Photons & Photography

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I’ve been interested in photography from a young age.  As I child I played with my parent’s Kodak box camera and, as far as I can remember, my first camera was a Kodak Brownie at the age of about nine. It’s a wonderful medium that I have now experienced for over 50-years, on land, underwater and now for astrophotography.

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My cameras

I’d like to think I know a thing or two about photography by now; underwater photography and digital astrophotography have been particularly challenging in different ways but the latter is a real eye opener that has expanded my knowledge of digital imaging significantly.  Capturing images of distant objects that can only be seen with the use of sophisticated equipment and complex processing also requires an in-depth understanding of light itself.

Having spent the first half of this year reading Einstein’s biography, I have recently started an online course at Stanford University on his ground-breaking Special Theory of Relativity.  Einstein’s many insights into the physical world are profound, which more than 100-years on still challenge most of us to understand.  Light was at the core of his famous 1905 paper, in particular it’s duality as a waveform and light quanta, or photons – defined as a quantum of electromagnetic radiation.  His concept of the photoelectric effect has enabled the development of today’s digital camera sensors and CCDs.  The core principal is the production of electrons as light shines onto a material, whereby the light (photon) knocks out an electron which can then be collected electronically – the basis of digital photography.

In September I visited Lacock Abbey in Wiltshire, initially a 13th century nunnery which is now run by the National Trust.  Today it is better known as the home of William Henry Fox Talbot (1800 – 1877) – mathematician, astronomer and archaeologist but most famously the inventor and pioneer of photography, notably developing, fixing and printing.  The window photograph below (left) was taken at Lacock Abbey in August 1835 and is recognised as being from the oldest ever camera negative produced by Fox Talbot, on the right is the same window in 2016.

In the early 19th century Thomas Wedgwood had made photograms – silhouettes of leaves and other objects – but these faded quickly. In 1827, Joseph Nicéphore de Niepce produced pictures on bitumen, and in January 1839, Louis Daguerre displayed his ‘Daguerreotypes’ – pictures on silver plates – to the French Academy of Sciences. Three weeks later, Fox Talbot reported his ‘art of photogenic drawing’ to the Royal Society, which subsequently became the de facto basis of modern film photography.

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Fox Talbot’s desk in his study at Lacock Abbey

Fox Talbot lived and worked at the Abbey for most of his life.  As well as an excellent museum, which details the history of photography and photographic processes, the house contains his rooms where he developed (no pun intended) the aforementioned inventions and is surely a ‘must do’ visit for any keen photographer.  Like many at that time he was a polymath, with notable friends and accomplices who worked in similar and other scientific fields:

Sir John Herschel – astronomer, mathematician, botanist & chemist, Gold Medal winner and founder of the Royal Astronomical Society, son of William Herschel who discovered Uranus.

Charles Babbage – mathematician, philosopher, mechanical engineer, considered “the father of the computer”;

William Whewell – leading 19th century scientist, recognised in the fields of architecture, mechanics, mineralogy, moral philosophy, astronomy, political economy, and the philosophy of science;

Sir Charles Wheatstone – physicist, inventor of stereoscopic photography, the telegraph & accordion;

Sir David Brewster – physicist specialising in optics, mathematician, astronomer & inventor of optical mineralogy and the kaleidoscope;

Peter Roget – physician, theologian, lexicographer and publisher of Roget’s Thesarus.

This particular group are now remembered by a table setting in the Abbey’s dining room, where they gathered for dinner; the mind boggles at the conversation!

Fox Talbot’s pioneering photography work preceded the early 20th century understanding of light that arose from Einstein and its more recent application in semi-conductors as camera sensors, of which I am sure he would have approved.  At that time the Universe outside of our galaxy was also unknown and he would have marvelled further at the thought of imaging other such distant galaxies such as M33 below; like photons, photography has come a long way since his death in 1877.

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M33 Triangulum Galaxy – consisting of some 40-billion stars, the photons in this image have travelled 3-million light years to reach my camera’s sensor! | WO GT81 + modded Canon EOS 550D & FF guided | 18 x 300 secs @ ISO 800 & full calibration | 22nd October 2016

It’s All Relative

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I spent the first half of this year reading Walter Isaacson’s biography of Albert Einstein, which apart from providing a fascinating insight into the man and his work, whetted my appetite to understand better the science.  Following previous success studying astronomy courses online, I set out to find a suitable programme to achieve this goal.  As a result I enrolled for Understanding Einstein: the Special Theory of Relativity run by Professor Larry Lagerstrom of Stanford University, USA, which after two months I have just completed.spacetime

The course is a good mix of qualitative and quantitative information, which at times has been quite challenging but nonetheless proved very worthwhile. The lecturer is very clear and thorough, an essential quality when dealing with this difficult and often bewildering subject.  Einstein’s paper On the Electrodynamics of Moving Bodies outlines the Special Theory and was just one of four published at about the same time in 1905 (“The Miracle Year”) which included: Brownian motion, Mass-energy equivalence (E=Mc2) and The Photoelectric Effect, the latter of which won him the Noble Prize.  At the end I now feel I understand the basics of Einstein’s ground breaking science properly, which apart from being interesting provides valuable insight and understanding of the Universe and related issues of space and time.

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During this period I have also been thinking about how to improve my astrophotography and the way forwards.  I’ll be on the learning curve for years to come and accept that there’s much I can still improve on using current equipment and processes but after more than 2-years astroimaging, mostly with a DSLR camera, I feel I have reached something of a crossroads and need to change tack in order to achieve more meaningful advances once again.  Inevitably this is likely to mean new equipment and most likely a move to LRGB / Narrowband format.  In the interim, whilst I consider the options, I have also been researching suitable capture / sequencing software, post-processing techniques and programmes.  I am concerned that this will result in another level of complexity but I think it has to be done in order to progress – watch this space.

Continuing a trend that’s been apparent for the past year, clear nights have been something of a rarity since mid-September; this is a concern if I am to pursue astrophotography to the next level.  However, high pressure was unusually dominant over Fairvale Observatory during the last days of November and cold, clear skies have provided good conditions for astronomy at last.

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Getting better – PHD2 screen 30th November 2016: DEC is good but room for improvement with the RA settings. The impact on tracking and image quality is noticeable.

Whilst I have certainly not fully mastered guiding I am now routinely using PHD2.  This in itself has probably been the major breakthrough this year, which with the aforementioned clear skies I wanted to take full advantage of.  Hidden within PHD2 I have also discovered and am now starting to experiment with the on-screen drift align routine, with reasonable results; using the gamepad for mount control and a new wireless link with my tablet computer, I can also make focus and alignment adjustments at the mount without returning to the computer each time.

As a result I have dispersed with the SynScan handset for alignment and can now completely set-up and control imaging with the computer and tablet; this is nothing short of a revolution which I am hopeful will greatly increase set-up time as well as improving control and tracking accuracy – yipee!  Even with average guiding results I am now achieving good exposures of 5-minutes or more and therefore decided to put this success to work and re-image some winter wonders over three, yes three, consecutive nights at the end of November.

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Imaging targets between 28th & 30th of November 2016 – for descriptions & previous images taken of these objects click on the following list of names: (1) M45 Pleiades (2) Barnard 33 The Horsehead Nebula & NGC 2024 Flame Nebula (3) M42 Orion Nebula (4) NGC 2244 Rosette Nebula (5) NGC 1499 California Nebula (6) IC 405 Flaming Star Nebula

The night sky at this time of the year contains many of my favourite objects, but surprisingly I had not imaged some of the chosen targets for more than a year or two and it was both enjoyable and pleasing to reacquaint myself again.  With a new perspective gained from this exercise, the progress I have made with equipment and techniques is more apparent.  Notwithstanding, it’s time to move on – everything’s relative.

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M45 Pleiades, Taurus constellation: 12 x 300 sec @ ISO 800 | 28th November 2016

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NGC 2014 Flame Nebula & Barnard 33 Horsehead Nebula, Orion constellation: 15 x 300 sec @ ISO 800 | 28th November 2016

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M42 Orion Nebula & M43 De Mairan’s Nebula, Orion constellation: 2 x 300 sec @ ISO 800 | 28th November 2016

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NGC 2244 Rosette Nebula, Perseus arm of Milky Way, Monoceros region: 21 x 300 sec @ ISO 800 | 29th November 2016

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California Nebula, Perseus constellation: 12 x 300 sec @ ISO 800 | 30th November 2016

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IC 405 & 410 nebulae: 15 x 300 @ ISO 800 | 30th November 2016

Notes: all images taken using a William Optics GT81 refractor telescope + PHD2 guiding + modded Canon 550D DSLR & x0.80 field flattner @ ISO 800 with full darks + bias + flats calibration and processed in Deep Sky Stacker & Photoshop CS2