Sky-Watcher Star Adventurer Mini (SAM)
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Mathématiques Et Espace
Atelier disciplinaire AD 5 Mathématiques et Espace Anne-Cécile DHERS, Education Nationale (mathématiques) Peggy THILLET, Education Nationale (mathématiques) Yann BARSAMIAN, Education Nationale (mathématiques) Olivier BONNETON, Sciences - U (mathématiques) Cahier d'activités Activité 1 : L'HORIZON TERRESTRE ET SPATIAL Activité 2 : DENOMBREMENT D'ETOILES DANS LE CIEL ET L'UNIVERS Activité 3 : D'HIPPARCOS A BENFORD Activité 4 : OBSERVATION STATISTIQUE DES CRATERES LUNAIRES Activité 5 : DIAMETRE DES CRATERES D'IMPACT Activité 6 : LOI DE TITIUS-BODE Activité 7 : MODELISER UNE CONSTELLATION EN 3D Crédits photo : NASA / CNES L'HORIZON TERRESTRE ET SPATIAL (3 ème / 2 nde ) __________________________________________________ OBJECTIF : Détermination de la ligne d'horizon à une altitude donnée. COMPETENCES : ● Utilisation du théorème de Pythagore ● Utilisation de Google Earth pour évaluer des distances à vol d'oiseau ● Recherche personnelle de données REALISATION : Il s'agit ici de mettre en application le théorème de Pythagore mais avec une vision terrestre dans un premier temps suite à un questionnement de l'élève puis dans un second temps de réutiliser la même démarche dans le cadre spatial de la visibilité d'un satellite. Fiche élève ____________________________________________________________________________ 1. Victor Hugo a écrit dans Les Châtiments : "Les horizons aux horizons succèdent […] : on avance toujours, on n’arrive jamais ". Face à la mer, vous voyez l'horizon à perte de vue. Mais "est-ce loin, l'horizon ?". D'après toi, jusqu'à quelle distance peux-tu voir si le temps est clair ? Réponse 1 : " Sans instrument, je peux voir jusqu'à .................. km " Réponse 2 : " Avec une paire de jumelles, je peux voir jusqu'à ............... km " 2. Nous allons maintenant calculer à l'aide du théorème de Pythagore la ligne d'horizon pour une hauteur H donnée. -
Video Tripod Head
thank you for choosing magnus. One (1) year limited warranty Congratulations on your purchase of the VPH-20 This MAGNUS product is warranted to the original purchaser Video Pan Head by Magnus. to be free from defects in materials and workmanship All Magnus Video Heads are designed to balance under normal consumer use for a period of one (1) year features professionals want with the affordability they from the original purchase date or thirty (30) days after need. They’re durable enough to provide many years replacement, whichever occurs later. The warranty provider’s of trouble-free service and enjoyment. Please carefully responsibility with respect to this limited warranty shall be read these instructions before setting up and using limited solely to repair or replacement, at the provider’s your Video Pan Head. discretion, of any product that fails during normal use of this product in its intended manner and in its intended VPH-20 Box Contents environment. Inoperability of the product or part(s) shall be determined by the warranty provider. If the product has • VPH-20 Video Pan Head Owner’s been discontinued, the warranty provider reserves the right • 3/8” and ¼”-20 reducing bushing to replace it with a model of equivalent quality and function. manual This warranty does not cover damage or defect caused by misuse, • Quick-release plate neglect, accident, alteration, abuse, improper installation or maintenance. EXCEPT AS PROVIDED HEREIN, THE WARRANTY Key Features PROVIDER MAKES NEITHER ANY EXPRESS WARRANTIES NOR ANY IMPLIED WARRANTIES, INCLUDING BUT NOT LIMITED Tilt-Tension Adjustment Knob TO ANY IMPLIED WARRANTY OF MERCHANTABILITY Tilt Lock OR FITNESS FOR A PARTICULAR PURPOSE. -
Shooting Sharp Images: Gear and Techniques You Need
SHOOTING SHARP IMAGES: GEAR AND TECHNIQUES YOU NEED Steps you can take to ensure you’re shooting sharp images every time. “For with slight efforts how should we obtain great results? It is foolish even to desire it.” – EURIPIDES An image that looks perfectly sharp on the camera’s preview screen or your laptop display may print undesirably soft. This blog entry reviews ways to capture an image with as much sharpness as possible. You can always soften a print later, but putting sharpness in later is much trickier. Shoot It Right, Don’t Try to Make It Right It’s tempting to think you can fix sharpness problems later, in the computer. Don’t fall into this trap! Software sharpening has limits, and it’s always more efficient to do something correctly rather than have to try to fix it later on. What are the elements of shooting sharp images? BUY THE RIGHT TRIPOD Use sturdy support, adequate to your particular camera’s needs. Many people make uninformed decisions when buying tripods, and are often disappointed with the lack of improvement in sharpness. Here are some pointers on tripod shopping. A full blog entry on selecting the best tripod and head combination is on tap for a future post. Meanwhile, start here. Know the weight of the items the tripod needs to support. Tripods are rated for different amounts of supported weights, and a tripod designed to support 10 lbs (4.54 kg) will not do much good when supporting 40 lbs (18.14kg) of long lens, heavy camera, brackets, strobe and tripod head. -
The Brightest Stars Seite 1 Von 9
The Brightest Stars Seite 1 von 9 The Brightest Stars This is a list of the 300 brightest stars made using data from the Hipparcos catalogue. The stellar distances are only fairly accurate for stars well within 1000 light years. 1 2 3 4 5 6 7 8 9 10 11 12 13 No. Star Names Equatorial Galactic Spectral Vis Abs Prllx Err Dist Coordinates Coordinates Type Mag Mag ly RA Dec l° b° 1. Alpha Canis Majoris Sirius 06 45 -16.7 227.2 -8.9 A1V -1.44 1.45 379.21 1.58 9 2. Alpha Carinae Canopus 06 24 -52.7 261.2 -25.3 F0Ib -0.62 -5.53 10.43 0.53 310 3. Alpha Centauri Rigil Kentaurus 14 40 -60.8 315.8 -0.7 G2V+K1V -0.27 4.08 742.12 1.40 4 4. Alpha Boötis Arcturus 14 16 +19.2 15.2 +69.0 K2III -0.05 -0.31 88.85 0.74 37 5. Alpha Lyrae Vega 18 37 +38.8 67.5 +19.2 A0V 0.03 0.58 128.93 0.55 25 6. Alpha Aurigae Capella 05 17 +46.0 162.6 +4.6 G5III+G0III 0.08 -0.48 77.29 0.89 42 7. Beta Orionis Rigel 05 15 -8.2 209.3 -25.1 B8Ia 0.18 -6.69 4.22 0.81 770 8. Alpha Canis Minoris Procyon 07 39 +5.2 213.7 +13.0 F5IV-V 0.40 2.68 285.93 0.88 11 9. Alpha Eridani Achernar 01 38 -57.2 290.7 -58.8 B3V 0.45 -2.77 22.68 0.57 144 10. -
THE CONSTELLATION MUSCA, the FLY Musca Australis (Latin: Southern Fly) Is a Small Constellation in the Deep Southern Sky
THE CONSTELLATION MUSCA, THE FLY Musca Australis (Latin: Southern Fly) is a small constellation in the deep southern sky. It was one of twelve constellations created by Petrus Plancius from the observations of Pieter Dirkszoon Keyser and Frederick de Houtman and it first appeared on a 35-cm diameter celestial globe published in 1597 in Amsterdam by Plancius and Jodocus Hondius. The first depiction of this constellation in a celestial atlas was in Johann Bayer's Uranometria of 1603. It was also known as Apis (Latin: bee) for two hundred years. Musca remains below the horizon for most Northern Hemisphere observers. Also known as the Southern or Indian Fly, the French Mouche Australe ou Indienne, the German Südliche Fliege, and the Italian Mosca Australe, it lies partly in the Milky Way, south of Crux and east of the Chamaeleon. De Houtman included it in his southern star catalogue in 1598 under the Dutch name De Vlieghe, ‘The Fly’ This title generally is supposed to have been substituted by La Caille, about 1752, for Bayer's Apis, the Bee; but Halley, in 1679, had called it Musca Apis; and even previous to him, Riccioli catalogued it as Apis seu Musca. Even in our day the idea of a Bee prevails, for Stieler's Planisphere of 1872 has Biene, and an alternative title in France is Abeille. When the Northern Fly was merged with Aries by the International Astronomical Union (IAU) in 1929, Musca Australis was given its modern shortened name Musca. It is the only official constellation depicting an insect. Julius Schiller, who redrew and named all the 88 constellations united Musca with the Bird of Paradise and the Chamaeleon as mother Eve. -
Pan/Tilt Head Tripod Manual #93612
PAN/TILT HEAD TRIPOD MANUAL #93612 ENGLISH INTRODUCTION Thank you for purchasing your Celestron Ultima A Pan/Tilt Head Tripod. This tripod will provide you with B C years of enjoyment and faithful service. Before using D K E your tripod for the first time, read these instructions F carefully to ensure proper use and care. G L FEATURES H M (A) Quick release plate (H) Aluminum legs (B) Quick release plate lock lever (I) Leg lock levers I (C) Bubble level (J) Rubber feet N (D) Tilt control knob (K) Pan/tilt head (E) Panning tension knob (L) Center column adjustment handle (F) Pan/tilt handle (M) Center column (G) Center column lock knob (N) Balance hook Carry case J ENGLISH I 1 USING YOUR TRIPOD The Ultima tripod will provide you with a stable platform for your spotting scope, binocular or camera in the field. With three leg sections and an adjustable center column, the tripod can be set in multiple configurations to get the exact height needed for your terrain and conditions. The Ultima is the perfect tripod for any outdoor excursion from bird watching to stargazing and everything in between. ADJUSTING THE PAN/TILT HEAD The pan/tilt head of the Ultima tripod has two control knobs. To pan with the tripod, loosen the panning tension knob until the head moves smoothly around the horizontal plane. To tilt the mounting platform, loosen the tilt control knob and adjust the mounting platform to the desired Pan/tilt handle position. Once the tripod is in position, tighten Tilt control the tension knobs to secure. -
The Astronomy of the Kamilaroi and Euahlayi Peoples and Their Neighbours
The Astronomy of the Kamilaroi and Euahlayi Peoples and Their Neighbours By Robert Stevens Fuller A thesis submitted to the Faculty of Arts at Macquarie University for the degree of Master of Philosophy November 2014 © Robert Stevens Fuller i I certify that the work in this thesis entitled “The Astronomy of the Kamilaroi and Euahlayi Peoples and Their Neighbours” has not been previously submitted for a degree nor has it been submitted as part of requirements for a degree to any other university or institution other than Macquarie University. I also certify that the thesis is an original piece of research and it has been written by me. Any help and assistance that I have received in my research work and the preparation of the thesis itself has been appropriately acknowledged. In addition, I certify that all information sources and literature used are indicated in the thesis. The research presented in this thesis was approved by Macquarie University Ethics Review Committee reference number 5201200462 on 27 June 2012. Robert S. Fuller (42916135) ii This page left intentionally blank Contents Contents .................................................................................................................................... iii Dedication ................................................................................................................................ vii Acknowledgements ................................................................................................................... ix Publications .............................................................................................................................. -
Camera Support Equipment
CAMERA SUPPORT EQUIPMENT www.libec-global.com Heads, Tripod Systems & Monopod Pedestal Systems Jib, Remote Head & Tracking Rails Remote Controls Tripods & Cases Accessories Specifications are subject to change without notice. The colors in this brochure may differ from actual products because of the printing color inks or photographic conditions. 17/03 2017/18 CONTENTS 3 Heads,Tripod Systems & Monopod 49 Tracking Rails 4 Counterbalance 50 Remote Controls, Tripods & Accessories 6 RSPLUS 51 Remote Controls 13 RS 54 Tripods 19 LX 57 Tripod Cases 23 LIBEC ALLEX 59 Accessories 29 TH-X 61 Specications Beyond Quality Support 32 HFMP 37 Pedestal Systems 41 Jib, Remote Head & Tracking Rails 42 SWIFT JIB 45 REMOTE HEAD 2014 tv asahi/TOEI AG/TOEI 1 2 Heads, Tripod Systems & Monopod Counterbalance Importance of Counterbalance When looking for a suitable tripod head for your camera, one of the most important aspects to consider is counterbalancing capability. The counterbalancing function provides a counterforce to keep the balance between the & Monopod Systems Tripod Heads, tripod head and the camera that is mounted on it. If the right counterbalance is maintained, the camera remains stationary at any angle of tilt. You do not need to worry about holding the camera by hand and yet are able to maintain precise control of the camera. RS/RSPLUS Counterbalancing Capability The RS/RSPLUS is equipped with an excellent counterbalancing system that provides a perfect counterforce that corresponds to the weight and angle of the camera. A special innerspring mechanism is used for this Fine-tunable counterbalance knob system. When the strength of a spring is insufficient, the head cannot bear the weight of the camera. -
Ricoh Theta S in Astronomy Erwin Matys, Karoline Mrazek
Ricoh Theta S in Astronomy Erwin Matys, Karoline Mrazek The Theta S camera is a valuable tool for a multitude of applications in astronomy and astrophotography. The Ricoh Theta S is a completely new type of camera. With two fisheye lenses it records a 360° full-sphere panorama in only one single shot. The recorded images can be further processed and viewed either with the player provided by the manufacturer or with any third-party panorama viewer or web service that supports full-sphere panoramas. When used stand-alone, the camera works only in automatic mode. Controlling the camera with the provided app on a mobile device gives the user much more options: Long exposures, timed exposure series, HDR shooting, image download, immediate viewing as a sphere on the mobile device, etc. For a more thorough introduction to the camera system and to view some terrestrial sample shots, visit the manufacturer's Theta S website theta360.com. Night Sky Suitability of the Theta S Image: Ricoh press release Before we discuss some astronomical applications in more detail, here are the basic facts about the camera's suitability for night sky photography: First of all, to use the manual mode and to set exposure time, ISO and white balance individually (as it is required for night sky photography) the camera must be controlled by the provided app running on a smartphone or tablet. This procedure is straightforward, the camera connects with the mobile device via Wi-Fi and the app is easy to understand and simple to use. For night sky photography the camera must be mounted on a tripod - for this, the camera provides a standard 1/4" thread in the base. -
Using a Tripod
Using a Tripod PUBLISHED - 28 APR 2016 Tripods were absolutely essential in the early days of photography, when exposures were made on glass plates with sensitivity as low as just ISO 1-3. These days, with many Nikon cameras able to capture a black cat in a coal cellar hand-held, thanks to the incredible leaps ISO capability has made, you might be thinking, do I really need a tripod? But the answer is still 'yes' for many types of images and situations – find out why in our comprehensive guide… So why use a tripod? Tripods come in handy for many different reasons - read on to find out when you might need one.... Sharper images The more pixels your camera's sensor packs, the more likely it is that tiny movements will be recorded as blur in your shots, so with a high-megapixel DSLR such as the D810, it's definitely worth using it tripod-mounted at anything under 1/125sec. Even at fast shutter speeds, blur is less likely with the camera rock-steady on a tripod (always using a cable release to fire the shutter) – and the larger you're intending to display your image, the more important this becomes. 1 of 5 Spot-on composition Using a tripod slows you down a bit, giving you the time and space to perfect your composition, getting everything level and double-checking the exposure, the depth of field, and what's in and out of frame. If you want to shoot multiple frames at different exposure settings, such as for high-dynamic range (HDR) images, using a tripod is the best way to ensure you keep the composition perfectly the same between frames; it also enables you to shoot panoramas with each component shot on the same plane. -
Seeing the Light: the Art and Science of Astronomy
Chapter 1 Seeing the Light: The Art and Science of Astronomy In This Chapter ▶ Understanding the observational nature of astronomy ▶ Focusing on astronomy’s language of light ▶ Weighing in on gravity ▶ Recognizing the movements of objects in space tep outside on a clear night and look at the sky. If you’re a city dweller Sor live in a cramped suburb, you see dozens, maybe hundreds, of twin- kling stars. Depending on the time of the month, you may also see a full Moon and up to five of the eight planets that revolve around the Sun. A shooting star or “meteor” may appear overhead. What you actually see is the flash of light from a tiny piece of comet dust streaking through the upper atmosphere. Another pinpoint of light moves slowly and steadily across the sky. Is it a space satellite, such as the Hubble Space Telescope, or just a high-altitude airliner? If you have a pair of binoculars, you may be able to see the difference. Most air- liners have running lights, and their shapes may be perceptible. If you liveCOPYRIGHTED in the country — on the seashore MATERIAL away from resorts and develop- ments, on the plains, or in the mountains far from any floodlit ski slope — you can see thousands of stars. The Milky Way appears as a beautiful pearly swath across the heavens. What you’re seeing is the cumulative glow from millions of faint stars, individually indistinguishable with the naked eye. At a great observation place, such as Cerro Tololo in the Chilean Andes, you can see even more stars. -
L E N S E S & a C C E S S O R I
P. 4 P. 5 P. 6 P. 7 Scott Grant / Hai Tre / Jeff Carter / Gathot Subroto / Canada Vietnam UK Indonesia P. 8 P. 9 P.10 Matt Hart / Bert Stephani / Max De Martino / UK Belgium Italy P.11 P.12 P.13 P.14 Omar Z Robles / Simone Sbarglia / Pål Laukli / LS Trung / U.S.A. Italy Norway Vietnam P.15 P.16 P.17 Yonghui Wang / Supalerk Fabian De Backer / China Narubetkrausee / Belgium Thailand P.18 P.19 P.20 Taeyoung An / Joe Ng / Chalit Padoongcheep / Korea Canada Thailand P.21 P.21 Torwong Salwala / Giulia Torra / Thailand Italy Cover_P.2-3 Jonas Dyhr Rask / Denmark Specifications are subject to change without notice. LENSES & ACCESSORIES For more information, please visit our website: http://www.http://fujifilm-x.com/en/accessories/ c 2016 FUJIFILM Corporation P2-3/P36 The vision of the X Series, the choice for X Series owners A collection of creativity-oriented lenses, which complement the X-Trans CMOS sensor perfectly and eliminate the low-pass filter for ultimate sharpness. X Mount Lenses _ P.4-21 Accessories _ P.23-29 Technology _ P.30-33 Specifications _ P.34-35 2 3 P4-5/P36 XF14mmF2.8 R XF16mmF1.4 R WR X-T2 : F11 1/4 sec. ISO200 Scott Grant / Canada High resolving power across the frame from the centre to the edges. This ultra-wide-angle lens, which has a diagonal angle of view greater than 90°, produces extraordinary images. Distortion has been kept to a measured value of zero, with sharpness right across the frame, even when the subject is near the edges.