View allAll Photos Tagged Subframing
I already have an image of this nebula using just the 656 nm red light from ionized hydrogen: flic.kr/p/2mcJ4iK
There's lots of detail there, but with such a rich starfield, I wanted to bring color into the image. I shot L, G, and B channel data on 2023-07-17, registered it with the original H-alpha data, and was able to cook up this version.
This was also shot with the Atik 414-EX on a Celestron Edge HD 925 at 1530 mm focal length.
L: 120 20 s frames
B: 60 30 s frames
G: 60 30 s frames
I also shot 20 2 min exposures with H-alpha, because, why not? These were combined with the previous data in this channel.
Subframes captured with N.I.N.A. Preprocessing in Nebulosity; registration, stacking, channel combination, and initial processing in PixInsight; a small touch up with Topaz Labs to finish.
I see a lot of renderings of this nebula where the stars are removed or greatly diminished. It lies right along the band of the Milky Way in the sky. I choose to include the stars that give context to how rich this part of the sky in Cygnus is.
M101, a spiral galaxy in Ursa Major, is near enough (~21 light years) for its spiral structure to be visible in modest telescopes under dark skies. The bright knots in its spiral arms are regions of star formation that are rich in ionized HII gas.
This rendering is a reprocessing based on the same data used for an earlier posting from 2024 (flic.kr/p/2pYjtXz). My processing capability and software tools have improved considerably since then!
Telescope: Celestron EdgeHD 8"
Reducer: 0.7x (1440mm Focal Length)
Camera: QSI 683wsg
Filters: Baader RGB-CCD + UV/IR Cut
Mount: Astro-Physics Mach1 GTO
Integration: 40-50 mins each RGB; 35 mins L (5 min subframes)
Capture Location: Near Goldendale, WA
Processing Software: PixInsight v1.9, Seti Astro Cosmic Clarity, Adobe Photoshop
NGC 6946, commonly known as the Fireworks Galaxy, straddles the border between the constellations Cepheus and Cygnus. Because, as seen from Earth, it lies near the plane of our own Milky Way Galaxy, it appears nestled amidst a rich field of foreground stars.
Telescope: Celestron Edge HD 8 at f/7
Camera: QSI 683wsg
Mount: Astro-Physics Mach 1 GTO
Integration: Approx 40 mins each of RGB (~8 x 5 minute subframes)
Processing Software: PixInsight v1.9, Adobe Photoshop
Captured under dark skies near Goldendale, WA.
Since we entered PermaCloud season, I reprocessed an older image of M78 taken in January 2015, just for fun :)
QHY23M & 11" Celestron EdgeHD w/Hyperstar
L-24x60
R-10x60
G-10x60
B-10x60
Ha 9x300
99 minutes
There's a lot of noise in the subframes, this was taken before I received an upgraded driver for the QHY23M.
Here's my final image of the dark nebulas located in Cepheus. The Garnet Star has some neat flares coming from it, most likely due to the optics in my Celestron EdgeHD8.
A total of 204 min of LRGB subframes were captured using a ZWO ASI2600 MM Pro connected to an EdgeHD8 with 0.62x reducer (approximately 1450 mm focal length at f/6.2).
Luminance: 23x3 min
R/G/B: 23x2 min each filter
Processed in Pixinsight and Photoshop.
Attended a Lime Rock Show yesterday, and was mostly disappointed with the subject matter. I'll probably have a few shots to post but one car immediately grabbed my attention and literally stopped me in my tracks. I was clueless as to what it was, but it was a real beauty. And it was until I returned home and did some online research when I found out more about this little gem...like it's 1/2 mullion dollar plus price, among other things. It's a limited production, custom bodied car built by an Italian company, Kimera, and it features the same underpinnings as the original Lancia EVO37, a 500hp+, both supercharged and turbocharged inline 2.1L 4 cylinder powerplant. The following will provide the interested reader with more details:
Following the launch of its original Lancia 037 restomod in 2021, Italian outfit Kimera Automobili has revealed a new limited-run take, inspired by Martini Racing’s iconic Group B racer. Developed in collaboration with two-time World Rally Champion Miki Biasion and Martini, just 37 examples will be produced, with prices expected to exceed the £415,000 of its original car.
Kimera’s EVO37 is not built from one of the few, and very special originals, but built from scratch in a similar construction method with modern materials and techniques. The chassis itself is a bespoke monocoque built from tube steel, with subframes directly welded to it on either side. The steel structure is then clothed in bespoke carbonfibre panels, replacing the original kevlar composite units.
While it features the same underpinnings as the original EVO37, the Martini 7 adopts a new carbonfibre aerodynamics package, applying a new front splitter, side skirts, more aggressive in-built canards and NACA ducts aft of the doors and on the rear haunches. The use of more carbonfibre and carbonkevlar in the Martini 7 is said to drop weight to 1100kg.
Continuing the motorsport theme, the rear has received a complete overhaul, with new carbonfibre air vents framing a transparent engine cover to reveal its rally-inspired power plant. The rear bumper is also now equipped with a quick disconnect mechanism, allowing buyers to display the gearbox casing and ceramic coated exhaust system in all its glory, just like the Group B 037.
As in the homologation car, the forged double wishbone suspension has a long-travel design, with dual Ohlins dampers flanking the separated spring at the rear and a more compact coilover design on the front end.
Like the structure, the engine is also referenced by the original, running a new-build 2.1-litre four-cylinder engine that is both turbo and supercharged. Unlike the original, however, the supercharger will be electrically driven, so as not to bleed power away from the engine itself as all purely mechanical units do.
The engine’s development has been overseen by one of Lancia’s original powertrain engineers Claudio Lombardi, and thanks to the advances in engine technology is said to produce 542bhp in Martini 7 trim, up 49bhp on the original EVO37. The engine will power the rear wheels via either a six-speed manual, or six-speed sequential transmission, the latter operable via electro-mechanically actuated paddles behind the steering wheel – in-line with its motorsport connection, ratios are shortened in Martini 7-trim.
The overall design remains similar to the original restomod, reworking the Lancia 037’s iconic design with the aid of modern, high-tech carbonfibre manufacturing techniques. Details, like the front and rear lighting, mesh inserts and wheels are also new, the latter being of a much larger 18- and 19-inch staggered design to clear the modern brake package. The Martini 7 receives new wheels inspired by those originally featured on the Delta Evoluzione, created with weight-saving in mind and incorporating the yellow/black carbon-kevlar of Delta group A cars.
Inside, Kimera has opted for a tasteful dry carbonfibre and blue Alcantara theme, with the dials coming with the same orange backlight as the racer. A unique limited-edition plaque, enamel Miki Biasion/Martini dashboard logo and Martini Racing harnesses also feature, with the main control panel labelled exactly how it was in the race car. Being a modern recreation, Kimera has also incorporated a second control panel in the centre console for fine tuning of the ABS and traction control.
A total of 37 Kimera EVO37 Martini 7s will be produced, joining 37 of the original recreation.
By: Sam Jenkins
Take it for a spin through the gears here: www.google.com/search?q=kimera+evo37&oq=kimera&gs...
The nebula off center left is SH2-102. There are a number of dark nebulae placed around the image.
Dwarf 3
530x45sec subframes, which is bit more than 6 and a half hours of exposure time.
On another windy day in Chicago I was looking for a Stephen Shore picture of that complicated gas station behind me across the street which is visible reflecting in the green window. But this color combination caught my attention when that person came along. I knew I wanted her framed between those two poles, but she was moving very fast. I'm not a burst shooter. I believe it wears out the camera and isn't fair. FYI; with a predicted lifespan of 100K my Nikon D3300 has over 200,000 clicks on it.
And I wanted that sliver of sidewalk for depth.
Standing on the other side of those bushes made for a very flat scene.
The Jaguar E-Type, is a British front mid-engined sports car that was manufactured by Jaguar Cars Ltd from 1961 to 1974. Its sleek appearance, advanced technologies, high performance, and competitive pricing established it as an icon. The E-Type's claimed 150 miles per hour (240 km/h) top speed, sub-7-second 0 to 60 mph (97 km/h) acceleration, largely unitary body construction, front and rear independent suspension with disc brakes, mounted inboard at the rear, and rack-and-pinion steering spurred industry-wide changes.
The E-Type was based on Jaguar's D-Type racing car, which had won the 24 Hours of Le Mans for three consecutive years beginning in 1955.
The E-Type employed what was, for the early 1960s, a novel design principle, with a front subframe carrying the engine, front suspension and front bodywork bolted directly to the body tub. No ladder frame chassis, as was common at the time, was needed and as such the first cars weighed only 1,315 kg (2,899 lb).
It is rumored that, on its debut on 15 March 1961, Enzo Ferrari called it "the most beautiful car ever made", but this statement is not fully confirmed. In 2004, Sports Car International magazine placed the E-Type at number one on their list of Top Sports Cars of the 1960s. In March 2008, the Jaguar E-Type ranked first in The Daily Telegraph's online list of the world's "100 most beautiful cars" of all time.[
Attended a Lime Rock Show yesterday, and was mostly disappointed with the subject matter. I'll probably have a few shots to post but one car immediately grabbed my attention and literally stopped me in my tracks. I was clueless as to what it was, but it was a real beauty. And it was until I returned home and did some online research when I found out more about this little gem...like it's 1/2 mullion dollar plus price, among other things. It's a limited production, custom bodied car built by an Italian company, Kimera, and it features the same underpinnings as the original Lancia EVO37, a 500hp+, both supercharged and turbocharged inline 2.1L 4 cylinder powerplant. The following will provide the interested reader with more details:
Following the launch of its original Lancia 037 restomod in 2021, Italian outfit Kimera Automobili has revealed a new limited-run take, inspired by Martini Racing’s iconic Group B racer. Developed in collaboration with two-time World Rally Champion Miki Biasion and Martini, just 37 examples will be produced, with prices expected to exceed the £415,000 of its original car.
Kimera’s EVO37 is not built from one of the few, and very special originals, but built from scratch in a similar construction method with modern materials and techniques. The chassis itself is a bespoke monocoque built from tube steel, with subframes directly welded to it on either side. The steel structure is then clothed in bespoke carbonfibre panels, replacing the original kevlar composite units.
While it features the same underpinnings as the original EVO37, the Martini 7 adopts a new carbonfibre aerodynamics package, applying a new front splitter, side skirts, more aggressive in-built canards and NACA ducts aft of the doors and on the rear haunches. The use of more carbonfibre and carbonkevlar in the Martini 7 is said to drop weight to 1100kg.
Continuing the motorsport theme, the rear has received a complete overhaul, with new carbonfibre air vents framing a transparent engine cover to reveal its rally-inspired power plant. The rear bumper is also now equipped with a quick disconnect mechanism, allowing buyers to display the gearbox casing and ceramic coated exhaust system in all its glory, just like the Group B 037.
As in the homologation car, the forged double wishbone suspension has a long-travel design, with dual Ohlins dampers flanking the separated spring at the rear and a more compact coilover design on the front end.
Like the structure, the engine is also referenced by the original, running a new-build 2.1-litre four-cylinder engine that is both turbo and supercharged. Unlike the original, however, the supercharger will be electrically driven, so as not to bleed power away from the engine itself as all purely mechanical units do.
The engine’s development has been overseen by one of Lancia’s original powertrain engineers Claudio Lombardi, and thanks to the advances in engine technology is said to produce 542bhp in Martini 7 trim, up 49bhp on the original EVO37. The engine will power the rear wheels via either a six-speed manual, or six-speed sequential transmission, the latter operable via electro-mechanically actuated paddles behind the steering wheel – in-line with its motorsport connection, ratios are shortened in Martini 7-trim.
The overall design remains similar to the original restomod, reworking the Lancia 037’s iconic design with the aid of modern, high-tech carbonfibre manufacturing techniques. Details, like the front and rear lighting, mesh inserts and wheels are also new, the latter being of a much larger 18- and 19-inch staggered design to clear the modern brake package. The Martini 7 receives new wheels inspired by those originally featured on the Delta Evoluzione, created with weight-saving in mind and incorporating the yellow/black carbon-kevlar of Delta group A cars.
Inside, Kimera has opted for a tasteful dry carbonfibre and blue Alcantara theme, with the dials coming with the same orange backlight as the racer. A unique limited-edition plaque, enamel Miki Biasion/Martini dashboard logo and Martini Racing harnesses also feature, with the main control panel labelled exactly how it was in the race car. Being a modern recreation, Kimera has also incorporated a second control panel in the centre console for fine tuning of the ABS and traction control.
A total of 37 Kimera EVO37 Martini 7s will be produced, joining 37 of the original recreation.
By: Sam Jenkins
Take it for a spin through the gears here: www.google.com/search?q=kimera+evo37&oq=kimera&gs...
Dwarf 3
This is a significant image in that it is the longest exposure I've ever taken. 583 60-second subframes, which is about 9 hours and 43 minutes. That doesn't include the few frames that were flawed by satellites trails or tracking issues. This was taken over two nights.
I added color data to my mosaic project from a widefield shot I took 5/9/16. nova.astrometry.net/user_images/1106296#annotated
RGB shot with a QHY10 OSC and a 55mm lens, 4x20 minutes each
LUM- mosaic of 15 images, each composed 15x2 minute subframes. 11" Celestron EdgeHD w/Hyperstar and QHY23M.
Total integration 8h 50m
Brenda has a brand new MOT. A certain amount of surgery was needed, both on Brenda’s subframe and my wallet, but we’re good to go for another year of adventures. When we first took possession of her two and a half years ago, I was frightened to drive her out of the lane at the end of our garden and onto the main road, but nowadays it’s a joy to trundle along at a modest pace along the A30 on the inside lane, towards the blissfully peaceful and charge free car park on the Towans in winter. Even though we’ve stripped out all the soft furnishings and brought them into the house until springtime to keep them from getting damp, she’s comfortable enough to sit in with a cup of tea after a stumble over the dunes, gazing out over the black water towards the darkening hulk of the headland around the bright lights of St Ives. Not that I’m planning to drive Brenda around St Ives any time soon. Anything that might involve reversing in tight spaces is still a bit of a nerve jangler, even with the aid of the onboard reversing camera. Still, I’ve been brave enough to stop in the M&S car park just off Loggans roundabout in the rush hour twice in the last week. Creeping around a car park in over six metres of steel without bashing pedestrians can be a challenge in the dark.
We ended up going to the big free car park on consecutive afternoons. As you’ve no doubt remembered, neither of us have ever been keen on the business of mornings, and at this time of year the sun sets before half past four in the afternoon. So despite a firm intention to head slightly further afield, more often than not we come here. Sometimes we bring lunch with us. On this occasion we picked up a couple of pasties and a salivating spaniel called Rosie. Ali’s sister’s dog. Much as I was delighted to learn that Prima does a flaky steak pasty, having an excitable hound within three inches of my face while I was trying to eat it was rather less enjoyable. And because Rosie didn’t really get the idea that I was hoping to wash it down afterwards, the post lunch coffee was abandoned in favour of letting her loose across the dunes before she exploded with excitement - and other things best not mentioned here. But Ali likes to take the dog for a stomp while I take pictures, so we stomped together for some distance along the dunes before descending onto the beach, where we split up. That dog must cover at least twenty miles in comparison to the two or three we usually manage.
I spent some time on the beach with the long lens, picking out lone figures bathed in light against the backdrop of the bluff and the warmly lit seaspray. Everyone except me seemed to be walking their dogs on this bright winter afternoon that was full of atmosphere. Sunbeams moved continually in and out of the clouds, suddenly illuminating the landscape before everything disappeared into shadows once more. It was an afternoon for catching moments. The lady in the distance really needed to be walking towards me or away from me, but instead she stood in the shallows, throwing a ball for one of her expectant companions, while the other sniffed about in the sand behind her. Actually, I just looked at the picture I worked on from this earlier part of the session and I like it more than I did at first. It might yet make it into these pages - you never know.
After I was happy enough with the shots I’d grabbed down on the beach, I moved up to the dunes, hoping to catch some light on them, much as I’d done the day before, as well as on the last outing of the three happy snappers with Dave and Lee a month earlier. By now we were getting close to sunset, and after trying a wider shot, I returned to the brilliant telephoto lens. Each time the sun peaked out from the dark clouds, the scene before me became a mixture of fire and shadow, parts of the beach lighting up in a golden blaze. I just needed someone to walk across that patch of golden blaze. It seemed unlikely, because who’d be daft enough to walk across the wettest part of the sand and risk a wave breaking over their walking boots? But happily, one barefooted soul obliged. There’s always somebody who wants a paddle, whatever the season.
Shoots at this time of year are often brief, but at the same time I’m always home for tea, and even today I managed the mile across the undulating landscape to the van, arriving just as Ali was unlocking. With a damp snoozing dog sprawled out on an equally sodden blanket across the passenger seat in the cab, we sat in the back and watched the sea through the open side door nursing the steaming mugs we’d been denied earlier in the day. Coffee at last on a perfect winter afternoon.
This is another image I completed on my recent trip to Kartchner Caverns. I had been collecting data with three different combinations of camera and telescope, but just could not get the signal to noise ratio I wanted. After this last run, I had a ton of data, over 100 subframes in each channel of LRGB. With so many subs, I skipped the calibration frames and just stacked them all. Pretty much all the flaws were rejected by the algorithm, and it came out pretty clean. A little cleanup with GraExpert, plus normal processing in PI. Description below is stolen from APOD.
In this celestial abstract art composed with a cosmic brush, dusty nebula NGC 2170, also known as the Angel Nebula, shines just above the image center. Reflecting the light of nearby hot stars, NGC 2170 is joined by other bluish reflection nebulae, a red emission region, many dark absorption nebulae, and a backdrop of colorful stars. Like the common household items that abstract painters often choose for their subjects, the clouds of gas, dust, and hot stars featured here are also commonly found in a setting like this one -- a massive, star-forming molecular cloud in the constellation of the Unicorn (Monoceros). The giant molecular cloud, Mon R2, is impressively close, estimated to be only 2,400 light-years or so away. At that distance, this canvas would be over 60 light-years across.
Cameras: QSI 683, ASI 2600mm
Telescopes TEC 140, Vixen VC200L
Taken from multiple locations in multiple years, finished in Southern Arizona, October 2024.
Reprocessed Aug 2025 with GraXpert
or the 1966 season, Ferrari built a new series of 12 lightweight 275 GTB/C racing cars. Even though they outwardly resembled the road-going 275 GTB, the 275 GTB/C was thoroughly revised by Mauro Forghieri and his Scuderia Ferrari engineering team and differed from both the 275 GTB production car and earlier 275 GTB competition cars. Every panel of the body was altered and substantial mechanical changes were made. All 12 were constructed in 1966 between the end of the 275 GTB (two cam) production run and the start of the 275 GTB/4 (four cam) production run.[14]
Forghieri designed a special super-lightweight steel and aluminium version of the 275 GTB chassis, designated Tipo 590 A. The 4-wheel independent suspension was the same design as on the production 275 GTB, but used different shock absorber valving and stiffer springs. The disc brakes were also the same as those used on the production 275 GTB, but with quick-change racing brake pads.[14]
The body appeared superficially very similar to that of the production 275 GTB series II "long nose", but in fact was a completely new lightweight version constructed by Scaglietti. All body panels were changed, including wider front and rear fenders and a slightly shorter nose. The body was constructed from .028 in (0.71 mm) thick aluminium panels joined with rivets. This method of construction allowed easy replacement of body panels after an accident. The body panels were approximately half as thick as the ones used on the 250 GTO and the Shelby Cobra. This made the body lightweight but extremely fragile—even leaning on a 275 GTB/C would dent it. The entire rear section was reinforced by fiberglass to prevent it from flexing at the slightest impact. The 275 GTB/C was equipped with bumpers visually similar to those on the road version, but they were made of much thinner material. The rear bumper lacked an internal supporting subframe and was simply fastened to the bodywork sheetmetal. Other weight-saving measures included removal of cooling fans, holes drilled in many internal panels and frames, plexiglass side and rear windows, thin fiberglass floor panels, and magnesium-framed seats. A 275 GTB/C fully equipped with fluids, spare tyre and tool kit weighs 2,452 lb (1,112 kg). In race trim without spare and tool kit, it can weigh less than 2,350 lb (1,070 kg), a savings of over 150 kg (331 lb) compared to the alloy bodied road cars.[14][23]
Similar to the four 'Competizione Speciales', the 275 GTB/C was powered by a Tipo 213 V12 tuned to 250 LM specification with a special crankshaft, piston, camshaft connecting rods and sodium-filled Nimonic valves. Many engine castings were made from the lightweight magnesium alloy Elektron. Due to an apparent clerical error, Ferrari did not report to the FIA that the production 275 GTB had a six carburetor option, so only a three carburetor engine could be homologated. In order to make up the loss of power from using only three carburetors, Weber constructed the 40 DF13 carburetor. These replaced the six Weber 38 DCN carburetors used on the 250 LM and were unique to the 275 GTB/C. A dry sump lubrication system was also added, allowing the engine to sit lower in the chassis. The Tipo 213 engine in this competition specification produced 275-282 hp (210 kW) at 7500 rpm.[14][23]
The 275 GTB/C did not use the torque tube driveshaft configuration introduced with the 275 GTB series II, instead using a series I-style open driveshaft which made clutch changes easier during endurance races.The clutch itself was strengthened for the added stresses of racing. The transaxle was a similar design to the road version, but used a lightweight magnesium case, close ratio gears, a strengthened ZF limited slip differential and needle bearings (instead of plain bearings) between the gears and the main shaft.[14]
The 275 GTB/C was fitted with specially-made Borrani wire wheels, sized 7" x 15" in front and 7.5" x 15" in the rear. These wheels were fitted with Dunlop's latest "M series" racing tyres. It was this combination that would prove to be the weak spot of the 275 GTB/C; the tyres had so much grip that they could overstress and break the spokes on the wheels. This resulted in several crashes during competition. After the 275 GTB/C, no competition Ferrari would be fitted with wire wheels again. Two of the twelve 275 GTB/Cs built were sold for street use. Unlike the race cars, these street cars were fitted with standard 275 GTB-style alloy wheels with Pirelli tyre Ferrari
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NOTE: This photo is mislabelled as having been made on Dec. 16. It was made on Dec. 21!
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Photographed from mid-town Toronto, Canada, at 04.55 EST (Moon altitude: 41° | Sun 30° below the horizon)
* Temperature -6° C. ~ warmer than last week!
The Sun reached the December solstice - marking the start of winter in the northern hemisphere and of summer in the southern hemisphere - at 05.44 EST today. The subframes for this image of the Moon were obtained just 49 minutes earlier.
At the time of this photo the Moon had passed its last quarter phase exactly 8 hours earlier, so the Moon was in its waning crescent phase, with the terminator (the dividing line between day and night) already appearing slightly curved. Slightly less than half (actually, 46.7%) of the Moon is illuminated by the Sun in this photo.
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Nikon D810 camera body on Explore Scientific 152 mm (6") apochromatic refracting telescope, mounted on Sky-Watcher AZ-EQ6 SynScan mount.
1200 mm focal length, f/8
Best twelve of fourteen identical stacked frames; each frame:
* ISO 200, 1/200 sec. exposure
Stacked in Registax
Processed in Photoshop CS6
(image rotation, brightness, contrast, 35% colour desaturation, sharpening on left side of Moon)
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