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This is my latest astro image and the first I have taken since I moved house. This image of the Whirlpool Galaxy was taken using a QHY8L and Altair Wave 115ED refractor with 0.79x reducer/flattener. It consists of 9 x 600s exposures, stacked in Nebulosity 4 and processed using Photoshop CS6.
The Whirlpool Galaxy (also known as Messier 51 or NGC 5194) is a spiral galaxy in the constellation Canes Venatici and is interacting with its companion (NGC 5195). These galaxies are approximately 26 million light years away and are pulling each other apart with their gravitational pull. If you look hard enough, you may also see a few more fainter galaxies hiding amongst the stars.
For the "Objects for Layer" group.
Please feel free to use as you please.
It would be nice if you do use it to link back to me. Thanks :-)
IS IT REAL?
This waterfall is a water object in a park in Schaumburg, IL - USA. The park has a pond, colored pavers, retaining walls, planting beds, fountain and painted ornamental ironwork. It is an "open space" within the city. Many of the suburbs in the area have them.... its all part of Generica (Generic + America).
PROCESSESED?
This waterfall was part of a designers plan. The stones were laid by tradesmen and the water was made to flow across them to give people a feel as if they were viewing the beauty of nature. My photograph has obviously been processed, in the same manner that the designer of this water fall used. I wanted to let the viewer feel as if they were remembering a natural water fall from their past. I tried to give it a dreamy feel.
ENGINEER vs PHOTOGRAPHER
The question arises - Is a manufactured environment or memory wrong? As the designer layed out each part of this water fall - I layed out the coloring of each pixel. The result is engineered. The designer's calculated, gentle drop in elevation and my calculated cropping of parked cars in the background. We both try to achieve the same.
RIGHT or WRONG
People are more affected by other people than any other factor in our lives. This makes sense that we can create emotion through artwork. I hope that this artifact and my presentation will bring the viewer some joy. Many people will be able to see the processed environment that has been created, but will still enjoy the photograph.
This graphic shows an exotic object in our galaxy called SGR 0418+5729 (SGR 0418 for short). As described in our press release, SGR 0418 is a magnetar, a type of neutron star that has a relatively slow spin rate and generates occasional large blasts of X-rays.
The only plausible source for the energy emitted in these outbursts is the magnetic energy stored in the star. Most magnetars have extremely high magnetic fields on their surface that are ten to a thousand times stronger than for the average neutron star. New data shows that SGR 0418 doesn’t fit that pattern. It has a surface magnetic field similar to that of mainstream neutron stars.
In the image on the left, data from NASA’s Chandra X-ray Observatory shows SGR 0418 as a pink source in the middle. Optical data from the William Herschel telescope in La Palma and infrared data from NASA’s Spitzer Space Telescope are shown in red, green and blue.
On the right is an artist’s impression showing a close-up view of SGR 0418. This illustration highlights the weak surface magnetic field of the magnetar, and the relatively strong, wound-up magnetic field lurking in the hotter interior of the star. The X-ray emission seen with Chandra comes from a small hot spot, not shown in the illustration. At the end of the outburst this spot has a radius of only about 160 meters, compared with a radius for the whole star of about 12 km.
The researchers monitored SGR 0418 for over three years using Chandra, ESA's XMM-Newton as well as NASA's Swift and RXTE satellites. They were able to make an accurate estimate of the strength of the external magnetic field by measuring how its rotation speed changes during an X-ray outburst. These outbursts are likely caused by fractures in the crust of the neutron star precipitated by the buildup of stress in the stronger magnetic field lying below the surface.
By modeling the evolution of the cooling of the neutron star and its crust, as well as the gradual decay of its magnetic field, the researchers estimated that SGR 0418 is about 550,000 years old. This makes SGR 0418 older than most other magnetars, and this extended lifetime has probably allowed the surface magnetic field strength to decline over time. Because the crust weakened and the interior magnetic field is relatively strong, outbursts could still occur.
The implications of this result for understanding supernova explosions and the number and evolution of magnetars is discussed in the press release.
SGR 0418 is located in the Milky Way galaxy at a distance of about 6,500 light years from Earth. These new results on SGR 0418 appear online and will be published in the June 10, 2013 issue of The Astrophysical Journal. NASA's Marshall Space Flight Center in Huntsville, Ala., manages the Chandra program for NASA's Science Mission Directorate in Washington. The Smithsonian Astrophysical Observatory controls Chandra's science and flight operations from Cambridge, Mass.
Read entire caption/view more images: www.chandra.harvard.edu/photo/2013/4c2930/
Image credit: X-ray: NASA/CXC/CSIC-IEEC/N.Rea et al; Optical: Isaac Newton Group of Telescopes, La Palma/WHT; Infrared: NASA/JPL-Caltech
Caption credit: Harvard-Smithsonian Center for Astrophysics
Read more about Chandra:
p.s. You can see all of our Chandra photos in the Chandra Group in Flickr at: www.flickr.com/groups/chandranasa/ We'd love to have you as a member!
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These official NASA photographs are being made available for publication by news organizations and/or for personal use printing by the subject(s) of the photographs. The photographs may not be used in materials, advertisements, products, or promotions that in any way suggest approval or endorsement by NASA. All Images used must be credited. For information on usage rights please visit: www.nasa.gov/audience/formedia/features/MP_Photo_Guidelin...
Maker: David Octavius Hill (1802-1870) and Robert Adamson (1821-1848)
Born: Scotland
Active: Scotland
Medium: photogravure from original calotype negative
Size: 6.25" x 8.25"
Location: Scotland
Object No. 2016.371
Shelf: B-30
Publication: Camera Work issue Number 28, Oct. 1909
Heinrich Schwarz, David Octavius Hill, Der Meister Der Photographer, Insel-Verlag, Leipzig, 1931, pl 27
Stevenson, Sarah, The Personal Art of David Octavius Hill, 2002, Yale University Press, New Haven, pl 29
Stevenson, Sara, David Octavius Hill and Robert Adamson, Catalogue of their Calotypes taken between 1843 and 1847 in he Collection of the Scottish National Portrait Gallery, pg 205
Bruce, David, Sun Pictures, the Hill-Adamson Calotypes, 1973, New York Graphic Society, Greenwich, CT, pg 169
An Early Victorian Album, Alfred A Knopf, New York, 1976, pg 320
Sara Stevenson, Facing The Light, Scottish National Portrait Gallery, Edinburgh, 2002, pg 69
Katherine Michaelson, David Octavius Hill and Robert Adamson, The Scottish Arts Council, Edinburgh, 1970, Pl 22
Roddy Simpson, The Photography of Victorian Scotland, Edinburgh University Press, Edinburgh, 2012, fig. 2.21
Camera Work, The Complete Illustrations 1903-1917, Taschen, 1997 pg 479
Camera Work, A Pictorial Guide, Dover, 1978, pg
Tom Normand, Scottish Photography, A History, Luath Press Ltd, Edinburgh, 2007, fig 86
Other Collections: Scottish National Portrait Gallery, National Gallery of Canada, Museum of Photographic Art
Notes: Camera Work 28 contains 10 hand-pulled photogravures. James Craig Annan supplied seven of the plates. Annan, possibly the finest photographer ever to work in photogravure, is credited with reviving interest in the work of Hill and Adamson. Annan’s connection to D.O. Hill is substantial. When Annan was a child, his father Thomas was a friend of Hill’s. The Annan’s even lived in Hill’s home for a short period. Thomas Annan, a skilled photographer himself, made his living photographically reproducing paintings and worked closely with Hill in the reproduction of his monumental and important painting, The First General Assembly of the Free Church of Scotland. In fact it was this work that initially inspired Hill to explore portrait photography as art. And Hill’s portraits inspired James Craig Annan’s pursuit of photography.
In this issue of Camera Work six of the photogravures made by Annan are from Hill and Adamson’s original calotype negatives. These prints can and should be considered the best representations available of Hill and Adamson’s work. A talented craftsman intimately related to the original prints made them. In fact, in some way, these images are more accurate a representation than the original calotype. Over time Hill and Adamson’s calotypes have faded – subject to the same fate as the prints in Fox Talbot’s, Pencil of Nature (which consequently motivated Talbot to invent the photogravure process.) (source: www.photogravure.com)
To view our archive organized by Collections, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
Recentemente visitei a Arena das dunas, como podem ver, algumas cadeiras ainda possuem os plásticos.
Story behind: My boyfriend and I have always been in a long distance relationship, writing letters, sending postcards is our thing. But recently due to the global pandemic, our letters never arrive. This inspires me to the glitch art technique used.