North and South pillars were to remain without lifts until 1965 when increasing visitor numbers persuaded the operators to install a relatively standard and modern cable hoisted system in the north pillar using a cable-hauled counterbalance weight, but hoisted by a block and tackle system to reduce its travel to one third of the lift travel. The counterbalance is clearly visible within the structure of the North pillar. This latter lift was upgraded in 1995 with new cars and computer controls.

The South pillar acquired a completely new fairly standard electrically driven lift in 1983 to serve the Jules Verne restaurant. This was also supplied by Otis. A further four-ton service lift was added to the South pillar in 1989 by Otis to relieve the main lifts when moving relatively small loads or even just maintenance personnel.

The East and West hydraulic (water) lift works are on display and, at least in theory, are open to the public in a small museum located in base of the East and West tower, which is somewhat hidden from public view. Because the massive mechanism requires frequent lubrication and attention, public access is often restricted. However, when open, the wait times are much less than the other, more popular, attractions. The rope mechanism of the North tower is visible to visitors as they exit from the lift.

 

Second to the third level

 

The original spiral stairs to the third floor which were only 80 centimetres wide. Note also the small service lift in the background.

The original lifts from the second to the third floor were also of a water-powered hydraulic design supplied by Léon Edoux. Instead of using a separate counterbalance, the two lift cars counterbalanced each other. A pair of 81-metre-long hydraulic rams were mounted on the second level reaching nearly halfway up to the third level. A lift car was mounted on top of the rams. Ropes ran from the top of this car up to a sheave on the third level and back down to a second car. The result of this arrangement was that each car only travelled half the distance between the second and third levels and passengers were required to change lifts halfway walking between the cars along a narrow gangway with a very impressive and relatively unobstructed downward view. The ten-ton cars held 65 passengers each or up to four tons.

One interesting feature of the original installation was that the hoisting rope ran through guides to retain it on windy days to prevent it flapping and becoming damaged. The guides were mechanically moved out of the way of the ascending car by the movement of the car itself. In spite of some antifreeze being added to the water that operated this system, it nevertheless had to close to the public from November to March each year.

The original lifts complete with their hydraulic mechanism were completely scrapped in 1982 after 97 years of service. They were replaced with two pairs of relatively standard rope hoisted cars which were able to operate all the year round. The cars operate in pairs with one providing the counterbalance for the other. Neither car can move unless both sets of doors are closed and both operators have given a start command. The commands from the cars to the hoisting mechanism are by radio obviating the necessity of a control cable. The replacement installation also has the advantage that the ascent can be made without changing cars and has reduced the ascent time from 8 minutes (including change) to 1 minute and 40 seconds. This installation also has guides for the hoisting ropes but they are electrically operated. The guide once it has moved out of the way as the car ascends automatically reverses when the car has passed to prevent the mechanism becoming snagged on the car on the downward journey in the event it has failed to completely clear the car. Unfortunately these lifts do not have the capacity to move as many people as the three public lower lifts and long lines to ascend to the third level are common. Most of the intermediate level structure present on the tower today was installed when the lifts were replaced and allows maintenance workers to take the lift halfway.

The replacement of these lifts allowed the restructuring of the criss-cross beams in upper part of the tower and further allowed the installation of two emergency staircases. These replaced the dangerous winding stairs that were installed when the tower was constructed.

Restaurants

The tower has two restaurants: Le 58 tour Eiffel, on the first floor 311 ft (95 m) above sea level; and the Le Jules Verne, a gastronomical restaurant on the second floor, with a private lift. This restaurant has one star in the Michelin Red Guide. In January 2007, the multi-Michelin star chef Alain Ducasse was brought in to run Jules Verne.

 

Attempted relocation

 

According to interviews given in the early 1980s, Montreal Mayor Jean Drapeau negotiated a secret agreement with French President Charles de Gaulle for the tower to be dismantled and temporarily relocated to Montreal to serve as a landmark and tourist attraction during Expo 67. The plan was allegedly vetoed by the company which operated the tower out of fear that the French government could refuse permission for the tower to be restored to its original location.

 

Economics

 

The American TV show Pricing the Priceless speculates that in 2011 the tower would cost about $480,000,000 to build, that the land under the tower is worth $350,000,000, and that the scrap value of the tower is worth $3,500,000. The TV show estimates the tower makes a profit of about $29,000,000 per year, though it is unlikely that the Eiffel Tower is managed so as to maximize profit.

It costs $5,300,000 to repaint the tower, which is done once every seven years. The electric bill is $400,000 per year for 7.5 million kilowatt-hours.

The Tokyo Tower in Japan is a very similar structure of very similar size. It was finished in 1958 at a final cost of ¥2.8 billion ($8.4 million in 1958).

 

Source Wikipedia

   

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Baraka / Baraka from DVD to 4K / Baraka with the monkey

 

Beatbox360

 

Enquanto a noite não chega (While we wait for the night â?" first Brazilian film in 4K)/(primeiro filme brasileiro em 4k)

 

Era la Notte

 

Flight to the Center of the Milky Way

 

Growth by aggregation 2

 

Jet Instabilities in a stratified fluid flow

 

Keio University Concert

 

Manny Farber (Tribute to)

 

Scalable City

 

The Nonlinear Evolution of the Universe

 

The Prague train

   

FILE INOVAÇÃO / FILE INNOVATION

 

Interface Cérebro-Computador – Eduardo Miranda

 

Sistema comercial de Reconhecimento Automático - Genius Instituto de Tecnologia

 

Robô de visão omnidirecional – Jun Okamoto

 

Loo Table: mesa interativa - André V. Perrotta, Erico Cheung e Luis Stateri dos Santos, da empresa Loodik

 

Simulador de Ondas e Simulador de Turbilhão - Steger produção de efeitos especiais ltda.

   

GAMES INSTALAÇÕES / INSTALLATIONS GAMES

 

Giles Askham – Aquaplayne

 

Jonah Warren & Steven Sanborn – Transpose

 

Jonah Warren & Steven Sanborn – Full Body Games

 

Fabiano Onça e Coméia – Tantalus Quest

 

Julian Oliver - levelHead

   

GAMES

 

Andreas Zecher – Understanding Games

 

Andrei R. Thomaz – Cubos de Cor

 

Arvi Teikari – Once In Space

 

Fabrício Fava – Futebolando

 

Golf Question Mark – Golf

 

Introversion.co.uk – Darwinia

 

Jens Andersson and Ida Rödén – Rorschach

 

Jonatan Söderström – CleanAsia!

 

Jonatan Söderström – AdNauseum2

 

Jorn Ebner – sans femme et sans avieteur

 

Josh Nimoy – BallDroppings

 

Josiah Pisciotta – Gish

  

Marek Walczak and Martin Wattenberg – Thinking Machine 7

 

Mariana Rillo – Desmanche

 

Mark Essen - Punishment: The punishing

 

Mark Essen - RANDY BALMA: MUNICIPAL ABORTIONIST

 

Playtime – SFZero

 

QUBO GAS: Jef Ablézot, Morgan Dimnet & Laura Henno - WATERCOULEUR PARK

 

QueasyGames - Jonathan Mak – Everyday Shooter

 

R-S-G: Radical Software Group - Kriegspiel - Guy Debord's Game of War

  

Shalin Shodhan (www.experimentalgameplay.com) – On a Rainy Day

 

Shalin Shodhan (www.experimentalgameplay.com) – Cytoplasm

 

Shalin Shodhan (www.experimentalgameplay.com) – Particle Rain

 

Tales of Tales: Auriea Harvey & Michaël Samyn - The Graveyard

 

Tanja Vujinovic – Osciloo

 

ThatGameCompany – Jenova Chen – Clouds

 

ThatGameCompany – Jenova Chen - flOw

   

JOGOS BR

 

JOGOS BR 1

 

Ayri - Uma Lenda Amazônica - Sylker Teles da Silva / Outline Interactive

 

Capoeira Experience - Andre Ivankio Hauer Ploszaj / Okio Serviços de Comunicação Multimídia Ltda.

 

Cim-itério - Wagner Gomes Carvalho / Green Land Studios

 

Incorporated (Emprego Maluco) - Tiago Pinheiro Teixeira / Interama Jogos Eletrônicos

 

Iracema Aventura – Odair Gaspar / Perceptum Software Ltda.

 

Nevrose: Sangue e Loucura Sob o Sol do Sertão - Rodrigo Queiroz de Oliveira

/ Gamion Realidade Virtual & Games

 

Raízes do Mal – Marcos Cruz Alves / Ignis Entretenimento e Informática Ltda.

 

JOGOS BR 2 – Jogos Completos

 

Cave Days - Winston George A. Petty / Insolita Studios

 

Peixis!

(JOGO EM DESENVOLVIMENTO) - Wallace Santos Lages / Ilusis Interactive Graphics

 

JOGOS BR 2 – Demos Jogáveis

 

Brasilia Tropicalis - Thiago Salgado Aiache de Moraes / Olympya Games

 

Conspiração Dumont - Guilherme Mattos Coutinho

 

Flora - Francisco Oliveira de Queiroz

 

Fórmula Galaxy – Artur Corrêa / Vencer Consultoria e Projetos Ltda.

 

Inferno - Alexandre Vrubel / Continuum Entertainment Ltda

 

Lex Venture - Tiago Pinheiro Teixeira / Interama Jogos Eletrônicos

 

Trem de Doido (DEMO EM DESENVOLVIMENTO) - Marcos André Penna Coutinho

 

Zumbi, o rei dos Palmeiras - Nicholas Lima de Souza

    

HIPERSÔNICA / HIPERSONICA

  

Hipersônica Performance

 

Andrei Thomaz, Francisco Serpa, Lílian Campesato e Vitor Kisil – Sonocromática

 

Bernhard Gal – Gal Live

 

+Zero: Fabrizio Augusto Poltronieri, Jonattas Marcel Poltronieri, Raphael Dall'Anese - +Zero do Brasil

 

Luiz duVa - Concerto para duo de laptops

 

Henrique Roscoe (a.k.a. 1mpar) – HOL

 

Jose Ignacio Hinestrosa e Testsu Kondo – Fricciones

 

Alexandre Fenerich e Giuliano Obici – Nmenos1

 

Orqstra de Laptops de São Paulo - EvEnTo 3 Movimentos para Orquestra

    

Hipersônica Participantes

 

Agricola de Cologne - soundSTORY - sound as a tool for storytelling

 

Jen-Kuan Chang – Drishti II

 

Jen-Kuan Chang – Discordance

 

Jen-Kuan Chang – Nekkhamma

 

Jen-Kuan Chang - She, Flush, Vegetable, Lo Mein, and Intolerable Happiness

 

Jerome Soudan – Mimetic

 

Matt Lewis e Jeremy Keenan – Animate Objects

 

Robert Dow - Precipitation within sight

 

Tetsu Kondo – Dendraw

 

Tomas Phillips – Drink_Deep

   

Hipersônica Screening

 

Art Zoyd's: Amandine Top – EYECATCHER 1

 

Art Zoyd's: Amandine Top – EYECATCHER 2, Man with a movie câmera

 

Art Zoyd's: Amandine Top – Movie-Concert for The Fall of the Usher House

 

Flames aka Flames: Raphael Freire - Performance Audiovisual Sincronizada: Sociedade Pós-Moderna, Novas Tecnologias e Espaço Urbano

 

Celia Eid e Sébastien Béranger – Gymel

 

Duprass: Liora Belford e Ido Govrin – Free Field

 

Duprass: Liora Belford e Ido Govrin – Pink / Noise

 

Citrullo International: Carlo Hitermann – H2O

 

1mpar: Henrique Roscoe – HOL

 

Jay Needham - Narrative Half-life

 

Daniel Carvalho - butterbox – diving

 

Daniel Carvalho - OUT_FLOW PART I

 

Bernard Loibner – Meltdown

 

Soundsthatmatter – trotting

 

Soundsthatmatter – briji

 

Fernando Velázquez – Nómada

 

Bjorn Erik Haugen – Regress

 

Audiobeamers: Felipe Frozza - Paesaggi Liquidi II

 

David Muth - You Are The Sony Of My Life

 

Dennis Summers – Plase Shift Videos

   

INSTALAÇÕES / INSTALLATIONS

 

Anaisa Franco – Connected Memories

 

Andrei Thomaz & Sílvia Laurentiz – 1º Subsolo

 

Graffiti Research Lab – Various

 

Hisako K. Yamakawa – Kodama

 

r3nder.net+i2off.org – is.3s

 

Jarbas Jacome – Crepúsculo dos Ídolos

 

Julio Obelleiro & Alberto García – Magnéticos

 

Julio Obelleiro & Alberto García – The Magic Torch

 

Mariana Manhães – Liquescer (Jarrinho)

 

Mariana Manhães – Liquescer (Jarrinho Azul)

 

Rejane Cantoni e Leonardo Crescenti – PISO

 

Sheldon Brown – Scalable City

 

Soraya Braz e Fábio FON – Roaming

 

Takahiro Matsuo – Phantasm

 

Ursula Hentschlaeger – Outer Space IP

 

Ursula Hentschlaeger – Phantasma

 

Ursula Hentschlaeger – Binary Art Site

   

SYMPOSIUM

 

Agnus Valente

 

Anaisa Franco

 

Andre Thomaz e Silvia Laurentiz

 

Christin Bolewski

 

Giles Askham

 

Graffiti Research Lab: James Powderly

 

Hidenori Watanave

 

Ivan Ivanoff e Jose Jimenez

 

Jarbas Jácome

 

João Fernando Igansi Nunes

 

Marcos Moraes

 

Mediengruppe Bitnik; Carmen Weisskopf, Domagoj Smoljo, Silvan Leuthold, Sven König [SWI]

 

Mesa Redonda (LABO) - Cicero Silva, Lev Manovich (teleconferencia) e Noah Wardrip-Fruin

 

Mesa Redonda [BRA] – (Hipersônica) Renata La Rocca, Gabriela Pereira Carneiro, Ana Paula Nogueira de Carvalho, Clarissa Ribeiro Pereira de Almeida. Mediação: Vivian Caccuri

 

Mesa Redonda [BRA] - [Ministro da Cultura: Gilberto Gil | Secretário do Audiovisual do Ministério da Cultura: Sílvio Da-Rin | Secretário de Políticas Culturais do Ministério da Cultura: Alfredo Manevy ]

 

Mesa Redonda [BRA] - Inovação - Lala Deheinzelin, Gian Zelada, Alessandro Dalla, Ivandro Sanches, Eduardo Giacomazzi. Mediação: Joana Ferraz

 

Mesa Redonda 4k - Jane de Almeida, Sheldon Brownn, Mike Toillion, Todd Margolis, Peter Otto

 

Nardo Germano

 

Nori Suzuki

 

Sandra Albuquerque Reis Fachinello

 

Satoru Tokuhisa

 

Sheldon Brown

 

Soraya Braz e Fabio FON

 

Suzete Venturelli, Mario Maciel e bolsistas do CNPq/UnB (Johnny Souza, Breno Rocha, João Rosa e Samuel Castro [BRA]

 

Ursula Hentschlaeger

 

Valzeli Sampaio

x

The famous Belousov Zhabotinsky chemical reaction in a petri dish. The action is speeded up 8 x from real life. Pacemaker nucleation sites emit circular waves. Breaking the wavefront with a wire triggers pairs of spiral defects which emit more closely spaced waves which eventually fill the container.

 

Chemistry by Michael Rogers, camera by Stephen Morris.

Description: NGC 6960, the Western Veil Nebula, being an emission nebula in the Cygnus Loop, is well-suited for imaging using a narrow band filter such as the Optolong L-eXtreme dual band filter which provides two 7nm passbands one for H-alpha at 656nm and another for OIII at ~501nm. Accordingly, using a combination of a one-shot color (OSC) camera and the Optolong L-eXtreme filter, I generated 152x300s subs for a total exposure time of 12.67 hours in order to achieve my image. NGC 6960 appears to show intertwined substructures, possibly as a consequence of being a supernova remnant, which can be seen under magnification as shown in the inset. As a side note, in order to mitigate the distraction created by numerous stars around the nebula I applied a morphological transformation. But since such a transformation can impact contrast and saturation, I applied another round of Curves Transformation.

 

Date / Location: 7-9, 13, 17, 19 and 21-23 November 2022 / Washington D.C.

 

Equipment:

 

Scope: WO Zenith Star 81mm f/6.9 with WO 6AIII Flattener/Focal Reducer x0.8

 

OSC Camera: ZWO ASI 2600 MC Pro at 100 Gain

 

Mount: iOptron GEM28-EC

 

Guide Scope: WO 50mm Uniguide Scope

 

Guide Camera: ZWO ASI 290mm

 

Focuser: ZWO EAF

 

Light Pollution Filter: Optolong L-eXtreme Dual Bandpass LPF

 

Processing Software: Pixinsight

 

Processing Steps:

 

Preprocessing: I preprocessed 152x300s subs (= 12.67 hours) in Pixinsight to get an integrated image using the following processes: Image Calibration > Cosmetic Correction > Subframe Selector > Debayer > Select Reference Star and Star Align > Image Integration.

 

Linear Postprocessing: Fast Rotation > Dynamic Crop > Dynamic Background Extractor (subtraction to remove light pollution gradients and division for flat field corrections) > Background Neutralization > Color Calibration > Noise Xterminator.

 

Nonlinear Postprocessing: Histogram Transformation > Local Histogram Equalization > Curves Transformation > SCNR Noise Reduction > Morphological Transformation > Noise Xterminator > Curves Transformation.

So technically 32 Cygni is just the bright star in the pic, and the rest of it is just hydrogen gas floating around in space. The constellation Cygnus has a ton of this hydrogen-alpha gas floating around, and I kinda just pointed at a semi-random spot in the constellation to get a pic. Although this was taken with an Ha filter, the stars are true color RGB, and I mapped the Ha channel to red so it closely resembles the actual color of hydrogen-alpha. Also for those curious [here is a starless version that better shows the faint nebulosity/structures](i.imgur.com/XmDTU7F.jpeg). Also pls ignore the *crunchiness* around 32 Cyg itself, it's an artifact of my camera's microlensing + the star removal program I use. Captured over like a dozen nights in December 2024 from a bortle 9 zone.

  

---

 

**[Equipment:](i.imgur.com/kDRYMKi.jpg)**

 

* TPO 6" F/4 Imaging Newtonian

 

* Orion Sirius EQ-G

 

* ZWO ASI1600MM-Pro

 

* Skywatcher Quattro Coma Corrector

 

* ZWO EFW 8x1.25"/31mm

 

* Astronomik LRGB+CLS Filters- 31mm

 

* Astrodon 31mm Ha 5nm, Oiii 3nm, Sii 5nm

 

* Agena 50mm Deluxe Straight-Through Guide Scope

 

* ZWO ASI-290mc for guiding

 

* Moonlite Autofocuser

 

**Acquisition:** 29 hours 18 minutes (Camera at -15°C), unity gain

 

* Ha - 161x600"

 

* R - 51x60"

 

* G - 59x60"

 

* B - 48x60"

 

* Darks- 30

 

* Flats- 30 per filter

 

**Capture Software:**

 

* Captured using [N.I.N.A.](nighttime-imaging.eu) and PHD2 for guiding and dithering.

 

**PixInsight Preprocessing:**

 

* BatchPreProcessing

 

* StarAlignment

 

* Blink

 

* ImageIntegration per channel

 

* DrizzleIntegration (2x, Var β=1.5)

 

* Dynamic Crop

 

* DynamicBackgroundExtraction

 

> duplicated each image and removed stars via StarXterminator. Ran DBE with a shitload of points to generate background model. model subtracted from original pic using the following PixelMath (math courtesy of /u/jimmythechicken1)

 

> $T * med(model) / model

  

**Narrowband Linear:**

 

* Blur and NoiseXTerminator

 

* StarXterminator to completely remove stars from each the image

 

* HistogramTransformation to stretch nonlinear (calling this the *Ha* image now)

  

**Broadband/RGB linear:**

 

* ChannelCombination to make color image from R G and B stacks

 

* StarX (correct only)

 

* SpectrophotometricColorCalibration

 

(duplicated image at this point, to be used for stars only processing later)

 

* StarX to completely remove stars (at this point it's just background, with a *little* bit of signal in the R channel)

 

* Blended unstretched Ha image into the red (and a little bit of the blue channel) with this pixelmath:

 

> R = $T+B\*(Ha- med(Ha))

 

> G = $T

 

> B = $T+B\*0.2\*(Ha- med(Ha))

 

> honestly can't remember what I used for the B constant, but the default is 2 in my pixelmath ¯\\\_(ツ)_/¯

 

* HistogramTransformation to stretch nonlinear (calling this the *Starless* image now)

  

**Stars only processing:**

 

* HSV repair to fix blown out star cores

 

* StarXterminator to generate an image containing only the stars (without any background)

 

* ArcsinhStretch + Histogramtransformation to stretch nonlinear (Calling this the *Stars* image now)

  

**Nonlinear:**

 

* LRGBCombination to add the stretched Ha image to the stretched Starless image as a luminance layer

 

* NoiseXterminator

 

* Background neutralization

 

* Several curve transformations to adjust lightness, contrast, saturation, color balance, etc

 

* LocalHistogramEqualization

 

* Another round of noiseX

 

* Pixelmath to add in the stretched RGB *Stars* image from earlier

 

> This basically re-linearizes the two images, adds them together, and then stretches them back to before. [More info on it here](www.nightphotons.com/guides/star-addition))

 

> mtf(.005,

 

> mtf(.995,Stars)+

 

> mtf(.995,Starless))

 

* few more curve adjustments

 

* FastRotation 180 degrees (pic was originally upside down)

 

* DynamicCrop again (just a little bit)

 

* Resample to 60%

 

* Annotation

A famous oscillatory chemical reaction propagating across a petri dish. This image does not show the famous rotating spirals, which have to be made by splitting a front.

 

Chemistry by Michael Rogers

Analysis of the nonlinear option pricing model under variable transaction costs. Sevcovic, Zitnanska arxiv.org/abs/1603.03874 #q-fin

Why do us dinosaurs cling to still photography when the rest of the world has turned to video? What is it about photography that is fundamentally different from video that makes it so appealing?

 

Part of photography’s magic is that is performs something that no other technology in the world can do—it stops time. While the content of a video may depict nonlinear or stopped time, it is still a temporal experience to the observer.

 

Still photographs are about the now. We can’t stop time in real life, but a photograph can. It allows our conscious to examine the moments that otherwise we can only experience subliminally, within a flow of reality. At the same time, a photograph explodes onto the viewer’s conscious immediately, unlike a video. While we may examine a photographic image for a period of time, or multiple times, our perception of the photo is still largely driven by that immediate judgment in the first second that we observe the image.

 

Ironically, photographs are also the best medium for us to see the progression of time. We can’t watch a 100-year long video to see if there’s been change in a glacier field, but we can look at two photographs a hundred years apart and see if there has been change.

 

What do you call a technology that can stop time and time travel?

 

Photography.

 

(Lake of the Woods, Mahomet, Illinois, Diana+ medium format camera with Rollei Retro 100)

Chaos, nonlinear dynamics, emergence, self-organization, complexity, strange attractors, time series, fractals, randomness, pink noise, power laws, tipping points, the butterfly effect... these are a few of my favorite things!

Added some sulfur data to [my bicolor photo of this nebula from last year. Had to crop out a bit of the edges since the rotation on my sulfur data wasn't exactly the same as last year. Also made a [starless version using StarNet++](i.imgur.com/VhIsPsp.jpg). Captured on September 15th, 16th, 19th, 20th, and 21st, 2019 from a bortle 7 zone, and October 30th 2020 from a bortle 6 zone.

 

**[Equipment:](i.imgur.com/6T8QNsv.jpg)**

 

* TPO 6" F/4 Imaging Newtonian

 

* Orion Sirius EQ-G

 

* ZWO ASI1600MM-Pro

 

* Skywatcher Quattro Coma Corrector

 

* ZWO EFW 8x1.25"/31mm

 

* Astronomik LRGB+CLS Filters- 31mm

 

* Astrodon 31mm Ha 5nm, Oiii 3nm, Sii 5nm

 

* Agena 50mm Deluxe Straight-Through Guide Scope

 

* ZWO ASI-120MC for guiding

 

* Moonlite Autofocuser

 

**Acquisition:** 21 hours 2 minutes (Camera at Unity Gain, -15°C)

 

* Ha- 85x360"

 

* Oiii- 87x360"

 

* Sii- 46x300"

 

* Darks- 30

 

* Flats- 30 per filter

 

**Capture Software:**

 

* Captured using [N.I.N.A.](nighttime-imaging.eu/) and PHD2 for guiding and dithering.

 

**PixInsight Processing:**

 

* BatchPreProcessing

 

* SubframeSelector

 

* StarAlignment

 

* [Blink](youtu.be/sJeuWZNWImE?t=40)

 

* ImageIntegration

 

* DrizzleIntegration (2x, Var β=1.5)

 

**Linear:**

 

* DynamicCrop

 

* AutomaticBackgroundExtraction

 

* [EZ Decon and Denoise](darkarchon.internet-box.ch:8443/) (Ha only)

 

* STF applied via HistogramTransformation to bring each channel nonlinear

 

**Combining Channels:**

 

* PixelMath to make classic SHO to RGB image

 

* Greens and magentas partially nuked using SCNR

 

* Pixelmath to make RGB image using [ForaxX's palette](thecoldestnights.com/2020/06/pixinsight-dynamic-narrowban...)

 

> R= (Oiii\^~Oiii)\*Sii + ~(Oiii\^~Oiii)\*Ha

 

> G= ((Oiii\*Ha)\^~(Oiii\*Ha))\*Ha + ~((Oiii\*Ha)\^~(Oiii\*Ha))\*Oiii

 

> B= Oiii

 

* Pixelmath to blend classic and ForaxX SHO images 50:50

 

**Nonlinear:**

 

* LRGBCombination with Ha as luminance

 

* Shitloads of [Curve](i.imgur.com/mlRzJ9u.jpg)Transformations to adjust lightness, saturation, contrast, hues, etc

 

* SCNR to remove greens

 

* ACDNR

 

* LocalHistogramTransformation

 

* DarkStructureEnhance

 

* More curves

 

* DarkStructureEnhance

 

* EZ Star Reduction

 

* Invert>SCNR>Invert with star mask to partially remove magenta from stars.

 

* Resample to 75%

 

* Annotation

Nonlinear Dynamics

So, what is it different from a huge number of other aircraft tugs? To date, this is the first and only representative of the fourth generation because, of course, the best. When we first met, he immediately strike dimensions: length 14.5 m, width of 4.35 m and a height of 2.32 m (without exhaust system) weight of the truck is 70 tons. From him and breathes inside hidden power. And really – his eight-cylinder turbo diesel 12 liters develops immodest 1550 HP Thanks to this power and the latest double-circuit transmission MAT is able to move with a full load at a speed of 25 km/h. For comparison, the maximum speed of most existing tractors under load does not exceed 10 km/h Maximum speed without load is 60 km/h. Such a high rate (at standard tractors it is twice less) allows the machine to quickly and autonomously change their location, especially if to remember its weight and dimensions. Standard ground clearance of the machine is only 14 cm, but the developer is going to release sarojadevi off-road version. Despite the impressive size, the MAT has a high maneuverability thanks to its independent front and rear steering. The new system of smooth adjustment of the angle of the course allows us to reduce the load on the tires when maneuvering and significantly increase their service life. Speaking of tires – even this would not have happened without the revolutionary technologies! They are made from the latest super wear-resistant material – nitrofuranto. Its main feature is the nonlinear elasticity, so engineers were able to abandon the conventional hydraulic suspension and saved so much space and weight. In particular, a tank for hydraulic and, accordingly, oil consumption were reduced by 30%.

 

The MAT is equipped with two reeving winches, which are able to operate in tap mode in the presence of the outer boom. To ensure stability in the tap mode, and to simplify maintenance (try replacing the wheel with a diameter of 1.8 meters at a 70-ton machine), the machine is equipped with hydraulic full-lift jacks. The winch shafts structurally integrated into the carrying frame of the tractor, ensuring reliable operation and safety.

 

The MAT is freely extensible platform. In the front of the machine removed oil seals for hydraulic connections, and at the rear of additional mechanical drive. The manufacturer offers as attachments huge blade and the outer jib-crane. Dozer will be especially useful in winter, as the performance of such a machine an order of magnitude greater than that of conventional snow removal equipment. Because the blade is completely beyond the operator's line of sight, the cabin is equipped with hydraulic lifting devices.

 

Needless to say, the cab operators meet the most modern standards of ergonomics. The touch pad, robotic CAT, review FullHD camera, sound insulation, climate control – everything is done for the best possible experience. Controls the main and auxiliary cabins are fully duplicated, so that the control can be done from any location.

 

Now, when I talked a bit about the original (photos, unfortunately, are not), you can go to my model. Scale 1:19, just under tech-figure. Accordingly, the following model dimensions: length without attachment – 76,5 cm, width (without/with mirrors) – 23/26 cm, height (without/with exhaust pipes) – 13/15 cm, weight – 4,45 kg. On creation took about a month and a half.

www.doublebrick.ru/forums/viewtopic.php?t=55226

Description: This is my image of Comet C/2022 E3 (ZTF) based on a total exposure time of about 2 hours. The magnification inset shows the differences between the green forward portion of the coma, the white nucleus behind it, and the faint red/pink portion of the tail. The green color is not an artifact. It is thought to be due to the photodissociation by solar radiation of dicarbon molecules present in the coma . The photodissociation mechanism is well-described in www.pnas.org/doi/10.1073/pnas.2113315118.

 

Date / Location: 3 February 2023 / Washington D.C.

 

Equipment:

Scope: WO Zenith Star 81mm f/6.9 with WO 6AIII Flattener/Focal Reducer x0.8

OSC Camera: ZWO ASI 2600 MC Pro at 100 Gain and 50 Offset

Mount: iOptron GEM28-EC

Guider: ZWO Off-Axis Guider

Guide Camera: ZWO ASI 174mm mini

Focuser: ZWO EAF

Light Pollution Filter: Chroma LoGlow Broadband

 

Processing Software: Pixinsight

 

Processing Steps:

 

Here, I used Pixinsight's Comet Alignment process as described in Warren A. Keller's "Inside Pixinsight" (Second Edition).

 

Star Alignment Step: First, I processed 68x120s subs (= 2.26 hours) in Pixinsight to get registered images using the following processes: Image Calibration > Cosmetic Correction > Subframe Selector > Debayer > Select Reference Star > Star Alignment.

 

First Comet Alignment Step: Next, to the registered images from the preceding Star Alignment step, I applied the Comet Alignment process in Pixinsight to generate comet aligned files.

 

First Integration Step: I then integrated the comet aligned files from the preceding step to produce a Comet Master file.

 

Second Comet Alignment Step involving subtraction: To the registered images from the Star Alignment step, I applied the Comet Alignment process in Pixinsight, with the stipulation that the Subtract Operand Field contain the Comet Master file, to generate subtraction files.

 

Second Integration Step: I then integrated the subtraction files from the preceding step to produce a Star Master file.

 

Pixel Math Step: Next, I blended the Comet Master file and the Star Master file using the expression 2*Comet Master file + Star master file in order to get a Final Merged file.

 

To the Final Merged file, I applied the following processes:

 

Linear Postprocessing: Rotation > Dynamic Crop > Dynamic Background Extractor (both subtraction to remove light pollution gradients and division for flat field corrections) > Background Neutralization > Color Calibration > Noise Xterminator.

 

Nonlinear Postprocessing: Histogram Transformation > Local Histogram Equalization > Curves Transformation.

 

So back in 2020 I had finished photographing all 110 Messier Objects. At the time a lot of them were photographed with varying cameras, telescopes, lenses, and focal lengths, and I wanted to improve. Since then I've re-shot many of them, with the goal of photographing the entire catalog with the exact same telescope + camera + mount setup. As of a few weeks ago I've finally finished. I technically started on this catalog the first night I did astrophotography (I did M101), but it wasn't until 2019 that I started photographing star clusters and really pushing to photograph all 110 objects, and now here I am a few years later with every object photographed using the same setup.

 

---

 

**Equipment:**

 

* **Telescope:**

 

* TPO 6" F/4 Imaging Newtonian

  

* **Tracking Mount:**

 

* Orion Sirius EQ-G

 

* **Camera:**

 

* ZWO ASI1600MM-Pro

 

* **Filters:**

 

* Astronomik LRGB+CLS Filters- 31mm

* Astrodon 31mm Ha 5nm, Oiii 3nm, Sii 5nm

 

* **Accessories:**

 

* ZWO EFW 8x1.25"/31mm

* Moonlite Autofocuser

* Skywatcher Quattro Coma Corrector

* Agena 50mm Deluxe Straight-Through Guide Scope

* ZWO ASI120MC (Autoguiding camera)

* ZWO ASI290MC (also used for autoguiding)

 

**Acquisition:**

 

* All images were captured using [N.I.N.A.](nighttime-imaging.eu/), a free and open source program that I use to automate all of my equipment.

 

**Processing:**

 

>This is an *extremely* generalized processing workflow in PixInsight.

 

> I've also made some videos showing [my LRGB](www.youtube.com/watch?v=E6vj_SEZ79k) and [SHO narrowband workflows](www.youtube.com/watch?v=u7FuApFSGuA) in PixInsight

 

* Calibrate with dark and flat frames

 

* Stack individual frames together to create a single image with high SNR. (This combines many images each with a few minutes of exposure into images which effectively have several hours of exposure, and rejects out any satellites that flew in front of the camera)

 

* Crop (removes stacking artifacts)

 

* Background extraction

 

* Deconvolution sharpening and noise reduction

 

* Color calibration (not necessary for false color images:)

 

* Stretch to nonlinear state (this brightens the picture. The images straight off the camera are very close to black)

 

* More noise reduction

 

* Final tweaks of contrast, luminance, color balance, and saturation [curves](i.imgur.com/y97TmKB.jpg)

 

* Crop/resample to 1000x1000 for mosaic image, which was then assembled in Photoshop

 

I want to preface this writeup by saying that I am approaching this from an amateur's perspective. The effects of these satellites will be more noticeable for certain professional observatories, but SpaceX are [working with them on reducing the brightness of the satellites](www.reddit.com/r/SpaceXLounge/comments/mkmsqa/spacex_rele...). It's also important to keep in mind that the streaks in my photo are a worst case scenario, as the satellites had just launched and haven't spread out or reached their final orbit height. The satellites become significantly dimmer once fully deployed.

 

---

 

Satellite trails have always been present in astrophotos since satellites first became a thing. With every starlink launch I often see photos or videos of the trains accompanied with "staRLINk iS RUInINg asTRoNoMy". For the amateur astrophotographer this is not the case. Image stacking and pixel rejection algorithms have been around for a while, and do a pretty good job at removing the trails, even with just the 10 images in my example photo. Many deep sky photos stack hundreds of frames together, which helps reject more outlier pixels from satellites or other sources of noise. Even the most popular nebula for beginners, the Orion Nebula, is [regularly 'photobombed' by geostationary satellites](i.imgur.com/niwKELZ.png), which are rejected out from the [final image if enough frames are taken](live.staticflickr.com/65535/50926610233_84a5b0b22c_o.png).

   

**Image Stacking:**

 

Astrophotographers regularly stack dozens to hundreds of exposures together to create high SNR images of deep sky objects. It isn't necessary to completely toss out an exposure containing a satellite trail, as the stacking process removes outlier pixels from certain frames before averaging together the rest. ([more info on pixel rejection can be found here](pixinsight.com/doc/tools/ImageIntegration/ImageIntegratio...))

   

**Information about these starlinks in particular:**

 

These 13 starlink satellites were launched on the Starlink-25 launch on May 4th, 4 days prior to being photographed. There maximum brightness was around magnitude +2.2, comparable to the bright stars of the Big Dipper. Maximum altitude of the train was 90 degrees, however the galaxy was at 70 degrees. The remaining frames of the Needle Galaxy (NGC 4565) were taken a couple weeks ago. All frames were captured from my Bortle 6 driveway. I made a similar comparison [about a year ago](www.reddit.com/r/SpaceXLounge/comments/gwyw1n/effects_of_...), however the conditions for that shot were less than ideal due to haze (there also wasn't a cool galaxy in the frame).

 

**Places where I host my other images:**

 

[Instagram](www.instagram.com/leftysastrophotography/) | [Flickr](www.flickr.com/people/leftysastrophotography/)

 

---

 

**[Equipment:](i.imgur.com/6T8QNsv.jpg)**

 

* TPO 6" F/4 Imaging Newtonian

 

* Orion Sirius EQ-G

 

* ZWO ASI1600MM-Pro

 

* Skywatcher Quattro Coma Corrector

 

* ZWO EFW 8x1.25"/31mm

 

* Astronomik LRGB+CLS Filters- 31mm

 

* Astrodon 31mm Ha 5nm, Oiii 3nm, Sii 5nm

 

* Agena 50mm Deluxe Straight-Through Guide Scope

 

* ZWO ASI-120MC for guiding

 

* Moonlite Autofocuser

 

**Acquisition:** (Camera at Unity Gain, -15°C)

 

* Lum - 120" exposures

 

* Darks- 30

 

* Flats- 30 per filter

 

**Capture Software:**

 

* Captured using [N.I.N.A.](nighttime-imaging.eu) and PHD2 for guiding and dithering.

 

**PixInsight Processing:**

 

* BatchPreProcessing

 

* StarAlignment

  

* ImageIntegration

 

> [Default settings + default large scale pixel rejection](i.imgur.com/xyTeqgH.png) used

 

> Windsorized Sigma Clipping rejection algorithm used for 10 image stack

 

> Linear Fit Clipping rejection algorithm used for 50 image stack

 

* DynamicCrop

 

* AutomaticBackgroundExtraction

 

* STF applied via HistogramTransformation to bring nonlinear