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Here is the continuation of my large summer-2018 project.
I had imaged this region for about 13 nights altogether between July and October 2018. You can call me crazy, using so many nights for just one object, in a region where clear nights are rare :) But I really wanted to see if I could catch this beautiful Supernova remnant, and I'm glad it succeeded :)
Recently Pixinsight was supplied with the new Starnet++ module, which you can use to completely separate the stars from the background. I used this software to enhance the very weak nebulosity and was astonished to see how much more could be drawn from the background compared to the processing I did last year. All other processing was performed using Astropixelprocessor and photoshop.
Supernova remnants (SNR) are formed when a large star ends its life in a supernova explosion. About 300 of these remnants are currently known in our galaxy. One of the most famous remnants, the Veil Nebula, is located in the constellation of Cygnus. Although this is the most famous one in this constellation, it’s not the only SNR. Cygnus contains several obscure SNR’s, among which SNR 65.3+5.7 (also known as SNR 65.2+5.7).
SNR G65.3+5.7 was discovered by Gull et al. (1977) during an OIII survey of the Milky Way. Some parts of this SNR were already catalogued by Stewart Sharpless in his SH2 catalog as SH2-91, SH2-94 and SH2-96, but they were not recognized as being part of a bigger structure at that time. The idea that they could be part of a larger SNR was postulated by Sidney van den Bergh in 1960, but it took until 1977 for this to be confirmed.
This is one of the larger SNR in the sky spanning a region of roughly 4.0x3.3 degrees. Mavromatakis et al. (2002) determined the age of the SNR to be 20.000-25.000 years and the distance about 2.600 – 3.200 lightyears. The shell has a diameter of roughly 230 lightyears! This SNR is a predominantly OIII shell with also some H-alpha signal.
This supernova shell is quite weak and there are hardly any high-resolution images of this region. In the internet maybe 5-10 deep images of this shell can be found and, in most cases, they don’t cover the entire shell or the resolution is quite low because it was done by using photo lenses at short focal lengths. That’s why I decided to see if I could try to image the entire shell using my equipment, a TMB92 refractor in combination with a QSI583ws ccd camera. Because of its large size I needed to make a 3x3 mosaic to cover the whole region.
As so many nights were already necessary to cover the region in OIII I didn’t succeed in grabbing the H-alpha data, but on the internet I found the MDWsurvey (mdwskysurvey.org) initiated by David Mittelman (†), Dennis di Cicco, and Sean Walker (MDW). This is a marvelous project with the goal to image the entire northern sky in H-alpha at a resolution of 3.17”/pixel. I contacted them and told them of my effort to grab imagery of this SNR and they were very kind to provide me with the H-alpha imagery of this region, so that the entire SNR could be brought into view in reasonable high resolution.
This bicolor image shows a combination of about 53h of OIII data (made by myself) and 20 hours of Ha-data (made by the MDW survey) in a single image. In this way the full span of the shell can be seen in all its glory.
Image info:
H-alpha (astrodon 3nm, mdwskysurvey.org):
Telescope: Astro-physics AP130mm starfire
Camera: Fli Proline 16803
5 frames of 12x1200s each
OIII (astrodon 3nm):
Telescope: TMB92SS
Camera: QSI583ws
9 frames, 158 x 1200s total
This pretty, cloud-like object may not look much like a galaxy — it lacks the well-defined arms of a spiral galaxy, or the reddish bulge of an elliptical — but it is in fact something known as a lenticular galaxy. Lenticular galaxies sit somewhere between the spiral and elliptical types; they are disc-shaped, like spirals, but they no longer form large numbers of new stars and thus contain only ageing populations of stars, like ellipticals.
NGC 2655’s core is extremely luminous, resulting in its additional classification as a Seyfert galaxy: a type of active galaxy with strong and characteristic emission lines. This luminosity is thought to be produced as matter is dragged onto the accretion disc of a supermassive black hole sitting at the centre of NGC 2655. The structure of NGC 2655’s outer disc, on the other hand, appears calmer, but it is oddly-shaped. The complex dynamics of the gas in the galaxy suggest that it may have had a turbulent past, including mergers and interactions with other galaxies.
NGC 2655 is located about 80 million light-years from Earth in the constellation of Camelopardalis (The Giraffe). Camelopardalis contains many other interesting deep-sky objects, including the open cluster NGC 1502, the elegant Kemble’s Cascade asterism, and the starburst galaxy NGC 2146.
Credits: ESA/Hubble & NASA, A. Fillipenko, CC BY 4.0
We're Here! : The Glass Menagerie
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Strobist: AB1600 with gridded 60X30 softbox camera right. Triggered by Cybersync.
Transportation for MacroMondays
Object in photo is approximately 3" high.
Macro photograph of part of a wheel of a Mobike in Paris.
Read about this bicycle here: mobike.com/global/blog/post/mobike_paris_launch
© All Rights Reserved. Please do not use or reproduce this image on Websites/Blog or any other media without my explicit permission.
I like the object. This is an ordinary frame with shorter exposure. No geostationary satellites encroached in the southern hemisphere.
Equipment: Takahashi FSQ-106ED, F3 Reducer 0.6x, and EOS 5Dmk3-SP3, modified by Seo San on ZWO AM5 Equatorial Mount, autoguided with Fujinon 1:2.8/75mm C-Mount Lens, Pentax x2 Extender, ZWO ASI 120MM-mini, and PHD2 Guiding
Exposure: 6 times x 900 seconds, 4 x 240 sec, 5 x 60 sec, 5 x 15 sec, and 5 x 4 seconds at ISO 1,500, and 4 seconds at iso 400 and f/3.0, focal length 320mm
site: 2,434m above sea level at lat. 24 39 52 south and long. 70 16 11 west near Cerro Armazones in Sierra Vicuña Mackenna in Coast Range of Chile
Ambient temperature was 11 degrees Celsius or 52 degrees Fahrenheit. Wind was mild. Sky was dark, and SQML was 21.65 at the night.
www.flickr.com/groups/smileonsunday/
Este es un juego de te que me regalo alguien muy especial y que disfruto todo el tiempo, es mas... me dieron ganas de un buen te...
Joint art exhibit by Kiyomi Tanigawa (www.brooklynmisomaru.com), So Jung Lee (www.kokili.com), and Hanna Yoo (www.hannayooworks.com)
Shot for Active Assignment Weekly, theme "Mystery Object"
WIT
I looked around the house for things I use, and took a shot. In post some cropping, color correction, nothing special....
Guess what it is??
España - Ciudad Real - Viso del Marqués - Palacio del Marqués de Santa Cruz
***
ENGLISH:
It was built at the end of the 16th century by Álvaro de Bazán, first Marquis of Santa Cruz. It is currently the headquarters of the General Archive of the Navy.
It is one of the two palaces built by this sailor, knight of the Order of Santiago, captain of the Ocean Sea and admiral of the Spanish Navy. It is located next to the church of Nuestra Señora de la Asunción, and since 1948 it has been rented by its owners, the Marquises of Santa Cruz, to the Spanish Navy, who first used it as a Museum of the Spanish Navy and later expanded its functions by also establishing the General Archive of the Navy.
The building was frequented by the first marquis thanks to its location, halfway between Madrid, where the Court was, and Seville, whose port he often went to as the Spanish Navy was anchored there, of which he was admiral during the reign of Philip II.
The palace was nearly destroyed by the Austrian troops of Edward Hamilton during the War of the Spanish Succession at the beginning of the 18th century, but was saved by the actions of the Marquis's chaplain, the poet Carlos de Praves, thanks to whom we can admire it today. It suffered some damage due to the Lisbon earthquake in 1755, which collapsed the ceiling of the hall of honour, where the great fresco depicting the Battle of Lepanto had been painted, and toppled the four corner towers, which the chronicles of Philip II described as magnificent.
In it we can find maritime objects from the period. A figurehead belonging to a ship commanded by the Marquis is noteworthy. During the War of Independence, the French razed it, and by the time the Civil War came it had served as a granary, school, stable, prison and hospital, until in 1948 and at the request of Julio Guillén Tato, director of the Naval Museum, Mrs. Casilda de Silva Fdez. de Henestrosa, descendant of Álvaro de Bazán, rented it to the Navy for 90 years as a museum-archive, which is its current function. Also, in the adjoining parish church there is a 4m long stuffed crocodile attached to one of the vaults, which was offered by the Marquis as a votive offering upon his return from one of his voyages.
Between March and April 1823, King Ferdinand VII spent the night there, after leaving Madrid for Seville, before the entry of the French contingent called the Hundred Thousand Sons of Saint Louis, about whose stay Ferdinand VII did not write a word in his travel diary. The palace was declared a National Monument in 1931 and was restored from 1948 by the Navy under the direction of Admiral Guillén.
The palace was built between 1564 and 1586 with subsequent modifications. It is a square-shaped building in the Renaissance style, built around a Renaissance atrium with a recumbent tomb. The walls and ceilings are covered with frescoes with two themes: mythological scenes on the one hand and naval battles and Italian cities related to the military career of the Marquis and his family on the other. The frescoes are by Italian Mannerist painters, the Péroli family. Upon seeing them, Philip II commissioned them to do work for El Escorial and the Alcázar of Toledo.
For its construction, the Marquis hired a team of architects, painters and decorators who worked on the building from 1564 to 1586. For some, the design of the building was due to the Italian Giovanni Battista Castello, known as the Bergamasco, who later worked in El Escorial; for others, it was designed, at least in its original plan, by Enrique Egas el Mozo.
The architecture is perceived as typically Spanish, without Italian arches, with smooth walls and square towers at the corners, influenced by the austerity of El Escorial and the Alcázar of Toledo, within the harmonious relationships characteristic of the Renaissance. The central space is occupied by a porticoed courtyard that, together with the staircase, forms a typically mannerist ensemble understood as an elegant and courtly style that goes beyond the merely architectural framework.
***
ESPAÑOL:
Fue construido a finales del siglo XVI por Álvaro de Bazán, primer marqués de Santa Cruz. Actualmente es la sede del Archivo General de la Marina.
Se trata de uno de los dos palacios construidos este marino, caballero de la Orden de Santiago, capitán del Mar Océano y almirante de la Marina española. Está situado al lado de la iglesia de Nuestra Señora de la Asunción, y desde el año 1948 es alquilado por parte de sus propietarios, los marqueses de Santa Cruz, a la Armada Española, quien primero lo destinó a Museo de la Marina Española y más tarde amplió sus funciones estableciendo también el Archivo General de la Marina.
El edificio era frecuentado por el primer marqués gracias a su ubicación, a medio camino entre Madrid, donde estaba la Corte, y Sevilla, a cuyo puerto acudía a menudo al mantener allí anclada la Armada Española, de la cual fue almirante durante el reinado de Felipe II.
El palacio estuvo a punto de ser destruido por las tropas austracistas de Edward Hamilton durante la Guerra de Sucesión Española a principios del siglo XVIII, salvándose por la actuación del capellán del marqués, el poeta Carlos de Praves, gracias a lo cual hoy podemos admirarlo. Sufrió algunos daños a causa del terremoto de Lisboa en 1755: el cual hundió el techo del salón de honor, donde se había pintado el gran fresco que representaba la batalla de Lepanto, y desmochó las cuatro torres de las esquinas, que las crónicas de Felipe II describían como magníficas.
En él podemos encontrar objetos marineros de la época. Llama la atención un mascarón de proa perteneciente a una nave que dirigió el marqués. Durante la Guerra de la Independencia, los franceses lo arrasaron, y para cuando llegó la Guerra Civil había servido de granero, colegio, establo, cárcel y hospital, hasta que en 1948 y a instancias de Julio Guillén Tato, director del Museo Naval, doña Casilda de Silva Fdez. de Henestrosa, descendiente de Álvaro de Bazán se lo rentó a la Armada por 90 años como museo-archivo, que es en la actualidad su función. Asimismo, en la iglesia parroquial aledaña hay un cocodrilo disecado de 4m de largo adosado a una de las bóvedas, que fue ofrecido por el marqués como exvoto al regreso de uno de sus viajes.
Entre marzo y abril de 1823, el rey Fernando VII pernoctó allí, tras abandonar Madrid rumbo a Sevilla, ante la entrada del contingente francés llamado los Cien Mil Hijos de San Luis, de cuya estancia Fernando VII no escribió ni una palabra en su diario del viaje. El palacio fue declarado Monumento Nacional en 1931 siendo restaurado a partir de 1948 por la Armada bajo la dirección del Almirante Guillén.
El palacio fue construido entre 1564 y 1586 con modificaciones posteriores, y se trata de un edificio de planta cuadrada y estilo renacentista articulado en torno a un atrio renacentista con una tumba yacente. Los muros y techos se hallan cubiertos de frescos de doble temática: por un lado, escenas mitológicas y, por otro, batallas navales y ciudades italianas relacionadas con la trayectoria militar del marqués y de sus familiares. Los frescos se deben a unos pintores manieristas italianos, los Péroli. Al verlos, Felipe II les encargaría trabajos para El Escorial y el Alcázar de Toledo.
Para su construcción, el marqués contrató a un equipo de arquitectos, pintores y decoradores que trabajaron en la obra desde 1564 hasta 1586. Para algunos, el diseño del edificio se debió al italiano Giovanni Battista Castello, conocido como el Bergamasco, que más tarde trabajó en El Escorial; para otros lo trazó, al menos en su plan original, Enrique Egas el Mozo.
La arquitectura se percibe como típica española, sin las arquerías italianas, con paramentos lisos y torres cuadradas en las esquinas, influidos por la austeridad de El Escorial y el Alcázar de Toledo, dentro de las relaciones armónicas características del Renacimiento. El espacio central está ocupado por un patio porticado que junto con la escalera forma un conjunto típicamente manierista entendido como estilo elegante y cortesano que desborda el marco meramente arquitectónico.
Found object fence in Harrisburg, Missouri by Notley Hawkins. Taken with a Canon EOS R5 camera with a Canon EF24-105mm f/4L IS USM lens at ƒ/2.8 with a 1/1000-second exposure at ISO 50. Processed with Adobe Lightroom CC.
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©Notley Hawkins. All rights reserved.
Ulrich Müther (1934-2007), Binz, Rügen
A german engineer, he lived and worked on Rügen
(en.wikipedia.org/wiki/R%C3%BCgen)
www.muether-archiv.org/de/bauten/detail/d/rettungsturm_1_...
My trusty tripod which has served me for over 30 years. I have replaced the leg braces, various nuts and bolts and the head which originally was a pan and tilt type.
ID: 004196
This picture is (c) Copyright Frank Titze, all rights reserved.
It may NOT be reproduced, copied, edited, published, transmitted or uploaded in any way without my permission.
See more pictures on frank-titze.art.
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Exposure: 03/2016
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Published: 06/2016
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