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1000 Object Sky photos
I've been playing with krazydad / jbum's Coverpop Interactive Mosaic maker.
You can make your own by visiting flickr.coverpop.com/create/
Wedding of Joe Wright and Amy McGlothlin at St. Paul's Episcopal Church in Bedford, Mass. Wednesday, November 23, 2016.
Photo by James M. Patterson © 2016
Object information:
Designations:
NGC 7753, Arp 86, UGC 12780, PGC 72387
NGC 7752, Arp 86, UGC 12779, PGC 72382
Constellation: Pegasus
Distance: 272 million LY
Apparent Magnitude (V): 12.8 / 15.0
Description:
This pair of galaxies is sometimes called the Little Whirlpool, due to its resemblance to the famous M51 (Whirlpool Galaxy).
The larger galaxy is NGC 7753, a barred spiral. The smaller is NGC 7752, a barred lenticular, is a satellite galaxy of NGC 7753 and is attached to one of the 7753's arms.
NGC 7753 is roughly twice as large, in diameter, compared to M51, but is much smaller in our view and much dimmer. This is because, while M51 is 32 Million LY away, NGC 7553 is 272 Million LY away.
NGC 7753 is a fairly large galaxy at 218,000 LY in diameter. For
comparison, the famous Andromeda galaxy is 152,000 LY.
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Astrophoto Info:
Location: Home backyard, Richmond, VA, USA
Date: 11-13-2023
Wx Conditions: Clear
Seeing: average
Equipment:
Scope: Celestron C-8
Camera: ASI294MM
Mount: iOptron CEM-70
Filters: Astonomik Deep-Sky RGB, Astronomik L-2 Luminance
Software: Astro Pixel Processor, Pixinsight, Gimp
Imaging Settings:
Binning: 2x2
Gain: 120
Temp: -10C
focal length: 2165mm
subs:
L 100 x 120s
R 17 x 180s
G 16 x 180s
B 16 x 180s
Total integration time: 5 hr 47 min
Shatterconed sandstone in Ontario, Canada.
Shattercones are striated conical structures in rocks formed by a powerful shock wave or pressure front moving through during an impact event. They have a three-dimensional cone-like structure, with the points of the cones directed toward the shock wave origination site. Undisturbed shatterconed rocks will have the apex of the cones pointing toward the direction of the incoming object (i.e., upward - toward space).
The host rocks here consist of ~2.3 to 2.4 billion year old fluvial sandstones of the Mississagi Formation. Notice that the shattercones are pointing downward, indicating that the impact event also overturned the beds.
This outcrop is in the Sudbury Impact Structure, the site for one of the largest impact events in Earth history. The impact structure, located in southeastern Ontario, is ovoid in shape, about 37 miles long by 19 miles wide. It was originally ~circular, but has since been laterally compressed by tectonic deformation. Before erosion and structural deformation, the structure may have been between 60 and 120 miles across. The impacting object is estimated to have been about 6 miles in size. The impact event itself occurred at 1.85 billion years ago. At that time, this part of Ontario was ocean. Computer modeling indicates that the splash wave generated by the Sudbury Impact may have reached about 30 miles high and generated a ~300 feet high megatsunami that radiated away from the target area for up to ~1800 miles. The impact punched a hole down into underlying mantle rocks.
Abundant evidence indicates that the Sudbury, Ontario area was indeed the site of an impact long ago. This includes impact breccias, shattercones, and extensive syn-formational sulfide mineralization. The sulfides are rich enough for mining to occur. In fact, the Sudbury Mining District targets the # 1 most productive nickel deposit on Earth.
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This is a no-hammer outcrop.
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Stratigraphy: Mississagi Formation, upper Hough Lake Group, Huronian Supergroup, Paleoproterozoic, ~2.3 to 2.4 Ga
Locality: Ramsey Lake Road outcrop - roadcut on the southern side of Ramsey Lake Road, ~0.9 miles east of Paris Street (a.k.a. Long Lake Road; a.k.a. Route 80), southern side of the city of Sudbury, Sudbury Impact Structure, Ontario, southeastern Canada (46° 28’ 06.97" North latitude, 80° 58’ 46.21" West longitude)
Green & Black's chocolate
To say that I have a sweet tooth is akin to describing crack cocaine as being 'a bit moreish'
Just about all my manual focus fetish objects, a cornucopia of leatherette, chrome, smoothly greased focus helicoids, triplets, Tessars and Planars, split prisms, matte screens, rangefinders, albadas, selenium cells, CdS cells, winding knobs, metal and glass. In the taking of these I also discovered how phenomenally sharp the Zuiko 50/1.4 is at f/11.
Yashica D, almost as old as me, but in rather better shape, almost like new condition. This one's a worker. Has done some lovely b/w stuff around my local area, and a memorable roll of colour during a week of perfect weather on the Isle of Skye!
Random objects at the Dongdaemun Design Plaza, Seoul
PERMISSION TO USE: Please check the licence for this photo on Flickr. If the photo is marked with the Creative Commons licence, you are welcome to use this photo free of charge for any purpose including commercial. I am not concerned with how attribution is provided - a link to my flickr page or my name is fine. If used in a context where attribution is impractical, that's fine too. I enjoy seeing where my photos have been used so please send me links, screenshots or photos where possible. If the photo is not marked with the Creative Commons licence, only my friends and family are permitted to use it.
I took this photograph the way it is composed because I wanted to shoot straight down at the object to best incorporate the doodle to carry out a bigger picture. What makes this photograph interesting is that the subject is trying to iron the wrinkled paper in the photograph. The emotion I am trying to convey in the photograph is hard-working. The settings I used to take this shot is of an aperture of f/10.0 because I wanted to capture every detail in the photograph. It was cloudy outside so I used a shutter speed of 1/20 to properly compensate the lighting. I also used an ISO of 100 to avoid any noise in the photograph.
creative object spotting
around the BERLINALE
64th Internationale Filmfestspiele Berlin
10 February 2014
(98/365) Objects in Mirror are Closer Than They Appear. These two are thick as thieves. Sure they scuffle a bit like all siblings but they really are as close as I can imagine brothers being.
A handheld 7 exposure HDR taken with a Lumix G1. Please check out the next photo in stream which shows an object that appeared on frame 2 of 7 and not on any other frame. Exif.. iso 400,14mm (equiv to 28mm), f10,1/800 frame 2 of 7 at 3 fps aeb. I cant identify it, can you ?
object by Peter Hassenpflug, Orfèvre
sorry, i missed to note the title of this object.
any information would be welcome - thank you
also, the shot is blurry. i like it anyway
Honeysuckle - mildly poisonous - loved by birds!
Berries, fruits and seeds that are ripening around my home and village.Some edible some not!
Week 20 -Hedgerow Harvest
My husband, a high school teacher, used the Dirt Ball stamp to show who had paid and could enter their Senior Breakfast.
Burtonwood/Holmes and Alain Douglas Park at GARDENfresh
Burtonwood & Holmes - “I Support the War / The War Supports Me (ISTW/TWSM)”
For this show, B&H have split their exhibition space in half, the first featuring a new installation, (Zeitgeist) MMIII - MMVIII, that draws on contributions from over twenty Chicago artists. In a return to heroic-scale painting B+H have painted directly on the walls of the gallery images of rubble, ruins and a helicopter gunship. Then invited the artists to hang their own works on top of these painted areas. The images of warfare and violence provide a lens through which we can re-interpret the art works displayed as products of a nation at war. In the second half, B&H have wall-papered the gallery with their trade mark junk mail and placed smaller sculptural interventions around the space, these objects are also covered in sales flyers and disappear into the background.
Alain Douglas Park - “Pedestal”
Park is best known for his large-scale literary inspired paper maché work that addresses the origins of meaning and the worth/futility of expression. The pieces are influenced by history, literature, science, and ideas of collecting and display. For this exhibition, Park continues this drive and adds large scale drawings and murals of overlaid images. Extinct animal skeletons, statues from antiquity, WWI relics, the kings and queens of France, are all coupled with more personal imagery of the artist’s family, and together, they form a vanguard of the human experience, exposing and celebrating the whole breadth of our endeavors.
Fred Perry Cotton Polo Shirt
I've had this particular shirt long enough for it to become an object rather than a simple item of clothing.
Bought from Merc of Carnaby Street.
I've worn them for as long as I can remember.
An English Summer without one is un-thinkable.
This “sketch” was attached to a letter sent from Edinburgh to my mother’s great grandfather, James Bell in 1844. It was amongst a number of other letters and artefacts brought to Australia by her grandfather, an engraver, in 1853. The signature on the letter is partly obscured. It reads “James Im…” For the time being I’m working on the theory that the author was James Imray. James Imray & Son, were , according to Paulus Swaen Old Maps “the most prominent chart makers at the time, and were well known for their concern about the accuracy of their charts…”
The letter mainly deals with explanatory notes for the drawing, which appears to illustrate a device for reducing and enlarging drawings. The writer apologises for the ‘’’rough sketch” and also includes news that “… poor Kemp the architect was drowned in the canal in th (sic0 beginning of last month and [it has] given rise to a sensation not only among his acquaintances but with the [people] generally.”
I have procrastinated for several years over carrying out research based on this letter and other documents and artefacts relating to three generations of Bell Engravers. Despite the existence of the material my mother’s generation were delightfully vague about the activities of their forebears. Perhaps by putting it out in the public domain I might find some encouragement to go the extra mile.
James Bell served in the Royal Navy during the American War of Independence before settling in Belfast. His son William followed him into the Engraving trade which he continued after migrating to Australia in 1853. He engraved (and possibly designed) the Centennial series of stamps for New South Wales. My mother’s father, also named William (1864-1929) was also an engraver and seems to have done some pioneering work in photogravure.
Graham