►
From YouTube: SJAA ONLINE Imaging SIG Meeting, Tuesday, May 19, 2020
Description
Gary Lopez, https://www.garylopezphotography.com/
Astrophotography as Fine Art
B
It
is
my
great
pleasure
tonight
to
bring
a
gentleman
that
I
have
been
familiar
with
for
a
few
years
named
Barry
Lopez,
that's
our
guest
speaker
gary
is
an
amazing
astrophotographer.
He
hails
from
the
Monterey
area
and
he'll
be
sharing
with
us
some
of
his
techniques
and
some
of
some
of
his
images
and
without
further
ado
I
hand
you
to
Gary.
Thank
you
very
much.
Bruce
hello.
C
Everybody
thank
you
first
to
Bruce
and
Glen
for
for
hosting
this
and
inviting
me
to
speak.
I
want
to
get
make
sure
that
Bruce
is
off
the
hook.
I'm,
really
not
an
amazing
astrophotographer
I,
honestly
just
try
to
make
beautiful
imagery
and
so
for
real
astrophotographers
and
the
in
the
audience.
I
start
with
an
apology.
Yoga
BC
do
things
that
may
make
you
cringe,
but
but
I'll
be
good
to
show
how
I've
done
it,
and
maybe
some
of
you
will
find
value
in
that.
C
My
way
of
introduction
I
saw
that
I
just
realized
that
Bruce
put
up
a
quick
note
about
Who
I
am
and
my
background,
and
so
unfortunately,
I
had
also
prepared
some
remarks,
but
I
think
it's
those
that
haven't
read
something
about
my
background.
I
think
it's
worthwhile
to
learn
what
I've
done
before
that
has
led
to
the
kind
of
astrophotography
you're
about
to
see
because
it's
a
it
may
give
me
an
excuse
for
why
I
do
what
I
do
so
with
that
I'm
gonna
pop
open,
my
screen.
C
C
C
On
so
background,
I'm,
actually
a
research
scientist
by
training
I'm,
a
marine
biologist,
oceanographer
and
I
did
my
doctoral
work
at
Scripps
Institution
of
Oceanography
and
I
was
a
lecturer
at
Scripps
and
at
UCSD
for
a
number
of
years
and
I'm,
a
quantitative
ecologist
by
training.
So
that's
that's.
What
I
got
trained
to
do,
but
prior
to
that
I
was
when
I
was
younger.
I
was
really
interested
in
astrophysics
and
I.
Just
I
got
I
got
twisted
by
Jacques
Cousteau.
C
C
I
was
actually
have
an
art
background
and
so
I
began
making
films
for
Encyclopedia,
Brittanica
and
National
Geographic
I
was
a
writer
and
a
producer,
and
then
I
actually
made
films
for
a
captain
Cousteau
for
a
number
of
years
and
I
worked
both
in
Hollywood
and
in
Paris
I'm,
making
those
films
so
I
learned
a
lot
about
filmmaking
and
telling
stories
and
making
beautiful
imagery
from
from
Cousteau
and
others.
But
I
was
also
interested
in
software,
and
so
I
was
actually
a
coder.
C
Most
of
my
quantitative
ecology
work.
I
wrote
the
program
that
I
used
blue
team
I
actually
wrote
my
word
processor.
Oh,
that's
how
old
I
am
because
that's
been
a
long
time
and
so
I
started
a
software
company
about
the
time.
I
was
doing
the
media
work
and
that
company
did
got
very
big
actually
and
we
did
all
sorts
of
different
software
development,
mostly
for
education.
We
did
work
for
Apple
and
so
and
several
other
groups
and
I
sold
that
company
in
nineteen
in
to
two
thousand
and
no
take
back
1993.
C
I
was
able
to
move
on,
and
so
I
started
a
nonprofit
organization
about
seventeen
years
ago
now,
a
foundation
that
is
still
going
around
going
strong
I
put
a
lot
of
time
in
we
produce
basically
AI
based
personalized
learning
solutions,
especially
for
middle
school,
high
school
and
college
in
the
u.s.
serve
about
six
to
eight
million
students
a
year.
Most
of
the
states
have
our
stuff
and
right
now
with
the
coated
stuff
that
we're
really
busy
and
that's
how
I
spend
my
time
but
I've
always
been
astrophotography.
So
that's
kind
of
the
art
technology
background.
C
My
interest
in
and
astronomy
started,
pretty
young
I'm
70
now,
and
so
this
is
was
nervous.
I
was
12
or
13
when
I
finally
bought
a
telescope.
With
my
paper
route,
money
and
I
had
a
look.
I
bought
a
little
2
inch
reflector
rather
refractor
and
I
ultimately
made
a
camera
out
of
a
box
from
house
my
mother's
shoes
and
started
trying
to
take
photographs.
This
is
actually
my
first
Astro
fad
photograph
from
1962
or
61,
or
something
and
you
can
see,
I
was
learning
a
lot
about.
A
C
That
movement
I
was
gonna,
have
blurry
pictures
like
that
I
kept
fooling
around
with
this
over
the
years,
even
when
I
was
doing
marine
biology
when
I
sold.
My
first
company
I
I,
moved
on
to
some
fancier
gear.
I
was
living
in
Lake
Tahoe
at
the
time.
Actually,
this
shot
is
more
recent,
but
this
is
the
gear.
I
was
able
to
get
a
10
inch
caster
gun.
C
For
me,
it
was
the
biggest
thing
I
could
carry
out
to
our
dock
living
there
in
Lake,
Tahoe
and
but
I
also
was
connected
with
Santa
Barbara
in
cement
groups,
early
on,
as
they
were,
starting
to
put
out
cameras
back
in
the
late
80s
early
90s
and
I
was
able
to
get
my
hands
on
our
very
early
st
4
and
then
st
6,
and
so
on.
So
I
got
to
start
plastic
messing
around
with
digital
imagery.
C
Pretty
early
on
this
picture
of
Hyakutake
is
actually
shot
with
film,
but
it
was
a
great
year
96
for
those
who
were
around
because
we
had
Hyakutake
and
Hal
bop
and
lots
of
cool
stuff
going
on
continue
to
mess
with
this,
and
in
the
last
few
years,
I
really
got
more
involved
more
vigorously
because,
as
you
all
know,
what
many
of
you
may
know
the
technology
has
gotten
very
capable
and
you
can
premiere
backyard
and
do
some
pretty
amazing
stuff.
So
this
is
my
I.
C
Have
a
small,
so
I've
been
seeing
in
my
studio
right
now
right
on
our
property
in
Monterey
and
I
have
just
outside
the
studio?
I
have
a
small
Observatory
which
I'm
going
to
walk
you
out
to
here
in
a
few
minutes,
so
you
can
see
my
I
set
up
that
picture.
You're
looking
at
now
is
William
optics
of
five
inch.
Oh
yeah,
32,
132
I,
know
I'll
talk
about
that
when
I
get
out
there,
but
it's
it's
got
it's
so
much
fun
to
use
and
so
capable,
and
the
other
picture
is
just
it's.
C
Where
I'm
sitting
right
behind
that
computer,
that
that
Apple
desktop,
you
can
see
right
now
as
I'm
talking
to
you
and
you
can
also
see
in
the
room.
Some
large
images
and
I'm
gonna
really
get
into
that
a
little
bit
more
because
that's
where
I've
been
taking
my
work
from
not
only
acquiring
these
images
but
ultimately
looking
for
ways
to
display
them
such
that
other
folks
could
enjoy
them
and
actually
put
them
in
their
homes.
So
that's
the
backdrop.
C
So
what
I'm
gonna
show
you
today
is
my
approach
to
taking
these
pictures
and
again
for
a
real
astra
tog
refer
I
apologize,
I'm
going
to
I
do
things
you
would
probably
planned
appalling,
but
it's
how
I
do
it
now?
Let
you
see
what
I
do
the
if
you
want
to
look
at
my
stuff,
I
invite
you
to
go
to
WWE
Lopez
photography.com!
C
It's
the
website,
I've
put
up
to
display
my
work
and
you're
welcome
to
look
at
it
and
I'm
going
to
go
there
later
in
this
presentation.
So
with
that
actually
a
little
note
to
myself
what
I'm
supposed
to
do
next,
so
I'm
gonna
actually
go
to
that
website.
Right
now
so
I'm
gonna
see
I'm
gonna
close
this.
How
am
I
gonna?
Do
this
Bruce
I'm
gonna
I'm
gonna,
try
to
close
this
and
make
something
work
here.
So
I
stopped
that
and
I'm
going
to
try
to
move
over
to
another.
C
C
So
this
is
from
my
website
and
again
I
invite
you
to
go.
Take
a
look
if
you'd
like
to
see
it,
maybe
better
than
the
way
it's
being
transmitted
to
you
right
now
and
I'm,
showing
you
this,
because
it
gives
you
a
sense
of
the
kinds
of
imagery
that
I'm
interested
in
in
making
what
you
see.
This
is
a
collection
that
I'm
calling
the
classic
collection,
because
it's
more
a
straight-up
astrophotography
as
most
people
do
it.
At
least
this
is
how
I
do
it,
but
other
people
do
it.
C
So-
and
it's
really
dark
behind
me
where
Big
Sur
is,
but
it's
maybe
a
portal
4
to
6,
and
so
it's
not
a
lot
of
light
pollution,
but
enough
that
I'm
preferred
to
shoot
narrow
band
and
but
additionally,
I
really
like
narrow
band,
because
the
creative
possibilities
going
beyond
our
GB
I
can
really
control
things
more
and
make
images
that
I
find
pleasing.
So,
as
you
scroll
down
you'll
see
a
lot
of
different
forms
of
nerve,
take
a
look
and
blow
need
feedback.
You
can
give
me
today.
B
C
Going
to
show
you
how
I,
how
I
approach
making
these
images
and
the
one
I'm
going
to
choose
is
this
one.
This
is
the
sickness
wall
and
this
is
a
Hubble
palette.
What
kind
of
a
Hubble
palette
version
of
this
I
chose
this
one,
because
it's
among
the
simplest
I've
shot
it's
11
hours
of
data
and
it's
pretty
straightforward,
but
I
think
it
will
show
the
process
with
the
least
number
of
complications,
not
infrequently
I
find
myself
shooting
20
30
40
hours
of
data
to
make
an
image.
C
That's
sometimes
what
it
takes
just
to
get
what
I'm
looking
for,
but
additionally,
that
can
be
stretched
out
over
sometimes
months,
sometimes
multiple
years
to
get.
You
know,
access
to
the
object
sufficiently
long
to
get
those
data.
In
the
case
of
this
object,
I
got
all
the
data
for
the
11
hours
and
2
nights,
which
was
like
a
miracle,
and
so,
but
let
me
let
me
show
you
how
I
made
this
so
to
do
that.
What
am
I
gonna
do
next
I'm
gonna.
Take
you
over
to
show
you
the
data
themselves
so
again,
I'm
gonna!
C
C
C
You
know
going
and
doing
that
research
at
Astra
been
and
looking
around
I
figured
that
I
wanted
to
shoot
this
as
a
narrow
band
and
I
thought
that
these
three
emission,
these
three
gases,
were
gonna,
really
going
to
give
me
what
I
wanted,
because
I
wanted
to
start
with
a
Hubble
palette
and
so
I.
The
first
night
out,
I
collected
all
three
I
collected
about
three
hours
of
hydrogen
and
if
you
scroll
down
you'll,
see
there's
about
three
hours.
C
It's
you
know
a
way
of
judging
just
whether
the
image
is
in
focus.
It's
looking
at
the
radius
and
a
smaller
number,
the
cleaner,
the
data,
the
more
focus
and-
and
I
use
the
hf
r
number
to
combined
with
the
star
count
to
really
judge
whether
or
not
a
sub
light
is
got
real
value
or
not,
and
this
was
shot
the
data
I'm
about
to
show
you
were
shot
with
a
ZW,
OASI
1600
cooled
camera.
It's
a
16,
megapixel
camera.
C
It's
got
my
I
think
it's
3.8
micron
patches,
but
it
also
with
the
with
that
William
optics,
one
FLT
132
that
five-inch
refractor,
which
I'm
about
to
show
you
and
in
my
experience,
if
I
can
with
that
combination
here
in
Monterey,
if
I
can
get
data,
that's
in
the
low
twos
for
the
HFR,
that's
pretty
good.
This
is
pretty
clean
stuff.
For
my
experience
here
and
I
will
tell
you.
These
data
were
even
better
than
that.
It's
less
than
two
point.
C
C
Go
take
a
look
at
it
and
I
do
that
by
going
over
to
pics
insight,
and
let's
see
why
man
I
mean
I'm
a
lot
of
open
screens
you're
when
you're
gonna
hate
me,
but
that
way
put
this
away
so
bear
with
me:
everybody,
I'm,
opening
and
closing
stuff
here,
so
I'm
gonna
open
up
that
okay,
so
I'm
gonna
change,
screens
again
we're
gonna
wear
two
pics
insight
to
stop.
You
know:
I'm
gonna
open
a
new
screen.
C
Here
we
go
so
you
should
be
seeing
a
new
window,
a
pix
insight
window
yeah
this
this
window,
pics
insight
window,
is
showing
you
a
project.
This
particular
project,
the
cygnus
wall
project
and
I
I,
probably
like
most
of
you,
I
I
keep
all
the
iterations
and
experimentations
I
do
in
creating
image
and
and
I
rely
on
pics
insights
to
keep
that
project
for
me,
so
I
can
go
back
and
look
at
things
in
experiment,
but
additionally,
I
I
use
Lightroom
an
awful
lot.
C
It's
one
of
my
favorite
tools,
which
I'm
sure
astrophotographers
their
audience
are
going
to
cringe
out,
but
that
I
really
like
that
tool
too
so
I.
Those
are
the
two
ways
in
which
I
really
keep
track
of
things
and
then
I
create
these
ridiculously
long
file
names
for
my
my
file,
so
I
can
kind
of
remember
what
I
did
and
keep
notes.
So,
let's
start
with
these
data.
I'm
going
to
open
up
I'm
gonna
drag
over
one
of
the
sublights
from
hydrogen
and
drop
it
into
pics
insights.
Oh
wait!
It's
not
going
to
do
that!
C
A
C
So
this
is
a
this
is
a
hydrogen
light
from
that
first
night,
that
first
night
in
July,
let's,
let's
stretch
this
I
just
use
the
screen,
transfer
function
and
stretch
it
and
there
it
is
right
and
wow
that
it
looks
pretty
damn
good.
There's
there's
a
lot
of
structure
there,
especially
for
one
three-minute
exposure.
I
was
pretty
happy
when
I
saw
this
and
if
you
dive
in
there
and
look
it's
pretty
clean,
it's
got
a
lot
of
noise
because
it's
only
one
three
minute
exposure,
but
man
there's
a
lot
going
on
there.
C
It's
really
kind
of
cool
and
you
can
just
see
a
lot
of
structure
even
with
this.
Now,
let's,
let's
look
at
a
the
hydrogen
to
suit.
We
got
there.
So
this
is
a
hydrogen
sub
light
will
stretch
it
and
now
that
it's
not
as
much
signal
but
here's
something
interesting
right
away.
We
pull
these
side-by-side
and
if
you
can
see
this,
so
what
you
see
is
there's
the
Cygnus
wall
on
the
and
the
fan
coming
out
from
the
Cygnus
wall.
C
This
fan
structure
in
the
hydrogen
data,
but
look
here
on
the
oxygen
that
wall
really
isn't
represented,
but
the
fan
is
and
so
I'm
thinking
hot.
So
the
oxygen
is
really.
The
signal
is
really
contributing
to
this
portion
of
the
image.
This
fan
that's
coming
out
from
that
from
that
ridge
of
dust
and
gas,
whereas
it
looks
like
the
hydrogen
is
representing
both.
So
let's
look
at
the
sulfur,
so
open
up
the
sulfur,
folder
and
open
up
one
of
those
and
stretch
it
whoops.
C
Aha,
now
here's
yet
a
different
representation.
Now,
in
the
case
of
the
sulphur
look
we
have
this.
The
fan
is
not
really
represented,
it's
not
being
shown
in
the
sulphur
emission
data,
but
there
is
some
structure
to
the
ridge
itself
to
the
wall,
so
it
looks
like
we're
getting
representing
data.
That's
really
representing
that
fan
really
showing
as
the
fan
and
the
oxygen
we're
getting.
These
data
from
sulfur
are
really
showing
the
ridge
portion
of
this,
and
this,
and
not
surprisingly,
as
often
is
the
case,
the
hydrogen
is
showing
both.
C
C
C
C
You
know,
I'm
going
to
you
know,
feel
free
to
jump
in.
So
at
this
point
now,
I
stack
each
of
those
those
data
sets
and
see
what
I
have.
So
in
the
case
of
the
hydrogen.
This
is
one
day
of
data
and
it
looks
like
this
and
so
that's
three
hours
of
hydrogen,
and
that
looks
damn
nice.
That's
just
clean
stuff
I
like
that
a
lot
looks
really
good
and
here's
the
oxygen.
C
This
is
about
what
are
we
saying
about
an
hour
not
too
bad
for
an
hour,
but
you
can
really
see
that
that
fan
is
well
represented
there
and
and
then.
Finally,
here
is
the
sulfur
and
again
now
you
can
really
see
in
that
sulfur
data
that
that
strong
signal
showing
the
ridge
and
yeah
there's
some
contribution
to
the
fan
as
well.
So
those
look
look
really
good
to
me.
C
This
I
use
pixel
math.
This
isn't
actually
the
formula
but
I
use,
pixel
math
and
using
the
Hubble
palette
approach
using
red
is
represented
by
sulphur
green
by
hydrogen
and
oxygen
is
blue
and
when
you
do
that
without
any
weightings,
this
is
what
those
first
five
hours
a
day
to
look
like
nice,
really
nice.
So
at
this
point,
I
would
actually
take
it.
Another
step
I
would
now
start
to
move
this
in
the
direction
of
of
the
more
classical
Hubble
palette.
Colors
that
you
all
all
grown
to
enjoy.
C
Have
those
golds
and
blues
now
I
I
would
I
would
move
this
over
to
let
us
re
to
photoshop
to
do
that,
typically
and
because
I
use
selective,
color
and
and
start
moving
this
into
the
into
the
color
that
I'm
looking
for,
but
for
whatever
reason,
I
think
this
was
the
time
when
I
was
experimenting
with
Lightroom
to
see.
If
I
could,
what
I
could
do
with
it,
and
so
I
actually
moved
this
into
Lightroom.
C
C
C
Okay,
so
you
should
be
seeing
a
light
room
now,
and
so
this
is
the
image
we
just
took
from
pics
insight
and
again
you
can
see
in
my
filing
my
my
naming
convention.
This
is
this
is
SH.
Oh
one
day,
it's
a
tiff,
and
so
it
turns
out.
I
know
why
I
was
doing
this,
but
I
was
experimenting,
see
what
I
could
do
and
I
and
I
ultimately
decided
see
if
I
could
move
it
to
the
colors
I
wanted
using
in
in
Lightroom.
C
If
you're
familiar
with
it
among
the
tools
you
have
as
an
SHL
color
tool,
where
you
have
you
can
go,
you
can
slide
back
and
forth
on
hue
and
you
can
change
saturation.
You
can
change,
luminance,
etc.
So,
using
the
hue
tool,
I
began
shifting
this
in
the
direction
that
made
sense
for
getting
the
Hubble
colors
I
wanted
out.
So
first
you'll
see
the
sliders
over
here
change.
You're
gonna
see
the
green
slider
shift
and
you
see
it
shifted
all
the
way
over
to
the
yellow
side.
C
B
C
B
C
C
C
So
this
is
what
the
imported
image
looks
like
and
then,
when
we
slide
the
green
slider,
so
the
sliders
are
over
here
on
the
on
the
right
side
of
the
screen
and
I
have
the
cursor
over
right
now
we're
we
have
hue
that
we're
about
to
slide
for
each
of
these
values
and
we
do
green
first,
you
can
see
the
slider
jump
over
from
the
green
to
the
yellow
side
or
orange
side.
You
can
see
how
this
thing
gives
a
more
goal
to
you
and
and
so
forth.
C
C
You
can
do
this,
but
it
is
it's
not
quite
the
same
but
I
liked
it
so
I
just
kind
of
kept
going
and
then
for
me,
I
started
doing
various
calibrations
of
the
colors
to
pull
them
into
the
right
color
temperature
again
by
by
hue
and
there's
a
point
where
I
start
messing
with
the
contrast
to
pull
down
some
of
the
cloudiness
and
maybe
do
a
little
pull
back.
It's
a
little
bitty
hazel
without
actually
trying
to
hit
any
of
the
subtle
structure.
C
And
then
then
I
started
messing
with
saturations
and
I'm
just
kind
of
popping
through
here
and
if
you
over
here,
you
can
see
these
sliders
shifting
with
these
changes
in
saturation
as
I'm,
trying
to
tweak
out
the
colors
to
get
them
closer
to
what
I
was
was
seeking.
And
then
you
know
between
running
between
the
vibrance
and
saturation
and
ultimately
I
exported
it.
C
You
start
creating
color
noise,
and
so
now
it's
time
to
see
if
we
can
pull
that
back
a
little
bit
and
see
just
what
we
have
left.
If
we
pull
back
the
color
noise,
how
much
actual
noises
are
left
with
only
five
hours
of
data
so
that
for
me,
what
I
like
to
do
to
test
that
us
go
back
into
pics
insight?
C
C
C
So
here
is
yours
that
hydrogen
data,
but
I
I
did
a
couple
of
things
to
it
to
clean
it
up
a
little
bit
more,
it's
been
mask
you
backing
up,
I!
Think
that's
right.
So
it
started
like
this
started
like
this.
Not
too
far
back
and
as
you
do
it,
I
could
see
a
little
bit
of
noise
and
I
thought
I
mean
I
can
clean
up
back
that
gradients
a
little
bit
and
the
way
I
would
typically
do
that
is
kind
of
a
two-step
process.
C
I
will
use
a
multi
media
and
transform
to
get
that
fine
level,
noise
and
and
and
I,
don't
know
about
well,
if
you
guys
have
used
this
tool,
but
you
can
really
mess
with
this
and
really
get
it
get
the
the
noise
reduction
down
to
the
scale
of
whatever
is
you're
working
on.
In
the
case
of
this
image.
It's
it's
really
fine
scale,
noise,
so
I,
don't
you
really
have
to
fool
around
with
these
settings
to
get
the
to
get
to
the
right
scale
for
the
pixel
mapping
to
get
the
noise
down?
C
So
you
fool
around
with
this,
but
I'm
also
tired.
This
is
a
luminous
there,
so
I'm
really
targeting
luminance
rather
than
some
other
aspect
of
this
and
upon
applying
this,
what
I
was
also
doing
is
I
was
applying,
I
was
I,
was
actually
masking
it,
so
I
would
protect
the
parts
that
I
didn't
want
to
be
affected
by
the
noise
and
start
knocking
back
the
structure.
So
I
was
direction.
Go
this
way.
C
I'm
asked
it
and
to
protect
that
structure,
and
then
I
ran
multi
media
Multi
multi
scale
median
transform
to
pull
down
that,
but
then,
after
that,
I
would
reverse.
For
example,
at
this
point,
let
me
see
what
the
mask
is,
if
you,
if
you
expose
the
mask
right
now,
the
mask
looks
like
this:
when
I
ran
the
multi
median,
transform
I
had
masked
it
this
way,
because
I'm
trying
to
express
so
the
red
is
the
math
sections
unmasked.
C
C
Go
back
to
here
to
protect
the
areas
I,
just
I
just
hit
with
multi
median
transform,
multi
scale
transform
and
then
I'll
hit
hit
it
again
with
deconvolve
deconvolution
this
this
tool
and
and
this
tighten
up
all
the
exposed
sections
which
you
can
see
are
primarily
what's
really
I'm
really
tidying
up.
Is
this
ridge
of
gas
here
all
this
that
fine
structure
we
want
to?
We
want
to
back.
So
when
that's
done,
we
have
this
really
tight.
Luminance
mask
I
use,
L
RGB,
the
again
another.
C
C
I
like
it
because
you
can
you
can
you
can
change
the
lightness
and
saturation
of
the
of
this
application
of
the
luminance,
and
you
can
also
it
has
a
chrominance
reduction
feature
that
you
can
turn
on
to
really
knock
it
back,
and
so,
when
you
do
that,
it
goes,
and
you
apply
this
again
with
the
with
this
one
first
day
of
hydrogen
data
and
that's
now
being
cleaned
up.
It
goes
from
looking
like
this
to
looking
like
this
and,
and
it
looks
a
little
cloudier.
C
But
if
you
dive
here
and
look
look
what
happened
to
this
is
the
look
of
this
see.
We
see
all
that.
Can
you
see
that
blue
blotchiness
and
kind
of
chopped
up
look
yep
yep,
so
you
hit
it
look
at
that
and
and
so
it's
possible
at
this
point-
you
may
want
to
hit
it
with
something
else
to
tighten
it
up
like
maybe
going
back
to
to
hit
it
again
with
with
deconvolve.
C
C
C
Really
simply
I
the
reason
this
says
clone
on
it,
because
that
was
actually
the
mask.
What
I'm
doing
typically
to
make
a
mask
is
I'll
just
make
another
version
of
the
same
image
just
like
that.
You
know,
drag
it
off
and
make
it
a
second
clone
and
then
take
that
and
and
drag
it
over
the
original
image
like
this
and
boom.
You
got
a
mask
and
then
you
can,
you
can
invert
it
over
here.
Did
you
see
I'm
up
here
on
the
top?
C
C
C
Go
I
will
do
the
default
with
the
kampala
deconvolution
unless,
when
I
use
it
I
get
something
weird
like
what
you
can
often
get
with.
The
convolution
is
you'll
get
rings
around
stars,
even
you,
and
so
there's
a
d-ring
feature
you
can
turn
on,
but
even
with
that
d-ring
feature
turned
on,
sometimes
you'll
still
get
ringing
and
it
can
be
pretty
nasty.
So
you
can
start
adjusting
like
the
number
of
iterations
you
can.
You
can
adjust
the
the
noise
threshold
to
pull
that
back.
B
C
At
this
point,
I'm
thinking,
okay,
this
this
looks
pretty
good
I
mean
damn.
That's
that's.
For
five
hours
all
looks
really
really
nice,
but
I
I,
typically
don't
not
satisfy
I,
think
five
hours.
It
just
seems
like
a
miracle
to
have
something
that
good
for
five
hours,
so
I'm
gonna
go
get
some
more
data
and
luckily
I
got
another
another
night
a
couple
of
days
later,
where
I
could
shoot,
and
so
let
me
let
me
move
over
there.
C
Three
days
later,
on,
July
13th
I
was
able
to
shoot
again
and
but
this
time
I
decided
that
the
sulfur
I
had
enough
in
part,
because
when
I,
when
I
compared
the
sulfur
and
the
hydrogen
I
realized
that
looked
for
the
most
part,
the
structure
I
was
seeing
in
in
fine
detail
and
the
hydrogen
was
was
represent.
The
sulfur
fine
detail
was
represented
of
the
hydrogen,
so
I
didn't
have
to
go
back
and
do
it
again.
C
I
wasn't
going
to
miss
anything
that
I
was
thought
was
important
by
not
having
sulfur
but
but
the
oxygen
it
just
I
didn't
have
enough
there.
As
I
said.
That
really
represents
the
fan
part
and
so
I
wondering
will
get
more
of
that.
And
ultimately,
my
strategy
at
this
point
was
I
was
going
to
get
a
get
more
oxygen
to
have
more
representation.
That
fan,
but
I
was
really
going
to
only
count
on
the
on
the
on
the
auction
and
the
soul
for
color
mapping,
and
all
this
structure
was
primarily
going
to
be
coming
from.
C
The
hydrogen
I
was
going
to
use
that.
As
a
is
a
you
know,
a
really
fine
luminance
mask
to
get
all
that
structure
back.
So
I
really
want
to
put
my
my
money
into
the
hydrogen,
primarily
unfortunately,
I
got
a
lot
of
it.
It
was
one
of
those
up-and-down
nights
and
I.
Think
I
got
like
I
want
to
say
five
hours,
more
of
hydrogen,
something
like
that,
but
you
can
see
well,
you
can't
see,
but
the
HFR
jumped
way
up.
C
But
man
with
this
high
HF
are
maybe
not,
and
the
same
thing
was
true
of
the
oxygen
data,
but
you
know
it
didn't.
I
want
to
take
an
hour
of
it.
I
wasn't
as
worried
about
this,
because
I
was
just
gonna
use
it
for
color
mapping.
It
didn't
matter
if
it
wasn't
quite
clean,
because
I'm
just
gonna
lay
this.
This
really
high,
really
good
luminance
layer
over
it
to
bring
that
structure
back.
It
was
just
to
tell
me
where,
where
that
signal
was
going
to
be
color
mapped,
so
I
wasn't
concerned
about
that.
C
C
Since
I,
okay,
so
your
shimmies
seam
picks
inside
again,
and
let's
close
this
one
day
now-
here's
the
here's
the
two
day
data
this
is.
This-
is
now
two
days
of
data,
not
just
the
two
day
data.
This
is
combining
day
one
and
day
two
all
together
and
when
you
put
them
side-by-side
with
the
number
first
days
data
you
start
to
see.
Maybe
that's
getting
a
little
bit
soft.
Can
you
I
know
if
you
guys
can
see
that
what
you
hear
in
the
room
with
me?
C
You
can
see
it,
but
it
starts
to
look
a
little
bit
softer
and
you
know
I
think
I've
cleaned
up
some
of
the
color
know
some
of
the
noise.
If
we
look
at
it
in
there
deeply,
you
can
see
that
the
noise
is
better
right.
This
is
the
two
days
of
data.
This
is
the
one
day
and
you
can
see
it's
there's
less
noise,
but
but
look
at
these
stars
look
how
soft
they
are
around
the
edges
right,
you're,
going
to
act.
That
is
that's
that
HFR
data.
That's
it's
over!
Three!
That's
not
good!
C
So
all
you
can
do
what
I
do
is
I
just
start
experimenting
and
so
I
I,
just
basically
did
it
again:
I
I
stacked
the
two
days
of
hydrogen
and
the
two
days
of
oxygen
and
one
day
of
sulfur
and
registered
everything
and
then
made
a
new,
a
new
image,
an
H
and
SH
o
image,
and
so
to
remind
you,
the
other
one
looked
like
this.
This
was
day
one.
C
C
It
does
again
the
the
noise
is
down,
but
there's
there's
a
softness
to
it
that
I'm
not
happy
about
so
I
did
the
same
strategy
here
as
I
did
in
the
day
one
I
imported
this
into
in
a
Lightroom
I.
Let's
go
do
that
I
imported
it
into
Lightroom.
What
time
do
we
have?
How
long
am
I
supposed
to
talk?
Bruce.
C
Okay,
sorry,
if
anyone
wants
me
to
stop
just
say
so,
just
stop
me
I've,
never
sought
you
guys,
but
this
first
time
ever
anybody's
been
in
the
room
with
me
when
I've
done
this
I'm,
always
by
myself.
So
this
is
really
weird.
Haven't
you
guys
you're
watching
this
unfold,
so
you
bring
this
back
into.
You
know
in
the
light
room
and
what
you're
going
to
see
room.
So
you
can
see
this.
C
I
brought
this
back
into
pix
inside
and
I
laid
it
laid
another
luminance
layer
on
it
and
I
brought
it
back
in
and
it
look
then
it
looks
like
like
this
like
that
and
then
again
I
clean
it
up
and
pick
send
or
in
in
Lightroom
here
and-
and
it
ends
up
looking
like
this,
so
what
it
turns
out
happened
and
all
this
was
I.
Did
it
both
ways?
C
I
used
it
when
I
used
all
the
data
and
I
made
a
luminance
out
of
all
like
11
hours
of
hydrogen
and
I,
compared
it
to
the
same
image.
But
this
time
I
only
used
the
first
day
of
hydrogen
for
the
luminance
and
for
me
it
was
that
just
using
one
just
that
first
really
clean
day
of
hydrogen
made
all
the
difference.
I
was
able
to
retain
the
structure
and
still
get
rid
of
the
noise,
and
it
really
made
a
big
difference.
C
I
know
as
contact
what
you're
trying
to
accomplish
for
me
having
the
detail,
structure,
really
really
matters
and
then
ultimately,
I
find
myself
more
often
than
not
relying
on
the
primary
signal
for
that
structure
and
then
almost
everything
else
in
the
image
is
just
color
mapping
and
so
I
don't
spend
a
lot
of
time
acquiring
it
because
I'm
just
gonna
lay
over
it
anyway,
let's
stop
talking
like
a
crazy
man
there
any
any
questions
or
any
any
comments
he
wants
to
make.
At
this
point,
yeah
and
let's.
A
C
B
C
Start
with
from
I
use
a
sequence:
generator
Pro
is
the
tool
for
acquiring
the
data
and
the
sequence
scenario:
Pro
throws
off
HFR
and
star
counts
at
least
the
way
I've
set
it
up
before.
I.
Look
at
anything,
Bruce
I
checked
that
first
and
when
I
have
HFR,
that's
out
of
range
or
typically
H
of
R
alone
is
not
enough.
You
have
a
hole
oho
far.
You
got
to
make
sure
you
have
a
high
star
count
because
it
may
just
be
a
little
H
of
our
cuz.
C
It's
foggy
or
something
so
low,
H,
bar
and
high
star
count
and
I
keep
it
anything
that
falls
out
of
a
range
that
I'm
sort
of
setting
for
myself.
With
the
data
set.
I,
don't
even
look
at
it,
I
toss
it
and
then
I
take
everything
that
remains
and
I
actually
imported
into
pics
inside
and
I.
Don't
even
use
blank
I
look
at
each
one
of
them
individually
and
I.
Actually
look
at
it
pretty
carefully
before
I
choose
it.
So
it's
a
really
tedious
process.
I
guess
come
to
think
of
it.
C
C
C
A
B
B
C
C
Yeah
I
mean
for
me:
it's
it
after
a
few
years
of
doing
this,
I've
just
begun
to
that's
kind
of
what
I
fall
back
on
to
really
make
all
my
determinations
and
I.
Don't
know
if
there's
a
better
way,
but
that's
when
I'm
up
to
it.
Let
me
move
back
to
picks
insights.
Cuz
I
want
to
show
you
that
at
this
point,
often
for
the
imagery
I
make
I
find
myself
going
back
and
considering
whether
there
was
a
different
way
to
to
make
the
image
a
different
approach.
C
B
C
So
in
the
case
of
this,
you
saw
that
ended
up
and
I
like
that,
I
like
to
look
at
that
with
was
kind
of
a
pseudo
Hubble
palette,
but
I
thought
I'd.
Try
a
few
other
things
with
these
data
to
see
when
I
commit
came
up
with,
and
so
one
of
the
things
was
I
did
I
stacked
it
and
and
built
an
HMO
image
where
hydrogen
is
this
red
channel
and
oxygen
or
both
the
green
and
the
blue,
and
it
looks
like
this,
but
I
also
tried
another
one.
C
This
is
using
Steve
Milnes
formula
in
pixel,
math
and
I
went
yeah
that
looks
pretty
good,
I
kind
of
like
the
way
that
looks
oh
I
I
imported
that
back
into
Lightroom
did
all
the
same
stuff
and
I
brought
it
back
in,
and
it
looked
like
this
and
then
I
hit
it
with
the
with
the
luminance
again
and
ultimately,
it
ended
up.
Looking
oops
like
like
this,
which
I
really
liked
that's
actually
one
of
my
favorites,
and
so
it
just
it
had
remarkable
dynamicism
to
it.
It
just
pops
off
the
screen.
C
I
don't
drag
you
back
into
Lightroom
and
tortured
enough.
So
let
me
if
you
guys,
are
okay
with
it.
It's
kind
of
dark
outside
I
can
turn
off
a
light.
So
this
is
if
there
are
any
questions
about
the
processing
I'm
going
to
show
you
my
rig,
so
you
can
see
where
I,
where
we
get
this
stuff,
because
I've
had
a
couple
people
ask
me
about
the
Observatory
built,
so
I
can
kind
of
show
you.
What
it
looks
like
in
real
time
here
is
that
okay
Bruce,
that's.
C
A
A
C
C
C
C
Yeah
yeah
everything
that
was
the
max
I
I
have
somewhere
else.
I
can
do
what
the
average
was,
but
if,
for
me
it's
always
some
balance,
I'm
actually
I
will
stack
multiple
times
to
see
if
I
add
more
and
more
higher
value
data.
What
impact
I'm
having
on
the
image,
especially
when
I
get
down
into
the
details
that
I'm
trying
to
reveal
so
there's
a
cut-off
at
some
point.
C
Sometimes
I
get
away
with
with
numbers
that
seem
pretty
high,
but
it
doesn't
really
impact
the
structure
I'm
trying
to
reveal
other
times
I,
throw
away
a
ton
of
stuff
I
I've
had
a
nice
boy
thrown
away
all,
but
ten
or
percent
of
it.
It's
a
tragedy
talking
about
detail.
Anybody
take
a
look
at
Ellen,
Pam's
imagery.
It
is
mind-bendingly
good.
It's
the
best
I've
ever
seen
so
I'm
gonna
turn
off
camera
and
I'm
gonna
walk
over
to
another
camera.
How
about
my
cell
phone
I'm,
hoping
it
still
working
here,
wait
a
minute.
C
A
A
C
C
C
And
it's
not
even
a
converted,
I
actually
built
this.
This
is
a
sliding
shed
Observatory
chain
on
here
so
to
orient
you
I
mean
my
backyard
in
California
I'm,
pointing
roughly
north,
so
the
in
that
direction
is
Monterey.
Regional
Airport,
it's
about
a
mile
away.
The
beach
is
about
a
mile
and
a
quarter
away,
so
I
get
fog
coming
into
this
direction,
not
infrequently
and
there's
a
little
bit
of
light
down
there
and
then
there's
a
light
dome
over
here
to
the
north
west
of
it
with
Monterey
itself.
C
But
in
this
direction
it
goes
out
towards
Carmel,
Valley
and
Big
Sur
in
it
nicely
dark.
So,
though,
the
bordel
skies
here
like
five
on
average,
but
you
probably
got
a
six
or
seven
over
there
and
you
might
have
like
a
three
or
four
over
here.
So
it's
kind
of
neat
if
I
can
point
to
the
south,
which
I
like
to
do
that
more
than
I
can
so
if
I
pull
this
back.
C
C
There
we
go,
let's
see,
let's
do
that
there
we
go
not
better
yeah
so
but
below
the
deck.
Is
a
steel
pier?
That's
in
a
cube
of
about
three
by
three
foot
cube
of
concrete.
It
comes
up
through
the
deck
and
attaches
to
this
odd-looking
pier,
and
this
is
called
the
bended
knee
pier
it's
made.
It
was
made
by
a
little
Serta
I,
don't
they
make
it
anymore
and
the
reason
I
use?
C
This
is
because
I
hate,
meridian,
flips,
I,
hate,
meridian,
flips,
and
so
with
with
this
pier,
the
scope
can
pass
through
the
meridian
and
that
whack
the
period
ball
comes
through
this
open
space.
Just
your
standard,
Atlas,
eq6,
mount
or
sky
watch
right
has
the
same
mounts.
The
same
device
same
amount,
nothing
fancy,
and
then
this
is
the
William
optics.
C
Flt
1:32,
a
five-inch
refractor
I've
had
a
lot
of
telescopes,
telescopes,
cascarones
and
all
kinds
of
Newtonian
and
rich
equations
and
God
have
had
they
had
them
all
and
I
keep
coming
back
to
refractors
I,
just
love
the
contrast
of
refractor.
They
don't
break
I,
don't
have
to
do
anything
to
them.
They
work
every
time.
So
I
love
these
lover.
Crackers
I,
really
settled
on
I've
had
a
number
of
cameras
too
I've
shot
DSLR
and
a
number
of
other
C
CDs,
but
I
really
come
back
to
the
Z.
C
Wasi
1600
is
still
my
favorite
and
actually
Allen.
Fam
turned
me
on
to
this
camera
and
I've
just
really
enjoyed
it.
The
kid
for
me
is
still
the
filters.
I
have
Astrid
on
three
nanometer
filters:
I'm
able
to
shoot
through
Donald
Lee
this
light
pollution,
but
I
can
shoot
hydrogen
on
that
full
moon
and
long.
It's
not
too
close,
and
it's
a
pretty
good
signal.
So
I,
just
the
filters
make
all
the
difference.
C
This
is
a
little
50
millimeter
guide
scope,
but
I
hate
PhD,
guiding
with
a
passion
that
the
sound
of
that
going
offline.
You
should
drive
me
crazy,
so
I
finally
bought
a
an
M
gen
guider,
it's
this
device
here
it
has
its
own
camera
here.
It
never
fails.
I've
used
this
for
three
years.
It's
never
ever
failed.
I
can
have
fog
come
in
for
20
minutes
and
it
picks
up.
Somehow
it
doesn't
fail.
It's
amazing.
It's
like
it
doesn't
matter
how
much
it
costs
by
this.
C
It's
worth
it
because
you're
you'll,
it
will
never
lose
data
for
bad
guiding
and
then
the
guiding
is
really
really
tight.
What
else
you
need
to
know,
and
then
I
have
I,
have
all
this
running
through
a
sky
Phi
hub,
then
I
can
I
can
manage
from
indoors
from
that
left
or
sort
of
the
desktop.
You
saw
me
sitting
that
and
then
all
the
wiring
for
this
is
I
can
run
it.
C
C
It
all
depends
what
it
is.
Typically,
I'll
use
unity.
This
is
139,
but
for
really
faint
I'll
go
to
304,
really
bright,
I'll
go
down
to
zero,
it
kind
of
comes
down
to
what
I'm
shooting
target
server.
Dick
states
139
my
default
that
if
it's
really
gonna
be
up
I
can
get
you
know
short
exposures
with
on
zero
gain.
I'll
do
it,
but
it
was
most
recently
I
shot
with
spaghetti
nebula.
What's
that,
that's
H
240
and
it
was
5
minute.
C
B
C
C
Haven't
I've
seen
it
I
haven't
experienced
it.
I
did
have
some
fixed
pattern:
noise
I
acquired
the
z,
wo
si
183
and
they
try
that
for
awhile
before
I
sent
it
back
opt
because
it
had
not
only
hellacious
just
had
hellacious
noise
I
just
couldn't
deal
with.
It
had
all
kinds
of
fixed
pattern,
issues
and
crazy
yeah.
Well
that
I,
you
know
I'm
just
not
smart
enough
or
good
enough
to
deal
deal
with
those
small
pixels
I
just.
C
C
And
so
you
can
see
it's
very
close.
I'm
gonna
put
it
here
for
a
moment,
because
I
want
to
talk
a
little
bit
about
what
you're
seeing
on
the
walls.
So
I
wanted
to
talk
a
little
bit
about
why?
Why
I
do
this
stuff
I'm
interested
in
making
beautiful
pictures,
dramatic
pictures
from
space,
because
ultimately,
I
want
to
display
them?
Have
other
people
enjoy
them?
Have
them
become
part
of
people's
homes,
and
so
what
you're?
C
C
Come
down
to
a
few
approaches
really
like
there's
some
metallic
infused
papers
that
I
really
like
and
acrylic
mounts,
but
I've
also
settled
on
a
few
other
things
like
see
this
here,
I
find
myself
also
printing
in
a
different
way
on
some
watercolor
paper
and
doing
some
float
mounts
for
some
of
this
imagery.
So
the
reason
I
show
you.
This
is
because
I
want
to
talk
a
little
bit
about
that
next
and
and
sort
of
in
the
conversation
with
this
I'm
going
to
trough
this
camera
walk
back
over
here.
B
C
C
Okay,
so
we're
back
to
my
website
I'm
and
what
you're
seeing
is
that
that
same
collection
of
imagery
that
I
spoke
of
earlier
and
as
I
said,
my
my
interest
is
primarily
emission
nebulae,
not
only
because
I
find
them
easy
to
shoot,
but
they
give
me
a
lot
of
creative
control
on
palette
and
a
lot
of
other
things.
Where
reveal
and
structure
and
a
lot
of
things
and
compose
pictures
in
certain
ways,
and-
and
so
you
can
see-
there's
probably
nothing
here
that
shocks
you.
C
C
This
can
be
a
little
Moody,
it's
very
dramatic,
but
it
can
be
dark
and
so
I
began
looking
for
ways
to
represent
this
differently,
really
more
different
artistic
representations
and-
and
let
me
show
you
where
I
took
it
and
be
curious,
get
people's
feedback.
So
this
is
a
collection
of
this
imagery
that
I
took
in
a
different
way.
C
In
the
case
of
the
image
that
I
we
work,
we
saw
together
that
Cygnus
wall,
here's
a
different
way
of
representing
it.
In
this
case,
I
sought
ways
to
invert
some
of
the
darker
sections
and-
and
many
of
you
know,
as
you
shot
your
imagery-
that
there
is
an
awful
lot
of
structure
and
that
that
deep,
dark
areas
that
you're
bringing
in
I
mean
you're
you're
collecting
with
basically
12
s
stops,
and
so,
if
you
can
bring
it
all
to
the
surface,
you
can
see
a
lot
you.
C
You
really
can't
typically
see
if
you
leave
it
in
the
sort
of
the
dark
form
it
came
in,
and
so
in
the
case
of
this
imagery
I've
sort
of
been
working
on
these
new
processing
approaches
in
which
I
could
invert
sections
of
it
and
really
reveal
a
lot
of
that
deep
structure.
You
can
typically
see
in
the
case
of
a
lot
of
issues
you
can
see
I've
taken
the
stars
out
because
sometimes
I
find
them
a
bit
distracting
and
and
then
work
on
the
colored
translucency.
So
it
has
almost
a
watercolor
texture
to
it.
C
And
but
one
thing:
that's
really
it's
it's
an
impressionistic
approach
that
I've
been
working
on
such
that
you're,
really
emphasizing
the
contrast
between
the
shadow
and
the
light
and
and
as
such
you
get
a
lot
of
three
dimensionality.
So
I'm
not
sure
you
can
see
it
on
your
screen,
but
this
has
remarkable
three
dimensionality,
just
it's
just
quite
beautiful
and
back
up
here,
and
you
can
see
I've
done
that
in
a
few
places
and
it
should
kind
of
I
invite
you
to
go
to
the
website
and
take
a
look
I'd
really
like
it.
C
Some
feedback
maybe
have
some
ideas.
How
we
could
do
this
differently,
because
to
me
what's
particularly
interesting
about
this-
is
that
people
aren't
doing
this
yet
right
and
and
I
can
see
what
we
do
in
astrophotography,
ultimately
becoming
a
fine
art
form,
a
real
fine
art
form,
because
there's
a
lot
of
flexibility
and
it's
remarkable
the
people
that
see
this
imagery
to
come
to
the
gallery
and
other
places.
They
seem
to
be
emotionally
impacted
by
it
and
they're,
not
sure
why?
C
Because
I
guess
the
structures
and
shapes
and
textures
are
familiar
but
they're
not
sure
why?
But
they
do
have
an
emotional
impact
and,
needless
to
say,
you
know
that
the
palette
has
a
lot
to
do
with
it
too.
So
I
won't
bore
you
by
making
you
go
through
all
of
this,
but
but
take
a
look.
I've
tried
a
lot
of
different
things.
I
will
tell
you
some
things
really
get
people's
attention
and
and
so
I've
begun
looking
to
well.
C
First
of
all,
let
me
just
show
you
a
gallery,
sir
real
quick,
so
this
is
the
webpage
for
gallery.
Sir.
The
reason
I
want
to
show
you
that,
and
so
I'm
one
of
the
artists
there
and
there's
traditional
photography
there,
but
then
there's
me
and
my
stuff.
The
reason
I
want
you
to
know
this
exists
is
if
you're
in
Carmel
I
want
you
to
go
there
and
take
a
look,
because
I
can
show
this
to
you
on
a
screen.
C
But
what
what
I
want
you
to
do
is
take
a
look
at
it
when
it's
hung
on
the
wall
at
Gallery,
circus
or
big
pieces
and
I'd
love
to
get
some
feedback
in
which
what
you
think
you're,
seeing
or
what,
how
it
makes
you
feel
or
what
you
can
do
better
or
worse
or
whatever,
because
I
like
I,
don't
have
a
lot
of
astrophotographers.
You
see
my
stuff
I
have
a
lot
of
people
decorating
their
homes,
but
not
astrophotographers
and
I'd
like
to
get
your
feedback,
because
I
do
think.
C
All
of
us
are
sort
of
beginning
in
a
place
where
this
is
going
to
become
more
and
more
prevalent
when
I
sit
in
the
gallery.
Folks
may
are
as
interested
they're
looking
for
pictures
of
Big,
Sur,
Pebble,
Beach,
Golf
Course,
but
but
can't
people,
the
age
of
my
children
and
their
30s
are
really
drawn
to
this
millennial
seem
to
be
drawn
to
this
kind
of
imagery
and
maybe
it's
more
representational
what
their
while
they're
seeing
the
world,
but
so
that's
really
good
stuff
yeah.
C
The
other
thing
I've
done
is
I've
tried
to
push
this
into
the
fine
art
world,
and
so
let
me
go
back
here
to
my
website
and
show
you
this.
So
this
year,
I've
been
entering
this
kind
of
imagery
in
photo
contests.
This
is
the
international
colour.
Awards
they've
had
it
for
a
couple
of
decades
now
and
it's
your
traditional
photo
contest
except
big
it
this
year
had
60
100
photographers
from
73
countries
put
in
their
stuff.
It
has
a
lot
of
categories.
C
This
it's
just
mind-bending
that
they
see
this
something
worth
we're
really
paying
attention
to
so
so
take
a
look
and
consider
your
own
imagery,
consider
putting
it
in
and
getting
it
out
there
and
seeing
if
we
can
start
to
get
a
movement
here
for
astrophotography,
really
being
a
legitimate
fine
art
form
and
because
there's
a
lot
of
work
I
mean
think
about
this.
This
is
so
brand-new.
Anything
we
do
is
brand
new,
really
I
mean
there's
it's
brand
new
territory,
we're
not
just
doing
you
know,
Weston
and
and
and
and
Ansel
Adams.
C
If
any
of
you
are
are
doing
this
kind
of
work,
there
is
a
there's.
A
movement
right
now
called
the
artist
support
pledge
and
it
was
started
by
an
artist
Matthew
burrows
and
the
UK
is
a
painter
almost
six
weeks
ago
now
and
the
way
it
works.
Is
you
put
your
work
out?
You
sell
it
for
no
more
than
two
and
when
you
have
a
thousand
dollars
of
sales
of
your
work,
you
take
200
bucks
and
you
give
it
to
another
artist.
C
You
buy
some
of
their
work
to
keep
the
money
flowing
in
the
art
community.
The
one
thing
shelter-in-place
has
done
among
the
many
terrible
things
that's
done,
but
one
of
the
things
that's
unfortunate
is
that
it's
closed
all
the
galleries.
Galleries
aren't
open
and
a
lot
of
artists
they
make
their
living,
so
I
suggest
so
so
they've
generated.
Actually
this
is
a
little
bit
old,
a
general
most
30
million
dollars.
C
So
far
by
this
for
artists
to
keep
things
moving,
I
ended
up
joining
this
about
a
week
ago
and
I
decided
I
I
mean
I
was
going
to
give
20%
to
another
artist,
but
with
the
remaining
80%
I'm,
giving
it
to
the
Monterey
Food
Bank
and
I'm
happy
to
say
that
inside
of
48
hours,
I
generated
almost
3000
bucks.
So
with
selling
my
stuff
at
like
a
hundred
bucks,
a
throw
for
a
small
print.
C
If
you
can
afford
it,
give
it
all
away,
give
it
back
to
try
to
help
those
that
are
really
suffering
with
the
pandemic,
and
if
anybody
likes
this
imagery
I
invite
you
to
go
to
ballot
gallery
sir,
and
tell
them
I
sent
you
and
they'll
give
you
a
30%
discount
on
my
work
and
you're
welcome
to
do
that.
I
will
tell
you
anything
that
you
buy
from
my
gallery
for
at
least
the
foreseeable
future.
I
will
be
donating
to
food
bank,
make
sure
everybody
is
best.
B
A
B
C
I'm
a
gallery
and
in
colorado
and
another
one
on
the
east
coast
though,
and
those
are
you
know,
I'm
not
there
very
much.
The
main
gallery
is
the
one
here
in
carmel
and
the
one.
The
reason
I
like
that
gallery
is
because
I
can
go
there
and
weekends
and
talk
to
people
and
start
to
get
feedback
from
folks.
If
you
guys
might
be
surprised
at
how
our
work
impacts,
people
it's
its
bit,
surprised
me
I
thought
you
know.
C
That
seems
to
move
them
and
then,
when
you
are
able
to
tell
them
yes,
you
know
the
astronomy
with
the
natural
history
is
what
they're
looking
at
it
just
has
greater
even
greater
impact
that
that
one
image
ray
I
showed
you
that
an
image
of
the
Cygnus
wall
it
it's
hung
in
the
gallery,
sir.
Next
to
another
image
of
IBEW
of
beak,
sir,
the
Big
Sur
Coast
and
there's
real
similarities
in
those
two
structures.
C
It
look
like
rugged,
coastlines
right
except
you
know,
one
is
just
down
the
street
and
you're
looking
at
a
half
a
mile
of
beach
and
in
the
case
of
this
you're,
looking
at
a
structure,
this
20
light-years
long,
but
in
both
cases
there
the
shape
is
caught.
You
know
cases
wet,
wind
and
waves
are
shaping
the
Big
Sugar
coast.
You
have
star
energy,
shaping
this
dust
and
gas.
C
So
there's
all
these
parallel
isms
that
when
you
describe
this
to
folks,
they
just
get
whacked
out
man,
so
I'm
just
really
excited,
because
all
of
us
can
now,
with
these
tools,
make
some
remarkable
stuff
and,
like
I
said
this
is
brand-new
man.
Anything
we
start
to
move
into
that's
a
little
unusual.
It
may
be
for
the
first
time
no
one's
ever
made
an
image
like
that
before
so
I
invite
you
all
to
participate
in
that.
Don't
just
make
the
same
old
stuff.
Try
something
different.
B
B
A
A
B
Okay,
so
Friday
to
22nd
this
Friday.
We
have
astronomy,
101
sites
of
the
cosmos
intro
to
astronomy,
which
will
be
an
online
event.
It's
a
meet-up
and
if
you
click
on,
if
actually,
if
you
go
to
the
meetup
for
this
imaging
sig
meeting-
and
you
go
to
the
bottom
and
you
follow
the
link
for
sja
events,
you
for
more
events,
you'll
see
the
upcoming
events
there's
another
one
on
Saturday
that
is
called
the
armchair
star
party.
It's
an
online
virtual
start
party,
we're
gonna
have
a
few
imagers.
A
B
Oh
sorry,
a
lot
of
wonderful
things
had
solar
observing
on
Sunday
at
2
o'clock
in
the
afternoon
has
actually
moved
to
the
24
24
and
Sunday.
There
is
a
Astro
imaging
workshop
that
we're
going
to
be
participating
in
Glenn
is
going
to
be
doing
some
presenting
on
a
number
of
topics
where
to
imaging,
and
we
will.