Do Photographic Plates Still Have a Place in Professional Astronomy?
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Noise and ISO CS 178, Spring 2014
Noise and ISO CS 178, Spring 2014 Marc Levoy Computer Science Department Stanford University Outline ✦ examples of camera sensor noise • don’t confuse it with JPEG compression artifacts ✦ probability, mean, variance, signal-to-noise ratio (SNR) ✦ laundry list of noise sources • photon shot noise, dark current, hot pixels, fixed pattern noise, read noise ✦ SNR (again), dynamic range (DR), bits per pixel ✦ ISO ✦ denoising • by aligning and averaging multiple shots • by image processing will be covered in a later lecture 2 © Marc Levoy Nokia N95 cell phone at dusk • 8×8 blocks are JPEG compression • unwanted sinusoidal patterns within each block are JPEG’s attempt to compress noisy pixels 3 © Marc Levoy Canon 5D II at dusk • ISO 6400 • f/4.0 • 1/13 sec • RAW w/o denoising 4 © Marc Levoy Canon 5D II at dusk • ISO 6400 • f/4.0 • 1/13 sec • RAW w/o denoising 5 © Marc Levoy Canon 5D II at dusk • ISO 6400 • f/4.0 • 1/13 sec 6 © Marc Levoy Photon shot noise ✦ the number of photons arriving during an exposure varies from exposure to exposure and from pixel to pixel, even if the scene is completely uniform ✦ this number is governed by the Poisson distribution 7 © Marc Levoy Poisson distribution ✦ expresses the probability that a certain number of events will occur during an interval of time ✦ applicable to events that occur • with a known average rate, and • independently of the time since the last event ✦ if on average λ events occur in an interval of time, the probability p that k events occur instead is λ ke−λ p(k;λ) = probability k! density function 8 © Marc Levoy Mean and variance ✦ the mean of a probability density function p(x) is µ = ∫ x p(x)dx ✦ the variance of a probability density function p(x) is σ 2 = ∫ (x − µ)2 p(x)dx ✦ the mean and variance of the Poisson distribution are µ = λ σ 2 = λ ✦ the standard deviation is σ = λ Deviation grows slower than the average. -
The Image of Truth: Photographic Evidence and the Power of Analogy
Articles The Image of Truth: Photographic Evidence and the Power of Analogy Jennifer L. Mnookin* We have but Faith: We cannot know For Knowledge is of things we see. Alfred Tennyson, In Memoriam' Maxims that urge the power of images are cultural commonplaces with which we are all too familiar: "a picture's worth a thousand words," "seeing is believing," and so forth.2 The photograph, in * Doctoral Fellow, American Bar Foundation. For useful comments and suggestions, particular thanks are due to Shari Diamond, Joshua Dienstag, Bob Gordon, Evelyn Fox Keller, Jim Liebman, Bob Mnookin, Stephen Robertson, Richard Ross, Christopher Tomlins, and the participants of the Chicago Legal History Forum and the Northwestern History and Philosophy of Science Seminar Series. Thanks, too, for the many thoughtful suggestions of the editors of the Yale Journal of Law & the Humanities, especially Barton Beebe, Jacob Cogan, and Beth Hillman. For research support during the course of working on this article, I thank the American Bar Foundation. 1. ALFRED TENNYSON, In Memoriam, in TENNYSON'S POETRY 119, 120 (Robert W. Hill, Jr. ed., 1971). 2. Some research lends credence to these adages. See, e.g., Brad E. Bell & Elizabeth F. Loftus, Vivid Persuasion in the Courtroom, 49 J. PERSONALITY ASSESSMENT 659 (1985) (claiming that "vivid" testimony is more persuasive than "pallid" testimony); William C. Cos- topoulos, Persuasion in the Courtroom, 10 DuO. L. REv. 384, 406 (1972) (suggesting that more Yale Journal of Law & the Humanities, Vol. 10, Iss. 1 [1998], Art. 1 Yale Journal of Law & the Humanities [Vol. 10: 1 particular, has long been perceived to have a special power of persuasion, grounded both in the lifelike quality of its depictions and in its claim to mechanical objectivity.3 Seeing a photograph almost functions as a substitute for seeing the real thing. -
Making Your Own Astronomical Camera by Susan Kern and Don Mccarthy
www.astrosociety.org/uitc No. 50 - Spring 2000 © 2000, Astronomical Society of the Pacific, 390 Ashton Avenue, San Francisco, CA 94112. Making Your Own Astronomical Camera by Susan Kern and Don McCarthy An Education in Optics Dissect & Modify the Camera Loading the Film Turning the Camera Skyward Tracking the Sky Astronomy Camp for All Ages For More Information People are fascinated by the night sky. By patiently watching, one can observe many astronomical and atmospheric phenomena, yet the permanent recording of such phenomena usually belongs to serious amateur astronomers using moderately expensive, 35-mm cameras and to scientists using modern telescopic equipment. At the University of Arizona's Astronomy Camps, we dissect, modify, and reload disposed "One- Time Use" cameras to allow students to study engineering principles and to photograph the night sky. Elementary school students from Silverwood School in Washington state work with their modified One-Time Use cameras during Astronomy Camp. Photo courtesy of the authors. Today's disposable cameras are a marvel of technology, wonderfully suited to a variety of educational activities. Discarded plastic cameras are free from camera stores. Students from junior high through graduate school can benefit from analyzing the cameras' optics, mechanisms, electronics, light sources, manufacturing techniques, and economics. Some of these educational features were recently described by Gene Byrd and Mark Graham in their article in the Physics Teacher, "Camera and Telescope Free-for-All!" (1999, vol. 37, p. 547). Here we elaborate on the cameras' optical properties and show how to modify and reload one for astrophotography. An Education in Optics The "One-Time Use" cameras contain at least six interesting optical components. -
Low-Cost Computational Astrophotography
Low-cost Computational Astrophotography Joseph Yen Peter Bryan Electrical Engineering Electrical Engineering Stanford University Stanford University [email protected] [email protected] Abstract 2. Related Work When taking photographs of the night sky, long ex- Currently, most astrophotographers compensate for posure times help photographers observe many stars, the rotation of the earth by physically moving the cam- but the rotation of the earth results in long star streak era along with the earth. However, some attempts arcs about the celestial pole. An algorithm for re- have been made to remove this requirement. To accu- moving these star streaks and substituting accurately rately localize stars in streaked images, one researcher placed point-like stars is designed and implemented. has re-mapped the star streak to polar coordinates, so Images containing star streaks are transformed into that all stars will have the same point-spread function. ones with un-streaked starry skies while retaining This technique was designed for locating specific stars color and brightness information. The procedure is for the purpose of identifying specific stars, but will shown to work consistently on a 35-image dataset. be applicable for our purposes when removing star streaks [4]. Other factors besides streaking can cause quality degradation in star images, and attempts have 1. Introduction been made to correct this. These have used such tech- niques as Richardson-Lucy deblurring [2] and maxi- Astrophotography is a widespread pastime in which mally sparse optimization [1]. DSLR cameras are used to take images of objects in space. Certain factors make this a very expen- sive hobby. -
Digitizing the Harvard Observatory Plate Collection
Digitizing the Harvard Observatory Plate Collection Scanning the “Historic Sky” Our Goals: Find Funding to Construct a Scanner and Digitize the Harvard Astronomical Photographic Plate Collection. Make the results available in Online Storage. Jonathan E. Grindlay – Harvard Professor of Astronomy Elizabeth Griffin – WG Chair IAU Digitization and Preservation Alison Doane – Acting Curator of the Harvard Plate Stack Douglas J. Mink - Software and Data Archivist Bob Simcoe – Volunteer Associate & System designer Before photography, astronomers’ eyes were their only sensing device and hand drawing was the means of permanent recording. This severely limited the science they could accomplish. rjs Astronomy, as a science, made quantum leaps forward with the advent of photography. For the first time permanent, measurable photographic records made possible “offline” analysis of data. rjs The first daguerreotype of the moon was made by American physiologist J.W. Draper in 1840, involving a full 20 minute exposure. The first star was not recorded until 1850, when director of Harvard Observatory, W.C. Bond and Boston photographer J.A. Whipple, took a daguerreotype of Vega. The first photographic sky surveys were done at Harvard during the period of 1882-1886. Each photograph covered 15 degree squares of sky and recorded stars as faint as 8th magnitude. rjs The world’s collection of astronomical photographic images (estimated at 2 million glass plates) represents the costly output of over a century of devotion and skill by myriad astronomers. Harvard Observatory now has 500,000+ photographs, by far the largest collection and 25% of the world’s total. Harvard’s plates contain the most complete sky coverage of both the northern and southern sky over the longest time period – 1880 to 1989 rjs Since the 1980’s, astronomers have largely abandoned the use of photography. -
DSLR Astrophotography They Say… Start with a Joke
DSLR Astrophotography They say… start with a joke. DLSR Wide-field Astrophotography The Advantages It’s Relatively Inexpensive All you need is a DLSR camera …and a tripod You Don’t Need This! Nikon v.s. Canon Most DSLR astrophotographers use Canon cameras. Canon releases the details of the camera’s software. This allows the development of third party software, designed specifically for astrophotography. Nikon does not create a truly raw image A simple median blurring filter is always applied... removing many stars, as they are seen as noise. This prohibits precise image calibration. Some Nikons allow the “Mode 3” work around. Using Nikon’s Mode 3 Simply start the bulb time exposure and terminate it by turning off the camera. The camera sees this as a low-power warning and immediately saves the image without running the median blurring filter Testing For Mode 3 Availability Take a one-minute dark exposure in Mode 1. This is a raw image with “no noise reduction” selected. Take a one-minute Mode 3 dark exposure. If Mode 3 is available, that exposure will have noticeably more hot pixels and noise. For Starters… Keep It Simple Set the focus to infinity... before it’s dark Mount the camera on a sturdy tripod Use a wide angle lens (18mm is nice) Set the lens to its lowest f-stop Use the RAW image format, at the highest ISO setting Shoot 20-30 second exposures Take about five dark exposures (more on this later) …and you can get an image like this! Nikon D40X 18mm @ f/4 ISO 1600 Mode 1 4 30-Sec exposures 4 30-Sec darks After taking several Milky Way shots it may be time to get more adventurous. -
A Guide to Smartphone Astrophotography National Aeronautics and Space Administration
National Aeronautics and Space Administration A Guide to Smartphone Astrophotography National Aeronautics and Space Administration A Guide to Smartphone Astrophotography A Guide to Smartphone Astrophotography Dr. Sten Odenwald NASA Space Science Education Consortium Goddard Space Flight Center Greenbelt, Maryland Cover designs and editing by Abbey Interrante Cover illustrations Front: Aurora (Elizabeth Macdonald), moon (Spencer Collins), star trails (Donald Noor), Orion nebula (Christian Harris), solar eclipse (Christopher Jones), Milky Way (Shun-Chia Yang), satellite streaks (Stanislav Kaniansky),sunspot (Michael Seeboerger-Weichselbaum),sun dogs (Billy Heather). Back: Milky Way (Gabriel Clark) Two front cover designs are provided with this book. To conserve toner, begin document printing with the second cover. This product is supported by NASA under cooperative agreement number NNH15ZDA004C. [1] Table of Contents Introduction.................................................................................................................................................... 5 How to use this book ..................................................................................................................................... 9 1.0 Light Pollution ....................................................................................................................................... 12 2.0 Cameras ................................................................................................................................................ -
Imaging and Imaging Detectors
4–1 Imaging and Imaging Detectors 4–2 Introduction Detectors we have dealt with so far: non-imaging detectors. This lecture: imaging optical photons and X-rays Any imaging system has two parts: 1. Imaging optics In most applications, mirrors are used for imaging, although other techniques (variants of shadow cameras) are used, e.g., for γ-rays 2. Spatially resolved detector i.e., a detector capable of measuring where a photon hits it in the focal plane. This can be a photographic plate or film, but is normally a charge coupled device (CCD). Introduction 1 4–3 Optical Imaging, I Cassegrain telescope, after Wikipedia Reminder: Optical telescopes are usually reflectors: primary mirror secondary mirror detector → → Main characteristics of a telescope: collecting area (i.e., open area of telescope, πd2/4, where d: telescope diameter) • ∼ fpr small telescopes: angular resolution, • λ θ = 1.22 (4.1) d but do not forget the seeing! Imaging 1 4–4 Optical Imaging, II Optical telescopes are based on principle that reflection “just works” with metallic surfaces. For X-rays, things are more complicated... Snell’s law of refraction: sin α n α1 n2 1 1 = = n (4.2) sin α2 n1 θ where n index of refraction, and α1,2 angle wrt. 1 surface normal. If n 1: Total internal reflection Total reflection occurs for α2 = 90◦, i.e. for n < n α 2 1 sin α1,c = n cos θc = n (4.3) 2 ⇐⇒ with the critical angle θ = π/2 α . c − 1,c Clearly, total reflection is only possible for n< 1 Light in glass at glass/air interface: n = 1/1.6 = θc 50◦ = principle behind optical fibers. -
The Rise and Fall of Astrophotography Dr
Page2 GRIFFITH OBSERVER August The Rise and Fall of Astrophotography Dr. Joseph S.Tenn Department of Physics and Astronomy Sonoma State University Rohnert Park, California HONORABLE MENTION HUGHES GRIFFITH OBSERVER CONTEST 1987 Dr. Joe Tenn’s carefully crafted articles seem to be able to win a prize in the annual Hughes Aircraft Company Science Writing Contest any time he chooses to enter, and his students have occasionally won prizes, too. This heartens our outlook on higher education in America and provides interesting and unusual material for readers of this magazine. His last article, “Simon Newcomb, a Famous and Forgotten American Astronomer," appeared in the November, 1987, issue of the Griffith Observer, almost two years ago. It was saddled with several errors imposed by the editor, not the author, and we hope this time we have given Dr. Tenn’s most recent contribution more reliable preparation for print. His attention this time is fixed on the development of astrophotography. Onthe occasion of the January, 1987, American the first serious uses of chemical emulsions for Astronomical Society meeting in Pasadena, professional research. Less than fifty years earlier visiting astronomers were invited to tour the the first crude experiments suggested the Palomar Observatory. The five-meter telescope, possibility that astronomical information might be towering five stories above us, looked as imposing recorded photographically. as ever, although it had been in operation nearly four decades and was no longer the world's DaQUe"'9°iYPe$ largest. Astronomers were involved with photography The real surprise, to this visitor at least, was from its beginning. It was the French astronomer that the telescope is no longer used for photo- Francois Arago who made the first public graphy. -
Astrophotography Tales of Trial & Error
Astrophotography Tales of Trial & Error Dave & Marie Allen AVAC 13th April 2001 Contents Photos Through Camera Lens magnification Increasing 1 Star trails 2 Piggy back Photos Through the Telescope 3 Prime focus 4 Photo through the eyepiece 5 Eyepiece projection Camera Basics When the photograph is being exposed, Light directed to viewfinder the light is directed onto the film. The viewfinder is completely black. Usual photographic rules apply: Less light ! Longer exposures Higher f number ! Longer exposures Light directed to film Star Motion Stars rise and set – just like the Sun in the daytime. The motion of the stars can cause problems for astrophotography Star Motion Stars rise and set – just like the Sun in the daytime. The motion of the stars can cause problems for astrophotography Star Motion Stars rise and set – just like the Sun in the daytime. The motion of the stars can cause problems for astrophotography Star Motion Stars rise and set – just like the Sun in the daytime. The motion of the stars can cause problems for astrophotography Star Motion Stars rise and set – just like the Sun in the daytime. The motion of the stars can cause problems for astrophotography Tracking the motion of the stars during the exposure is called “guiding”. Requires a polar aligned mount and periodic corrections to keep the subject stationary relative to the camera. Done using slow motion controls – or more often with dual axis correctors. Guiding Photography Technique Guiding Required? Star trails No Piggy back Yes Prime focus Yes Photo through the -
Some Applications of Natural Color Photography in Mineralogy B
SOME APPLICATIONS OF NATURAL COLOR PHOTOGRAPHY IN MINERALOGY B. M. Snaus, Smith College,Northampton, Massachusetts. The use of natural color photographs or color transparenciesl in mineralogy and petrography is still in the initial stage of application, although hand-colored lantern slides have, for a long time, been em- ployed by teachers and lecturers on these subjects. During the past decade improvements have been made in the art of color photography, and at present there are several good color plates on the market. These are known as screenplates. In one type the color elements,red, green and blue-violet, are incorporated in an irregular mosaic forming a color screen, which is placed between the glass plate or film and the photo- graphic emulsion. In another type the color screen involves a separate plate consisting of a regular pattern of square or other ruled elements having the same colors in a gelatin coating. The former is known as a combination screenplate, or film, of which the Lumiere Autochrome film and the Agfa color plate are examples; the latter are referred to as sepa- rate screen plates, and the well known Finlay color plate is the out- standing example. The production of a positive picture on a combination plate involves a comparatively simple reversing process,during the finishing operations. With the separate screen plate a negative is made on a separate pan- chromatic plate which is exposed while pressedin contact, emulsion to t'taking emulsion, with a color screen known as the screen." The glass side of the latter is held towards the lens. -
To Photographing the Planets, Stars, Nebulae, & Galaxies
Astrophotography Primer Your FREE Guide to photographing the planets, stars, nebulae, & galaxies. eeBook.inddBook.indd 1 33/30/11/30/11 33:01:01 PPMM Astrophotography Primer Akira Fujii Everyone loves to look at pictures of the universe beyond our planet — Astronomy Picture of the Day (apod.nasa.gov) is one of the most popular websites ever. And many people have probably wondered what it would take to capture photos like that with their own cameras. The good news is that astrophotography can be incredibly easy and inexpensive. Even point-and- shoot cameras and cell phones can capture breathtaking skyscapes, as long as you pick appropriate subjects. On the other hand, astrophotography can also be incredibly demanding. Close-ups of tiny, faint nebulae, and galaxies require expensive equipment and lots of time, patience, and skill. Between those extremes, there’s a huge amount that you can do with a digital SLR or a simple webcam. The key to astrophotography is to have realistic expectations, and to pick subjects that are appropriate to your equipment — and vice versa. To help you do that, we’ve collected four articles from the 2010 issue of SkyWatch, Sky & Telescope’s annual magazine. Every issue of SkyWatch includes a how-to guide to astrophotography and visual observing as well as a summary of the year’s best astronomical events. You can order the latest issue at SkyandTelescope.com/skywatch. In the last analysis, astrophotography is an art form. It requires the same skills as regular photography: visualization, planning, framing, experimentation, and a bit of luck.