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One of Webb’s most complex instrument modes is with the MIRI Medium Resolution Spectrometer (MRS). The MRS is an integral-field spectrograph, which provides spectral and spatial information simultaneously for the entire field of view. The spectrograph provides three-dimensional ‘data cubes’ in which every pixel in an image contains a unique spectrum. Such spectrographs are extremely powerful tools to study the composition and kinematics of astronomical objects, as they combine the benefits of both traditional imaging and spectroscopy.
“The MRS is designed to have a spectral resolving power (observed wavelength divided by the smallest detectable wavelength difference) of about 3,000. That is high enough to resolve key atomic and molecular features in a variety of environments. At the highest redshifts, the MRS will be able to study hydrogen emission from the first galaxies. At lower redshifts, it will probe molecular hydrocarbon features in dusty nearby galaxies and detect the bright spectral fingerprints of elements such as oxygen, argon, and neon that can tell us about the properties of ionized gas in the interstellar medium. Closer to home, the MRS will produce maps of spectral features due to water ice and simple organic molecules in giant planets in our own solar system and in planet-forming disks around other stars.
“In order to cover the wide 5 to 28 micron wavelength range as efficiently as possible, the MRS integral field units are broken up into twelve individual wavelength bands, each of which must be calibrated individually. Over the past few weeks, the MIRI team (a large international group of astronomers from the USA and Europe) has been focusing primarily on calibrating the imaging components of the MRS. They want to ensure that all twelve bands are spatially well aligned with each other and with the MIRI Imager, so that it can be used to place targets accurately into the smaller MRS field of view. We show some early test results from this alignment process, illustrating the image quality achieved in each of the twelve bands using observations of the bright K giant star HD 37122 (located in the southern sky near the Large Magellanic Cloud).
“Once the spatial alignment and image quality of the several bands are well characterized, the MIRI team will prioritize calibrating the spectroscopic response of the instrument. This step will include determining the wavelength solution and spectral resolution throughout each of the twelve fields of view using observations of compact emission-line objects and diffuse planetary nebulae ejected by dying stars. We show the exceptional spectral resolving power of the MRS with a small segment of a spectrum obtained from recent engineering observations of the active galactic nucleus at the core of Seyfert galaxy NGC 6552. Once these basic instrument characteristics are established, it will be possible to calibrate MRS so that it is ready to support the wealth of Cycle 1 science programs due to start in a few short weeks.”
Read more: blogs.nasa.gov/webb/2022/06/16/webbs-mid-infrared-spectro...
This image: This portion of the MIRI MRS wavelength range shows engineering calibration data obtained of the Seyfert galaxy NGC 6552 (red line) in the constellation Draco. The strong emission feature is due to molecular hydrogen, with an additional weaker feature nearby. The blue line shows a lower spectral resolution Spitzer IRS spectrum of a similar galaxy for comparison. The Webb test observations were obtained to establish the wavelength calibration of the spectrograph. Credit: NASA, ESA, and the MIRI Consortium.
Thank you @seansouthey for sharing this wonderful photo! Thank you for collaborating with me! Please check out his awesome feed guys!
There will be a time that reality hits us. It hits us hard to the point that we are sick and tired of being sick tired and not doing any thing about it. So waiting is not an option anymore. There's a difference of fighting a battle and you lost because you have no idea what you are fighting for and fighting and surrender because you know, no matter how hard you fight, you're gonna lose anyway.
Let's all take a moment to think why we are fighting for that battle, how we fight and what we are fighting for. Because if we figure all these things out, we will absolutely know if it's worth fighting for.
Have an awesome Sunday everyone!
Edited by: @mackysuson
I would ❤️ collaborate with you. Please DM your panorama photos taken by iPhone. Talk soon and have an awesome day!
This photo is just part of a my panorama. Please do check out my profile to check how it exactly looks. Comments and likes are much appreciated.
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noa_nosan: Very cool! Great gallery!
seansouthey: @mackysuson - special thanks! Love being part of your amazing gallery!! ❤️🙏❤️
sparite21: 💙💙💙💟💦💦💦💦⭐️⭐️⭐️⭐️
alissontudela27: Ay q hermosoooooo ↖♥🐾🐾
The difference of the temperature of the morning and evening makes this miracle.
*Leica M9 *Summicron 50mm f/2.0 DR
Oh yes George... you've made quite the difference.
Can you see all the happy faces around you... can you imagine all the happy faces you are responsible for in the happy homes across America?
Trials and tribulations... terrorists and threats... they're much easier to handle when you're the guy surrounded by wealth and security. Everyone else has to put up with more regulations, more fear mongering ... and much less freedom.
So just keep on sending America's finest... it's hopes for the future... off to battle more of your holier than thou crusades... and just like in all the many wars before you... and the many to surely follow... this holy war needs more cannon fodder.
What's so different about that?
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Strobist: AB1600 with gridded 60X30 softbox camera right. AB800 with Softlighter II camera left. Triggered by Cybersync.
This is more interesting than the daytime photo I took here a couple of years ago. It was taken during the Lumiere event. This part of the riverside is not lit, but the church interior and market square behind the houses were lit up and this made a difference. Technically it is softer in the corners , some experimenting needed to understand exactly why. HDR used because of the extremes of lighting.
The Falkirk Wheel is a rotating boat lift located in Scotland, UK, connecting the Forth and Clyde Canal with the Union Canal. It is named after the nearby town of Falkirk which is in central Scotland. The two canals were previously connected by a series of 11 locks, but by the 1930s these had fallen into disuse, were filled in and the land built upon them.
The plan to regenerate the canals of central Scotland to reconnect Glasgow with Edinburgh was led by British Waterways with support and funding from seven local authorities, the Scottish Enterprise Network, the European Regional Development Fund and the Millennium Commission. It was decided early on to create a dramatic 21st century landmark structure to reconnect the canals, instead of simply recreating the historic lock flight. Designs were submitted for a boat lift to link the canals, with the Falkirk Wheel design winning. As with many Millennium Commission projects the site includes a visitors' centre containing a shop, café and exhibition centre.
The difference in the levels of the two canals at the wheel is 24 metres (79 ft), roughly equivalent to the height of an eight-storey building. The Union Canal, however, is 11m higher than the aqueduct which meets the wheel, and boats must pass through a pair of locks to descend from this canal onto the aqueduct at the top of the wheel. The aqueduct could not have been positioned higher due to conflicts with the historically important Antonine Wall.
Wikipedia
I took this photo to show the difference between Murphy's forehead, with all the bumps of an adult male masai giraffe, and Tatu's, with its youthful smoothness.
Yesterday the KIrkcaldy Photographic Society www.kirkcaldyphotographicsociety.co.uk had another great day out to Morton Lochs, Tentsmuir Forest and Kinshaldy Beach. It was sunny and dry and despite the waves in the accompanying dog-walker shot, it was very pleasant. Today after a night of high winds and horizontal rain, fierce waves were lashing over the sea-wall (see other photo). What a difference a day makes indeed.
Here is a sneak peek at the internals of individual sub-assemblies that are part of The Watchtower model.
There are 4 individual sections (ground floor, middle section, wooden superstructure and a roof). Every section is built around a solid core with studs on 16 sides (there are differences between the cores for each section but the rule is the same. This core is then covered by a series of panels. There are 14 different types of them in total. This differences come from the need to install windows, doors or wooden support beams but also from the need to make room for internal connections (even if two panels look alike they are built differently).
At Silverknowes promenade in 2004 a photo-shoot took place for the new Volvo B7RLE Urban Eclipse 101 (SN04 NFZ) joined by Douglas and Ross Scoular's Leyland Leopard PSU 3/2R / Alexander Y type 101 (YSG 101).
The comparisons between these two 101's are too numerous to list but there's forty-three years difference in age between the two buses.
Originally, 101 was a Leyland Leopard PSU 3/2R and was an experimental one-off bus fitted with a prototype body by Walter Alexander at Falkirk with seating for 33 and 30 standing. Following its display at the Scottish Motor Show in Glasgow, 101 was delivered to Shrubhill Works in December 1961.
Following several demonstrations, including a trip to Northern Ireland, this rather special bus with its three doors entered full public service in April 1962 working mostly on Service 16 out of Leith depot.
101 was the very first of the Alexander 'Y' types and the design, albeit in several guises, went on to typify the single decker in Scotland for decades to come.
Wright's Urban Eclipse 101 is seen here in harlequin livery, new in 2004, and one of around 100 single deckers of the same type.
Notably this one was one of the first three vehicles to show-off Lothian's new Weinrot und Weiss livery, a modern interpretation of madder red and white, introduced in April 2010.
Volvo B7's 720 and 725 and 101 were revolutionary in realising Edinburgh's dream to return to the distinguished 100 year old livery - a project which is now almost at journey's end, a little over five years later.
I am grateful to Douglas and Ross Scoular for permission to guest their photo on this site.
1W96 17.14 Cardiff Central-Holyhead Slightly annoying with the sun on this 1 another 10 Seconds would have made all the difference
I visited Stonehaven today, last visit was a few years ago.
The local authority have built a walkway all along the beachfront from the open air swimming pool right up to the bay , what a difference it has made for locals and tourists .
I walked along the new wooden framed path , along the way I came across various metal sculptures , this is one of them, all depict the towns relationship wth the fishing industry and the sea.
The metal sculptures are miniatures and look like they had many hours put into making them, I feel they compliment the town and are a great attraction, so much so I tracked as many as I could during my visit, I found nine, though no mention of the sculptor or any info on the individual sculptures themselves.
I checked google , again no info, for me the mystery adds to their character , I love them , I thought it was a great find , made the day more enjoyable .
Stonehaven
Stonehaven is a town in Aberdeenshire, Scotland. It lies on Scotland's northeast coast and had a population of 11,602. After the demise of the town of Kincardine, which was gradually abandoned after the destruction of its Royal castle in the Wars of Independence, the Scottish Parliament made Stonehaven the successor county town of Kincardineshire. Stonehaven had grown around an Iron Age fishing village, now the "Auld Toon", and expanded inland from the seaside. As late as the 16th century, old maps indicate the town was called Stonehyve, Stonehive, Pont also adding the alternative Duniness. It is known informally to locals as Stoney
Many times I wanted a boiler that is bigger than the common 4 wide round Lego plates, but not as wide as the Emerald Night style 6 wide boiler, while still keeping the roundness. Just recently when playing with Carl Greatrix's A4 on LDD I realized how to make such a boiler. So the closest thing was to rebuild his A4 into an A3, as the only difference is the boiler. From what you see in the picture I only designed the boiler and footplate, the rest (chassis, valve gear, cab and tender) is Carl's design.
I hope this design proves to be useful in the future for other people too, as it really looks good in my eyes.
This was the highlight and reason for my Southern Arizona Adventure 2024. This is stage 8 of 9.
I was lucky to secure permits for the once monthly photography tour of Kartchner Caverns. Kartchner Caverns State Park strictly forbids any cameras or cellphones in the Caverns. Except for one trip per month for 12 to 15 photographers currently $125. I planned a 4 day 3 night road trip around Southern Arizona anchored by my Kartchner Cavern permit.
I was expecting dark conditions. The State Park turned on all the lights in the Big Room. They don't like turning on all the lights since can cause an increase in algae. This is the reason they only have one photography tour a month.
I found myself adjusting my histograms to not clip the highlights. Adapt, Improvise, and Overcome. Next time I am going to bracket my shots. I almost wish I had brought a ND filter or tried a handheld GND filter.
I don't know speleothems so I won't even try to identify. If anyone can help me with the identification, I will appreciate it.
www.nps.gov/subjects/caves/speleothems.htm#:~:text=The%20...)%20when%20needed.
The features that arouse the greatest curiosity for most cave visitors are speleothems. These stone formations exhibit bizarre patterns and other-worldly forms, which give some caves a wonderland appearance. Caves vary widely in their displays of speleothems because of differences in temperature; overall wetness; and jointing, impurities, and structures in the rocks. In general, however, one thing caves do have in common is where speleothems form. Although the formation of caves typically takes place below the water table in the zone of saturation, the deposition of speleothems is not possible until caves are above the water table in the zone of aeration. As soon as the chamber is filled with air, the stage is set for the decoration phase of cave building to begin.
The term speleothem refers to the mode of occurrence of a mineral—i.e., its morphology or how it looks—in a cave, not its composition (Hill, 1997). For example, calcite, the most common cave mineral, is not a speleothem, but a calcite stalactite is a speleothem. A stalactite may be made of other minerals, such as halite or gypsum.
Classifying speleothems is tricky because no two speleothems are exactly alike. Nevertheless, speleologists have taken three basic approaches: classification by morphology, classification by origin, and classification by crystallography. All three of these approaches have their problems (Hill, 1997), so cavers often take a more practical approach that primarily uses morphology (e.g., cave pearls) but includes whatever is known about origin (e.g., geysermites) and crystallography (e.g., spar) when needed.
nocache.azcentral.com/travel/arizona/southern/articles/20...
The Kartchner Caverns, rated one of the world's 10 most beautiful caves, is an eerie wonderland of stalactites and stalagmites still growing beneath the Whetstone Mountains 40 miles southeast of Tucson.
The limestone cave has 13,000 feet of passages and hundreds of formations built over the past 200,000 years, including some that are unique and world-renowned. It's a "living cave," with intricate formations that continue to grow as water seeps, drips and flows from the walls and slowly deposits the mineral calcium carbonate.
The caverns were discovered by amateur spelunkers Randy Tufts and Gary Tenen in 1974 on land owned by the Kartchner family. They kept the cave a secret until 1988, when the Kartchners sold it to the state to become a state park.
The highlights of the Big Room tour are a stretch of strawberry flowstone, which has been colored red by iron oxide (rust) in the water, and a maternity ward for 1,800 female cave myotis bats, with black grime on the ceiling where the bats hang and piles of guano on the floor. Visitors who look closely will see a bat's body embedded in one of the cave's formations.
Though not all are available on the tours, the caverns' unique features include a 21-foot, 2-inch soda straw that's one the world's largest (Throne Room), the world's most extensive formation of brushite moonmilk (Big Room), the first reported occurrence of "turnip" shields (Big Room), the first cave occurrence of "birdsnest" needle quartz formations (Big Room) and the remains of a Shasta ground sloth from the Pleistocene Age (Big Room).
en.wikipedia.org/wiki/Kartchner_Caverns_State_Park
Kartchner Caverns State Park is a state park of Arizona, United States, featuring a show cave with 2.4 miles (3.9 km) of passages.[1] The park is located 9 miles (14 km) south of the town of Benson and west of the north-flowing San Pedro River. Long hidden from view, the caverns were discovered in 1974 by local cavers, assisted by state biologist Erick Campbell who helped in its preservation.
The park encompasses most of a down-dropped block of Palaeozoic rocks on the east flank of the Whetstone Mountains.
The caverns are carved out of limestone and filled with spectacular speleothems which have been growing for 50,000 years or longer, and are still growing. Careful and technical cave state park development and maintenance, initially established by founder Dr. Bruce Randall "Randy" Tufts, geologist, were designed to protect and preserve the cave system throughout the park's development, and for perpetuity.[3]
The two major features of the caverns accessible to the public are the Throne Room and the Big Room. The Throne Room contains one of the world's longest (21 ft 2 in (6.45 m))[5] soda straw stalactites and a 58-foot (18 m) high column called Kubla Khan, after the poem. The Big Room contains the world's most extensive formation of brushite moonmilk. Big Room cave tours are closed during the summer for several months (April 15 to October 15) each year because it is a nursery roost for cave bats, however the Throne Room tours remain open year-round.[8]
Other features publicly accessible within the caverns include Mud Flats, Rotunda Room, Strawberry Room, and Cul-de-sac Passage. Approximately 60% of the cave system is not open to the public.[9]
Many different cave formations can be found within the caves and the surrounding park. These include cave bacon, helictites, soda straws, stalactites, stalagmites and others.[12] Cave formations like the stalactites and stalagmites grow approximately a 16th of an inch every 100 years.[13]
Haiku thoughts:
Beneath earth's cool veil,
Stalactites in silence grow,
Whispers of stone deep.
Kartchner
Southern Arizona Adventure 2024
Same Water Vole, taken from same position, same lens, same Denoise and sharpening settings, no crop, only difference one taken with my D7200 and one taken with the V1, this is just a comparison for the folks who like to be in the know, Mr Vole was very good to me sitting still while I changed camera bodies, The Kingfisher unfortunately wasn't so patient, so same bird same camera, different perches lol only 22 left now Neil :-)
When I went back home to Northern Wisconsin, there is very little if any light pollution. So you can see Billions and Billions of Stars.
Northern Wisconsin
"A great marriage is not when the 'perfect couple' comes together. It is when an imperfect couple learns to enjoy their differences."
Dave Meurer
Explored at #213 on September 19 2008
Caught it as it flew down to drink some water
The Rock Pigeon (Columba livia), or Rock Dove, is a member of the bird family Columbidae (doves and pigeons).
In common usage, this bird is often simply referred to as the "pigeon". The species includes the domestic pigeon, and escaped domestic pigeons have given rise to the feral pigeon.
Wild Rock Pigeons are pale grey with two black bars on each wing, although domestic and feral pigeons are very variable in colour and pattern. There are few visible differences between males and females.The species is generally monogamous, with two squabs (young) per brood. Both parents care for the young for a time.
Habitats include various open and semi-open environments, including agricultural and urban areas. Cliffs and rock ledges are used for roosting and breeding in the wild. Originally found wild in Europe, North Africa, and western Asia, feral Rock Pigeons have become established in cities around the world. The species is abundant, with an estimated population of 17 to 28 million feral and wild birds in Europe.
The adult of the nominate subspecies of the Rock Pigeon is 32–37 cm (12-14½ in) long with a 64–72 cm (25-28 in) wingspan.It has a dark bluish-gray head, neck, and chest with glossy yellowish, greenish, and reddish-purple iridescence along its neck and wing feathers. The iris is orange, red or golden with a paler inner ring, and the bare skin round the eye is bluish-grey. The bill is grey-black with a conspicuous off-white cere, and the feet are purplish-red.
The adult female is almost identical to the male, but the iridescence on the neck is less intense and more restricted to the rear and sides, while that on the breast is often very obscure.The white lower back of the pure Rock Pigeon is its best identification character, the two black bars on its pale grey wings are also distinctive. The tail has a black band on the end and the outer web of the tail feathers are margined with white. It is strong and quick on the wing, dashing out from sea caves, flying low over the water, its lighter grey rump showing well from above.
'The Smiths' formed six years after the start of the British punk rock scene, and perhaps projected into their way-of-being three elements from this cultural dynamic: a sense of make-do or DIY, a sense of commentating from outside of society (unemployment culture included), and a sense of opinion generated from polemical example.
Punk rock is today perhaps famous for its blanket nihilisms: “Anarchy in the UK”, “White riot”, “No future” - all with varied forms of the Vivian Westwood dress-sense. Aside this ultra-vivid self-created stigma, the late 70s musical/cultural movement of UK Punk had created lyrical and musical vignettes that stayed on record players and transferred to C60 chrome mix-tapes: “Easy germ free adolescence” ('X-Ray Spex' 78) plotted a closed 'existential' in the life of an individual; 'Lost in a supermarket' ('The Clash' 79) was another vignette, but this time describing a poetic angle into a modern life that many could relate to, and, as a third example - “Love comes in spurts” ('The Voidoids' 76) - featuring a lyric that uses 'childish' shock word-play and active double-meanings to register and parody existing lyrical convention, whilst describing certain truisms. It can be said that depictions of highly specific sentiments; unusual but collective views on the modern world and the shock use of words and their dynamic meanings became the terrain of the 'post punk', 'DIY' Manchester band - 'The Smiths'.
With the lyrical whit of their singer Morrissey, 'The Smiths' kept a punkist sense of polemical charge (“The Queen is Dead”; “Hang the DJ” and “Meat is Murder”) whilst systematically developing individual and social themes. If musical skills were often missing (or denied) during UK Punk, then the Post Punk years saw an overt return of musical virtuosity (hand in hand with groups higher on idea and form than musical technicity). One nest of guitar skills hovered around the New York City band 'The Voidoids' with Tom Verlain, Robert Quine and Richard Lloyd all important Post Punk guitar stylists (even if US 'Post Punk' arrived before UK Punk - for example 'Pere Ubu' 1975). Around 1980 in Manchester England, a man who could match 'Nick Drake' for reserve produced a low-key, but much listened to record titled “The return of the Durutti Column” (a Spanish civil war reference in the name and title) www.youtube.com/watch?v=pddox1SYHko. 'The Durutti Column's Vini Reilly's meticulous detailing of guitar melody was perhaps matched across the city of Manchester by the extraordinary guitar style of Johnny Marr – the principle co-songwriter to 'The Smiths', whose style became clearly visible as early as 'The Smith's' second single. Marr's sense of shimmering detailing is also clearly apparent in the example of this moving lens test.
Fireworks are of so many colours and effects, and the post punk DIY musical alternatives were varied. Despite their differences, there are a few bands that help to put 'The Smiths' into an early context. 'Vic Godard's Subway Sect' had perhaps started out as a British version of 'The Voidoids' ('Double negative' 1978 www.youtube.com/watch?v=8fsYYG_Qf0Q) and had evolved by 1981 into melodic anti pop www.youtube.com/watch?v=3cgzwQBtFaA an approach perhaps akin to the relationship between 'New Wave cinema' and traditional cinema. Again from 1981, the group 'Orange Juice' were inhabiting melody and lyric without the desire to provide 'expected' popularist results: www.youtube.com/watch?v=RmpNSpzx2wI. 'The Smiths' projected aside many groups, Dandyisms, deconstructions and observations and, with some of the lyrical landscapes of Morrissey, were one of the groups that held on longest to the polemical side of punk rock. With the guitar of Johnny Marr, they were also one of the groups that pushed furthest from initial DIY ethics into artistic, holistic and highly developed forms. By the release of 'The Queen is Dead' in 1986 they had refined their idiosyncrasies to such an extent that they had produced a record that could be compared against the very “classic” albums they were initially reflecting against.
Prolific songwriters, 'The Smiths' took subject to swathes of British youth, and were another input of inspiration for a new generation of musicians. Postcard, Pop Aural and Rough Trade layered under Creation, Domino and Sarah, and new bands evolved without a close proximity to Punk rock. Contemporary journalists (including ones associated with Manchester's Guardian), muse, relay and decree that it is now time to stop listening to the work of Morressey. The Smiths split in 1987, and in the decades since, Morrissey has remained loyal to his polemical approach to social subjects. I certainly never wanted to hang a DJ, but played the song. One of the tracks that we should apparently be boycotting is a recently released duet with Thelma Houston: www.youtube.com/watch?v=2cB93OUF_sA
The track “Some girls are bigger than others' comes from the 1986 record and is a construction with the most minimal idea of verse, and thus arrives almost straight into the chorus, with a slightly detached and minimal refrain. The lyric takes a line that can be associated with both male machismo and the observational naivety of a small child: playing the idea straight as the thought of a young male adult faced by the enormity of mankind's diversity. By referring to the ice age, the lyric also points out that these differences come from the depths of the human race and are not a modern celebrity surface.
"From the ice-age to the dole-age, there is but one concern. I have just discovered; some girls are bigger than others... "
For the images in the lens test I replaced the 'girls' of the song with the animate 'bodies' of 'mother earth', as reflected by her waterfalls. The shots involve a variety of lenses and locations either side of the Pyrénées.
AJM 13.03.20
Press play and then 'L' and even f11. Escape and f11 a second time to return.