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From YouTube: June 2020 SJAA Imaging SIG Meeting
Description
San Jose Astronomical Association. June 2020 Imaging Special Interest Group meeting.
Arduino Flat Box project, Solar Imaging Rigs, and general discussion and sharing
A
B
I
had
previously
purchased
one
of
these
inexpensive
LED
flat
panels
that
I've
been
using
to
do
flats,
but
I
do
a
lot
of
running
back
and
forth.
The
scope
is
out
in
the
yard
and
my
computers
in
the
house-
and
you
know
I
run
run
in
the
house
and
and
take
an
exposure
and
then
run
back
out
and
adjust
the
the
level
on
the
LED
panel
and
back
and
forth
back
and
forth
and
or
try
to
take
a
laptop
outside
and
see
that
so
anyway,
I
was
just
a
big.
It
was
just
a
big
hassle.
B
So
this
is
a
huge,
huge
improvement.
So,
anyway,
you
can
get
these
inexpensive
LED
panels
on
Amazon
and
I've
got
a
link
here
and
the
QR
code
there.
If
you
want
to,
might
help
if
I
change
the
slide
interesting,
how
come
it's
not
changing.
I
bet
I
have
to
click
into
it.
Okay,
so
I
was
talking
about
this
slide,
which
you
guys
weren't.
Seeing
sorry
about
that
so
yeah,
the
these
inexpensive
LED
light
panels
they're
actually
for
sketching.
B
So
you
it's
it's
a
for
tracing.
You
know
a
piece
of
artwork
or
something
is
what
they're
designed
for,
but
anyway
they're
available
in
four
sizes
and
they're
from
twenty
eight
to
seventy
dollars
and
I
have
the
one
that's
that's
12
inches
by
whatever
and
because
I
have
a
12
inch
RC
that
I
clip
this
on
to
the
the
end
of,
and
they
they
take
12
volts
in.
But
they
have
this
piece
of
electronics.
B
B
I,
also
the
panels
a
little
too
bright
for
me,
and
so
before
doing
this
project,
I
had
actually
had
this
piece
of
sine
white
20
percent
plastic.
That
I
was
using
for
sky
flats
with
this,
with
this
scope
and
so
I've
been
using
that
between
the
flat
panel
and
the
scope
to
dim
things
down
when
I'm
doing
narrowband
flats.
B
And
this
was
the
the
inspiration
for
this
project
is
there's
a
discussion
on
cloudy
nights
and
this
photograph
is
from
that
thread,
so
that
guy
has
one
of
those
same
panels
a
big
one
and
he's
got
it
mounted
on
the
wall
of
his
Roloff
observatory
there
and
he
points
his
scope
at
it
to
do
flats
and
that's
kind
of
where
I
want
to
go
I'm,
putting
up
a
wall
between
my
scope
and
the
neighbors
security
like
he
aims
right
at
my
telescope.
For
some
reason
and.
B
Because
I
I
keep
getting
it
and
then
I,
it
might
be
because
you
have
a
focus
so,
okay,
up
to
you,
I
think
it
just
means
I
just
have
to
keep
clicking
back
on
to
the
PowerPoint
to
get
the
slide
to
change.
So
super
super
complicated
electronics.
Here,
one
two
parts:
basically,
you
know
not
whoops
the
Arduino
Nano
and
a
quarter.
This
is
a
new,
no
I
said
probably
misspoke
earlier.
B
B
So
that
circuit,
that
we
just
looked
at
you
know
is,
is
the
pulse
width
modulator
for
dimming
LEDs,
but
that's
the
same
pulse
width
modulation.
You
could
also
use
to
make
a
do
controller,
so
the
Arduino
has
you
know
a
number
of
pulse
width,
modulator
outputs
on
it.
So
if
you
wanted
to
combine
things
into
one
project,
you
could
or
you
could
make
using
that
similar
schematic,
you
could
make
a
separate,
do-do
heater
control.
However
many
channels
you
need.
C
B
B
So
this
is
probably
an
eye
chart,
but
you
know
the
the
the
Arduino
sketch
they
call
it.
The
software
was
actually
written
by
Jared
from
sequence,
generator
Pro
and
the
only
thing
I
needed
to
do
was
just
change.
One
line
that
defines
which
pin
which
pwm
pin
the
the
LED
or
the
MOSFET
to
the
LED
is
on
as
it
shifts
so
to
speak.
B
B
B
You
plug
the
Arduino
into
your
Windows
box
and
you
can
use
the
device
manager
to
figure
out
what
port
port
it's
on.
And
then
you
need
to
use
that
when
you're
admitting
someone
when
you're
doing
the
ascom
configuration
and
also
you
need
to
know
that
when
you're
uploading
the
the
code
to
the
Arduino,
you
need
to
know
what
ports.
B
Yeah,
so
this
is
the
link
for
the
driver
for
the
professional
version.
That's
like
$1,200
or
something,
and
you
don't
need
to
worry
about,
because
you're
using
the
Arduino
instead
of
their
serial
chip
in
their
hardware.
You
don't
need
to
worry
about
all
this
conversation
about
the
FTDI
driver.
You
can
just
ignore
that
and
you
just
want
the
ascom
driver.
B
B
D
B
B
So
you
know
you
it.
It
shows
up
as
on
the
bottom
menu
that
you
have
to
pull
down,
in
sequence,
generator
Pro
for
the
additional
equipment.
You
may
not
be
familiar
with
this
if
you're
don't
have
a
flat
box
or
don't
have
a
rotator
or
don't
have
an
observatory,
etc.
There's
a
little
pull
down
there
that
lets
you
access
that
stuff,
and
you
just
tell
it.
You
know
what
serial
port
is.
B
I
was
just
talking
about
and
then
in
the
control
panel
in
the
other
tab,
the
other
tab
there's
a
section
for
the
flat
box
that
comes
up
and
that's
that
slider
I
was
just
sliding
back
and
forth
to
manually
control
the
brightness.
And
then
you
click
on
little
settings
link
here
and
you
can.
Then
you
get
a
perfect
dialogue
which
which
deals
with
you
know
what
your
focus
points
are
and
your
auto
focus
exposures,
but
there's
also
a
column
of
flats
buttons,
which
is
what
we're
going
to
do
now.
B
B
Focus
tab
in
the
control
panel
and
doing
I'm
doing
flat,
darks
so
I
want
and
with
an
ASI
1600.
You
want
your
flats
to
be
0.3
seconds
or
longer
so
I've,
just
standardized
on
0.4
seconds,
so
I
just
was
doing
point
4
seconds
and
moving
between
filters
and
then
adjusting
that
slider
in
the
flat
box
control
panel
to
arrive
at
a
good
setting
and
now
I've
entered
those
in
this
dialog
here.
So
let
somebody
in
so
now
when
I
go
and
do
flats
it'll
automatically.
Remember
those
remember
those
settings.
B
B
200
I
went
ahead
and
did
it
for
all
filters
and
barely
even
with
that
plastic
on
there,
almost
too
bright
for
the
what
I'm,
using
for
luminance
and
for
the
green
and
the
blue
filter,
because
the
the
range
is
from
one
to
I
guess
it
must
be
2:56,
I
think,
but
so
I
for
loom
and
green
and
blue.
And
then
you
can
see
I
needed
a
lot
more
for
the
narrow
band,
especially
the
sulfur.
B
B
Okay,
so
here's
just
an
example
of
a
flat
that
I
got
and
you
can
see
the
some
dust.
Maybe
you
can
see
some
dust
donuts
here
and
you
know
some
been
getting
that
it's
going
to
correct
for
and
yeah
I
got
a
good
good
histogram
same
shape
on
both
sides,
and
you
know:
I'm
shooting
for
20k
Adu
around
there
for
my
flats.
B
Okay,
so
then,
once
you
have
that
set
up
when
you
select
a
flat
event
in
SGP
it'll
fill
in
the
exposure,
the
bin
and
the
repeat
fields
for
you
and
then
when
you
go
and
actually
run
the
sequence,
it's
gonna
adjust
automatically
the
brightness
level
on
the
flat
box
for
each
of
those
filter.
Events
there's
also
a
couple
other
wizards
which
I
didn't
use.
B
B
Okay
and
then
somebody
might
ask
well
what
if
I
have
an
Al
panel
instead
of
an
LED
panel,
and
so
it
turns
out
that
you
need
another
piece
of
hardware.
It's
called
an
Arduino
shield
because
it's
shielding
the
Arduino
from
the
from
the
high
frequency
higher
voltage,
that's
needed
by
the
al
panel.
So
I
guess
this
thing
plugs
down
on
top
of
the
Arduino
and
then
you
go
from
there.
Okay.
B
A
Have
a
question:
I
read
something
about
one
of
the
people
in
the
thread
on
cloudy
nights
was
having
some
flickering
and
they
figured
out
that
they
could
do
an
alternate
pin
for
the
pulse
width,
modulation
for
the
clock,
speed,
a
higher
clock,
speed
and
cause
the
flickering
to
just
disappear,
not
a
problem
anymore.
Did
you
have
any
experience
with
that
and
is
there.
B
Yeah
I
haven't
seen
any
flickering
and
then
also
I
think
because
I'm
using
such
a
long
exposure,
not
long
in
terms
of
lights
but
kind
of
long
in
terms
of
flats
right
point
four
seconds.
So
there's
a
you
know
time
for
a
few
cycles
of
noise
or
whatever
in
there
I
so
I
haven't
I,
haven't
noticed
any
problems.
I
have
other
problems
with
my
flats
that
don't
have
to
do
with
it
has
to
do
with
filter
wheel,
but
that's
a
different
whole
different
story,
or
actually
maybe
it's
I'm
starting
to
worry.
B
Now
it's
that
the
camera
sensors
moving.
But
anyway,
it's
all
nothing
to
do
with
this.
This
project,
yes,
I,
didn't
I,
didn't
see
any
flickering,
but
you
get
you
get
I
got
flickering
originally,
you
know.
I
had
not
modified
the
the
LED
panel,
so
it
still
had
its
own
electronics
in
there
and
then
I
had
added
an
outboard
led
dimmer
with
the
knob
on
it,
and
so
the
combination
of
those
two
things
you
know
sort
of
pulse
width
modulated
the
pulse
width
modulation
would
cause
some
flicker
when
you
have.
C
And
I
think
that
the
problem
of
flickering
depends
also
on
on
the
kind
of
flat
panel
that
you
are
using,
because
I
think
that
there
are
flat
panel
that
lets
say
multiplex
between
different
line
of
the
film
different
group
of
of
LED,
and
that
can
create
another
kind
of
flickering.
It
depends
the
the
motor
that
you
use
are
good,
because
you
can
arrive
to
two
wires
that
are
the
direct
wire
to
the
LED
that
they
are
using
yeah.
B
B
B
B
B
B
Then
we'll
go
into
this
latest
rig
and
what
optical
parameters
are.
You
know
that
I
did
some
3d
printed
parts
and
with
the
first
light
results,
look
like
and
then
we'll
talk
about.
You
know
what
are
the
next
steps
to
take
it
to
the
next
level,
so
there's
filter
tuning
and
solar
scintillation,
we'll
talk
about
and
solar
guiding
and
then
I've
got
one
slide
on
solar.
B
Seeing
what
makes
for
good
seen
in
the
case
of
solar,
because
it's
completely
different
a
whole
different
layer
of
air
at
a
different
altitude
makes
a
difference
than
what
we're
used
to
at
nighttime
for
four
stars.
So
there's
that
and
then
we'll
do
QA
again.
So,
let's
dive
in
so
this
is
kind
of
a
what
not
to
do
in
PowerPoint
slide
thing
but
too
much
too
much
going
on
here.
But
but
basically
this
is
sort
of
a
montage
of
earlier
things.
B
I
had
done
trying
to
do
solar,
so
the
first
one
is,
you
know:
I
tried
to
catch
the
the
ISS
going
across
the
Sun
and
I
was
somewhat
successful
on
my
second
attempt.
The
first
was
complicated
by
a
by
a
margarita
and
that's
a
whole.
It's
a
whole
nother
story,
but
something
you
you
don't
want
to
do
when
you're
photographing
in
eclipse
or
something
like
this
is
s
transit
of
the
Sun,
that
it
takes
a
lot
of
focus
and
only
lasts
for
a
couple
seconds.
You
don't
want
to
have
any
impairment
going
on
there.
B
You
want
to
be
at
the
top
of
your
game,
but
so
that
was
just
a
white
light.
Filter
on
I
had
a
six
inch
RC
at
that
point,
for
this
particular-
and
you
can
see
here
in
the
this-
is
a
sunspot
through
that
white
light
filter
and
here's
the
ISS
going
across,
and
you
can
see
a
couple
sunspots
wish.
We
had
sunspots
like
that
now,
but
we're
in
the
solar
minimum.
B
So
we'll
deal
so
that's
you
know,
white
light
filter,
that's
one
thing
and
then
at
one
point,
I
picked
up
a
Coronado
PST,
and
so
this
is
a
you
know
all
in
one.
It's
the
least
expensive,
h-alpha
solar
scope.
You
can
get
I
didn't
realize
before
I
bought
it
that
it's
not
really
suitable
by
itself
for
any
kind
of
photography,
because
where
the
focal
plane
is
that
this
thing
has
a
built
in
diagonal.
You
know
most
of
us
are
used
to
removing
diagonals
from
scopes
to
mount
our
cameras
at
the
focal
plane.
B
But
this
thing
has
the
diagonal
bill
in
so
you
can't
do
that.
So
it
turns
out
that
you
have
to
use
a
Barlow
to
move
the
focal
plane
back
out
of
the
the
eyepiece
holder
and
into
your
camera,
and
you
can't
just
slap
a
Barlow
in
there
and
have
it
work
you
actually
had
to
go
by.
You
know
this
particular
Barlow
and
take
it
apart
and
modify
it
and
you
know
so
it
turned
out
to
be
quite
the
quite
the
project,
but
I
did
end
up
using
it.
B
So
I
do
have
a
double
stack
for
that
as
well,
but
what
I've
found
is
I
haven't
learned
how
to
tune
it
and-
and
it
seems
like
you,
you
know:
you're
you're,
trying
to
focus
and
you're
trying
to
tune
the
filter.
That's
at
this
end
and
then
you're
trying
to
tune
the
double
stack
and
it
just
never
seemed
to
really
come
together
for
me.
B
So
that
was
somewhat
frustrating
and
the
other
thing
I
found
with
with
solar
is
you're
out
in
a
hot
Sun
and
it's
kind
of
unpleasant,
so
I
would
prefer
to
sit
in
my
office
and
and
control
things,
and
you
know
out
at
the
observatory,
so
be
nice
and
cool.
So
I
want
to
do
things
remotely,
such
as
focus
and
and
other
adjustments.
I
did
it's
been
a
few
years
now,
but
help
out
with
the
solar
program.
B
Last
time
we
went
to
pinnacles
I
had
a
this
500
millimeter
mirror
lens.
It's
like
a
little
baby
SCT
and
both
of
those
were
very
difficult
to
focus.
You
know.
Even
you
know,
I
first
for
my
camera
lenses,
I
had
made
a
follow,
focus
rig
with
3d
printed
parts
and
whatnot
in
a
stepper
motor
here
to
turn
the
barrel
of
camera
lenses
and
focus,
but
it
it
it
just
proved
to
to
hair
triggered
I
guess
the
the
critical
focus
zone
was
was
too
small
for
this
kind
of
crude
approach.
B
B
Eighty
millimeter
scope
that
I
picked
up
at
the
last
swap
meet,
and
this
is
right
at
the
limit
for
where
you
need
a
energy
rejection
filter
so
that
you
don't
get
your
scope
and
your
camera
quark,
which
is
down
here,
get
everything
to
hot,
so
I
had
previously
bought
a
90,
millimeter,
yellow
filter
for
that
500,
millimeter,
mirror
lens,
and
so
now
I
needed
to
apply
that
to
the
this
scope.
But
it
didn't
have
any
threads
on
the
dew
shield,
so
I
3d
printed
a
little
part.
B
That
is
the
cap
that
goes
on
the
dew
shield
and
it's
threaded
for
the
for
the
filter.
So
that
worked
out
and
then,
as
I
said,
this
is
a
80
millimeter,
William,
optics,
IDI,
triplet
and
then
I
threw
this
solar
finder
on
here.
So
far,
I
haven't
really
used
that,
but
it's
it's
there
and
the
camera
quark
has
a
built-in
barlow.
So
you
know
focal
reducers
are
going
to
push
your
focal
plane
in
towards
the
scope
and
Barlow's
are
going
to
push
your
focal
plane
out
away
from
the
scope.
B
You
have
to
go
from
the
focuser
to
a
lens
bayonet
and
then
the
camera
quark
and
then
back
the
other
way
to
t2
for
the
camera,
so
that
all
came
together
this
weekend
and
I
think
we've
got
we'll,
have
some
results
in
a
minute?
Okay.
So
again,
this
is
an
80
millimeter
scope.
It
was
f7,
but
with
the
4.2
telecentric
Barlow
you're,
almost
at
F
30,
which
is
really
where
you
want
to
be
for
doing
solar
or
planetary.
So
that's
a
focal
length
of
almost
2400
millimeters.
B
B
So
anyway,
this
is
the
the
specs
after
putting
the
the
Barlow
on
that
on
that
scope,
right
and
so,
as
I
said,
there's
a
there's.
A
rule
of
thumb
for
planetary
and
solar,
which
is
your
focal
ratio,
should
should
be
three
to
seven
X
a
pixel
size,
and
to
put
that
a
little
more
succinctly,
you
want
like
five
X
if
you've
got
good
scene
or
7
X
for
superb
scene,
so
7
X
with
the
the
a
si
1600
would
have
been
F
26.6,
so
I'm
a
little
over
that.
B
But
it's
it's
working
well
and
then
the
plan
is
to
try
to
pick
the
best
scene
using
a
solar,
scintillation
monitor
which
we'll
talk
about
in
a
minute,
so
that
I'm
only
taking
pictures
during
the
absolute
best
seeing
conditions
automatically.
And
then
you
know
we'll
we'll
do
drizzle
processing
to
take
advantage
of
that
oversampling
and
then
the
the
camera
that
I
threw
on
there.
B
This
weekend
is
not
really
the
optimum
camera
for
planetary,
so
I
do
have
a
couple:
ASI
174
s
and
that's
got
bigger
pixels
and
it's
the
camera
in
the
zwl
line
that
has
the
fastest
frame
rate.
So
that's
the
other
spec
that
you
want
for
planetary
and
solar
is
to
have
a
really
high
frame
rate
again
because
of
the
lucky
imaging
approach.
B
So
that's
kind
of
nice
and
then
to
make
you
know
this.
The
the
moonlight
focus,
error
and
the
camera
and
the
camera
cork
weigh
quite
a
bit
and
so
I
didn't
want
to
hang
all
that
weight
off
of
these
threads
and
and
not
have
it
supported.
So
if
we
go
back
and
I'm
hard
to
see
here,
but
I
put
a
scope
ring
on,
you
know,
there's
the
two
scope
rigs
on
the
OTA
and
then
I
put
a
third
scope
ring
on
the
other
side
of
that
adaptor
and
I.
B
For
me,
this
was
pretty
exciting
results
compared
to
what
I
had
been
able
to
achieve
earlier,
so
I'm,
looking
forward
to
more
sunspots
and
also
finding
some
some
prominences
so
but
there's
still
a
number
of
things
that
could
be
improved.
If
we
looked
at
the
full
frame,
you
know
we
I've
got
these.
What
are
called
Newton's
rings.
B
And
so
you
know,
I
have
one
of
these
ZW
o
tilters,
but
I,
don't
really
have
any
space
for
any.
You
know
for
anymore
devices,
there's
really
no
adapters
between
the
focuser
and
that
I
can
get
rid
of
her.
That
I
could
add
to
between
the
focuser
and
the
the
camera
to
make
room
for
for
this
device,
and
it's
also
it
lets
light
in
around
the
edge.
So
you
have
to
tape
it
up
and
it's
just
kind
of
it's
just
kind
of
a
crude
approach.
B
This
link
here
for
this
QR
code,
and
this
URL
here,
is
for
a
site
where
a
guy
goes
through
all
of
this
and
also
discusses
using
flats
as
a
method
of
removing
this,
and
he
also
talked
about
you
know:
Daystar.
The
people
that
made
the
camera
cork
have
a
more
mechanically
slick
solution,
but
it's
it's
more
expensive
and
it
also
it
takes
up
even
more
back
focus.
So
I
didn't
want
to
do
that.
B
Software
like
you,
would
use
on
an
on
egg
in
an
off-axis
guider
but
I
haven't
you
know
it's
one
of
the
999
projects
that
I
haven't
completed,
started
but
haven't
completed,
but
anyway,
I
have
that
around
somewhere
and
then
I
went
ahead
and
ordered
this
four
degree
tilt
one,
because
that's
what
this
guy
on
this
website
was
using,
and
it
also
has
an
anti
reflective
coating.
They
have
three
different
models,
one
of
which
has
the
anti-reflective
coating
in
the
h-a
range.
So
that's
the
one
that
I
ordered
and
it's
an
inch
around.
B
Some
of
the
other
things
the
camera
quark
has
a
tunable
filter
and
I'm,
avoiding
saying
the
etholon
or,
however,
because
I
don't
know
how
to
pronounce
it.
Bruce
always
corrects
me,
I
think
the
H
a
filter
is,
is
tunable,
and
so
that's
not
going
to
be
remote,
controllable
and
but
one
of
the
frustrating
things
about
it.
Is
it's
like
a
little
oven,
so
you
you
turn
it
a
click.
B
And
then
you
have
to
wait
five
to
ten
minutes
for
the
LED
to
change
color,
again
telling
you
that
it's
reached
the
new
temperature
and-
and
so
it's
I
have
to
get
used
to
dealing
with
that
run
outside
and
change
it
and
wait
ten
minutes
and
see
if
it's
the
contrast
has
improved
or
what
the
deal
is.
So
there's
dealing
with
that
and
then
learning
how
to
how
to
switch
between
this
thing
is
designed.
These
camera
quarks
come
in
two
models.
B
They
come
in
a
chromatic
chrominance
chromium's
model
which
is
for
the
surface
of
the
Sun
and
then
a
prominence
model
which
is
optimized
for
the
the
prominences,
but
with
the
chrominance
one
you
can
sort
of
fake
it
and
go
either
way.
So
that's
one
reads
for
that,
but
besides
changing
the
the
filter
settings,
you
know
it's
going
to
require
different
exposures
to
get
the
prominences
versus
the
the
surface
of
the
Sun.
So
that's
going
to
get
have
to
practice
it
at
doing
that
and
then
I
do
have
a
couple.
B
Other
pieces
of
gear
I
have
a
solar
scintillation
monitor.
So
what
this
does
there's
a
little
sensor
here
that
you
mount
on
your
scope
on
your
solar
scope
and
it's
going
to
keep
track
of
the
scene
in
real
time
and
then
there's
a
plugin
software
plug-in
for
the
data
acquisition
software
for
fire
capture
that
you
can.
You
know
arm
that
thing
and
it's
like
okay,
when
the
when
the
scene
goes
below
a
certain
amount.
You
know.
B
That's
when
you
go
and
take
your
thousand
frames
or
2,000
frames
or
whatever
it
is
right,
so
you're
just
going
to
track
the
Sun
all
afternoon,
and
this
thing
is
just
going
to
take
exposures
only
when
the
scene
is
is
really
good.
So
that's
something
to
set
up
and
then,
since
we're
gonna,
be
you
know
running
this
all
morning
or
all
afternoon
you
know:
do
you
need
some
kind
of
guiding
so
normally
for
lucky
imaging.
B
You
know
if
you're
on
target
you
don't
need
to
guide
because
you're
going
to
be,
you
know
taking
frames
at
a
fraction
of
a
second,
but
if
you're,
if
you're
zoomed
in
on
a
sunspot
or
or
it
may
be
a
prominence,
and
you
want
to
track
that
over.
You
know
the
whole
afternoon
as
a
fraction
of
the
disk
of
the
Sun.
Then
then
you
might
want
to
have
some
guiding
and
so
I
do
have
this
that
belongs
to
the
club
that
was
donated
a
solar
guiding
rig.
So
the
experimenting
with
that
as
well.
B
B
So
it's
way
high
up
in
the
atmosphere
and
you'd
probably
be
better
off
if
you
were
in
central
California,
non
central,
California,
central,
central,
Mexico
or
somewhere,
far
away
from
the
from
the
jet
stream,
because
that's
where
the
turbulence
in
the
air
messes
up
the
scene
for
planetary
and
for
stars
that
we're
used
to
looking
at
at
night.
So
again,
you
know
at
night
for
stars:
you
want
an
observatory,
class
location
which
has
laminar
flow
off
the
ocean,
up
a
big
mountain
and
all
this
stuff,
and
so
you're
optimizing
for
that.
B
But
solar
is
completely
different,
it's
actually
the
first
10
meters
or
so
of
air.
That
makes
all
the
difference
for
for
solar
astrophotography.
So
it's
all
about
sort
of
choosing
your
location
to
have
that
10
meters
of
air
be
calm
in
and
not
disturb,
so
they
say
avoid
concrete.
You
want
to
be
on
grass.
If
you
can
water
surrounded
locations
would
be
good.
Higher
is
better.
This
is
one
case
where
you
want
to
set
up
on
your
balcony,
maybe
versus
being
concerned
about
the
you
know.
B
B
This
talk
about
the
the
the
scintillation
and
and
the
there's
a
quote
here.
This
is
the
exact
opposite
situation
when
considering
stellar
object
for
those
scintillation
is
rather
due
to
higher
atmospheric
layers
at
the
jet
stream
level,
as
I
was
mentioning
so
and
this
data.
All
this
data
on
this
slide
came
from
the
the
airy
lab
solar
scintillation,
monitor
manual.
C
B
B
You
know
if
the
if
I
can
guide
on
a
you
know
on
a
sunspot
essentially
and
just
have
it
run
all
day
and
let
the
scintillation
monitor
trigger
fire
capture,
then
you
know
when
it
whenever
the
scene
is
good.
That's
when
that's
when
be
taking
video,
so
I
won't
have
to
worry
about
it,
but
it'll
be
interesting
to
see
yeah.
C
D
Max
head
pas:
yes,
what
what
Glen
has
been
alluding
to
all
through
this
is
the
fact.
The
seeded
for
solar
observation
is
affected
by
the
air
that
isn't
essentially,
if
you
want
to
call
it
first,
10
meters
or
so
what
rises
in
the
morning.
You
can
see
this
very
clearly
out
in
the
desert.
You
can
see
great
detail
in
perhaps
maybe
first
half
hour,
Sun
or
so
off
to
the
Sun
visors.
D
You
can
look
fifty
to
a
hundred
miles
across
and
see
the
mountains
very
clearly
as
soon
as
the
Sun
up
a
little
bit
higher
than
its
incident
on
the
ground
that
you're
standing
on
or
wherever
you
are,
will
start
to
heat
up
and
Bart,
creating
the
heat,
cart
that
will
rise
up
all
around
you.
Those
are
those
are
the
ones
that
really
mess
up
the
scene
for
solar.
D
So
you
can
see
this
effect
if
you,
if
you've
ever
tried
to
do
visual
observation
of
the
Sun,
it's
pretty
a
pretty
interesting
thing
that,
as
the
Sun
gets
lower,
the
temperatures
equalize
between
the
air
and
you
start
to
set
up
an
inversion
and
it
stills
the
various
air
cards
so
that
you
will
get
a
sharp.
Not.
That
being
said,
the
more
atmospheric
you've
seen
through
which
theoretically
we
would
reduce
the
light,
doesn't
really
pertain
to
the
Sun.
So
much
because
you
got
too
much
light
to
deal
with
so
that's
kind
of
the
deal.
B
B
B
D
If
you
know,
if
you
can
pick
it
up
a
little
bit
off
of
your
asian
off
your
tire
a
little
bit,
then
that
would
create
a
barrier
to
help
prevent
the
tile
from
you
know,
because
it's
gonna
come
become
a
heat
sink.
It's
gonna
radiate
heat.
How
long
you
you
want
it
to
be
all
cool
down
more
rapidly,
so
a
little
like
an
astroturf
thing,
just
up
above
the
ground
a
little
bit
me.
They
really
help
that
situation.
Of
course,
you're
in
a
difficult
position.
B
A
D
D
You
may
know
I
got
seeing
extreme.
Yet.
Oh,
let's
see
my
footage.
Something
share.
I,
don't
know,
share
your
home
screen.
She
was
all
yeah
share.
That
okay,
okay,
see
my
help.
You're
presenting
your
screen:
yes,
okay!
So
this
is
a
pretty
deep
shot
at
what
known
as
a
Hercules
cluster
and
Hercules.
It's
a
big
galaxy,
goop,
Wow,
500
million
light
years
away.
Something
like
that-
and
this
was
taken-
was
some
very
good
scene
veterans
in.
D
It's
amazing
how
many
of
the
galaxies
you
can
see
far
away
you'll
notice
that
they're
rather
yellow,
because
most
of
them
are
elliptical,
so
they
have
that
the
older
stars
in
their
predominant
there's
not
much
in
the
way
of
Spyro,
so
that
not
much
blue
color
in
them.
So
that's
one
picture
I
took
it
was
just
I
had
one
good
night
of
data
and
then
that's
I
added
another
night
of
data,
but
it
just
wasn't
as
good
so
I
86
atom.
So
this
was
it
that
I
have
to
show,
for
that.
D
D
D
Yeah,
let's
see
so
this
is
my
I
decided
to
because
I
had
such
great
scene
I
decided
to
shoot
all
the
prominent
gobblers,
so
I
did
just
this
is
m3,
and
this
is
at
one
to
one
pixel
ratio
and,
as
you
can
see,
it's
modeled
all
the
way
to
the
core
with
the
six
inch,
which
is
working
at
F.
Five
point:
seven,
five
out
of
six
inch
and,
as
you
can
see,
there's
these
blue
stars
that
are
in
there
and
from
what
I
can
can
read
about.
D
It
seems
that
these
blue
stars,
because
they
don't
fit
on
a
sequence
for
governor,
are
those
stars
that
have
collided
and
coalesce
into
one
another.
What
does
to
be
starting
the
clock?
There's
stellar
evolution.
So
that's
why
they're
blue
most
of
the
stars
are
generally
more
to
the
yellow
thing
which
is
brings
up.
My
next
point
is
what
color
is
the
gob
Euler
cluster.
D
Because
these
are
very
old
stars
that
they're
as
old
as
they
can
be,
I
mean
what
color
should
they
be,
and
how
should
we
present
them
to
make
give
a
realistic
presentation?
Here's
this
is
m5,
and
so
again
you
have
a
number
of
blue
stars.
Typically
about
3%
of
stars
in
a
copular
have
Arcola
less
stars,
they've
collided
it
and
stuck
together
like
raindrops,
and
so
that's
about
the
ratio.
You
see
there,
so
he
rose
again
the
1
to
1
ratio.
D
Now
the
interesting
thing
that
I'm
able
to
do
fixed
inside
and
start
old
is
that
I
drizzled
these
these
images
to
s
but
2x
drizzle
is
a
bit
too
much
for
the
data
and
so
in
star
tools.
I
can
halfway
and
resorted
so
to
speak.
So
this
is
not
the
native
pixel
size
of
the
original
images
is
actually
the
square
root
of
the
inverse
of
the
square
root
of
2
over
1
to
1,
sighs,
so
I've
found
that
feature
and
fix
inside.
But
I
thought
it's
interesting.
D
D
D
D
D
C
C
C
327
five
minute
exposure
of
H
alpha
a
270
103
during
the
few
month
from
my
white
zone,
and
that
was
a
user
there's
a
test
bed
because
I
was
trying
Nina
by
the
way
that
the
last
let's
say,
50
or
so.
Exposure
has
been
made
again
with
s
GP,
because
Nina
is
fine
but
is
not,
let's
say
completely
fine
in
term
of
schedule.
You
I
found
the
problem,
no
problem
and
limitation
because
Nina
doesn't
have
at
least
in
this
version.
They
are
promisingly
for
the
next
one,
a
decent
schedule.
C
Lucky
now,
I
see
the
Polaris
but
very
little
quadrant
of
east-northeast.
So
the
only
way
to
do
all
night
images
is
to
let's
say
to
more
job
and
work
for
one
hour
or
two,
our
visibility.
And
after
that,
change,
subject
and
power
of
two
of
this
bit
so
little
planning
and
that's
a
limit
that
I
cannot
let
say
except
form
from
Nina
misidentified.
C
C
700,
the
five
minute
exposure
and
I
threw
away
30%
and
I
mean
I
was
not
targeting
this
particular
image.
I
was
more
testing
the
Nina
environment,
all
the
other
or
the
other
things.
So
I
choose
one,
because
it's
a
circumpolar
target
that
visible
from
my
my
side
and
is
good
for
the
8
inch
RC,
because
in
the
meantime,
I
was
also
experimenting
and
having
a
first
light
with
the
oag.
So
I
have
to
learn
also
how
to
using
the
that
off
axis
guiding.
C
So
that
was
a
it's
a
beautiful
target
for
for
all
these
testing
and
to
test
the
oag
have
2000
Anandi's
and
they
had
a
problem
with
with
driving
guiding
and
the
soul.
But
at
the
end,
I
found
myself
who
700
exposure
and
ok
I
started
to
throw
away
the
the
worst
part
remember
that
I'm
in
a
white
zone.
So
if
there
is
and
and
what
I
get,
I
was
not
not
prepared
to
see
the
nucleus
of
the
structure
of
the
nucleus
and
that's.
Instead,
I
was.
B
B
C
F
F
B
F
B
B
F
You
know
in
the
in
the
you
know
an
image
integration
itself,
there's
a
little
box
where
you
can
set
sort
of
how
much
memory
it
uses
and
it's
set
to
auto
and
I
think
there's
a
bug
and
how
it
computes,
how
much
memory
to
use
and
it
tries
to
use
too
much
and
you
end
up
starting
to
page
and
then
things
kind
of
go
off
the
rails.
Okay,.
F
Know
somebody
asked
right
and
in
the
forum
and
one
just
said,
look
I'm
really
sorry
but
I
think.
Actually
what
he's
doing
is
adding
Vulcan
support
to
the
next
release
of
picture
inside
meaning
to
run
on
GPU,
and
it's
probably
a
big
ask.
So
he
mentioned
that
once
but
he's
never
said
explicitly.
It's
going
to
come
in
six,
but
I
think
that's
what's
happening.
So,
unfortunately,
we
got
held
up.
F
E
F
Right
actually
replied
to
that
guy
just
said:
well,
we
didn't
really
want
to
talk
about
it,
because
you
know
one
seemed
to
think
that
it
was
really
important
to
set
this
hardened
binary
thing.
You
know
in
Mac
OS
10,
which
to
me
is
a
little
silly,
but
so
you
know
I'm
doing
that.
You
know
I
figured
it
would
raise
his
ire
but
Wolfie
slams.
It's
gonna
I.
E
E
E
A
E
E
Yes
yeah,
so
it's
the
the
whale
and
the
hockey
stick
galaxies
in
Kenny's
been
hard
to
say,
I
think
this
was
taken
entirely
from
from
home
from
bottle
seven
and
it's
the
total
exposure
is
believed.
Eight
hours
and
I
was
a
pretty
happy
and
how
it
turned
out
because
of
course
you
need,
you
need
some
patience
to
do
it,
but
the
resolution
was
good.
I
had
a
series
of
nights
with
a
decent
seeing.
So
even
the
resolution
in
the
in
the
core
of
the
galaxy
is
not
too
bad.
I
mean
for
a
5-inch.
E
Refractor
is
okay,
I
suppose
and
then
I
I
started
another
galaxy
imaging
project
m106.
Let
me
share
it.
So
this
one
started
from
home
and
after
I
collected
the
three-and-a-half
hours
we
had
the
around
the
Memorial
Day
weekend.
We
had
the
first
nice
weather
week
and
with
a
new
moon
and
I,
checked
that
the
central
Pattee
Santa
Clara,
County
parks
were
essentially
reopening
and
I
went
to
the
coyote,
damn
coyote
Lake
them
parking
lot
and
I
did
some
imaging
from
there
I
collected
three
more
hours
and
I
found
another
fellow
imager.
E
E
The
I
did
some
estimation
on
the
signal-to-noise
ratio
of
the
three
hours
tack
collected
from
home
and
the
other
three
hours
collected
from
coyote
lake
founded
the
right
coefficient
values
combined
everything
together
and
obtained
this
so
I
like
the
colors
of
this
one
I
think
it
was
good
to
have
it
those
three
more
hours
from
a
dark
side
and
the
the
detail
is
again
decent
for
for
a
DSLR
with
with
a
five
inch
telescope.
I
think
any
questions
on
on
these
two
images.
E
So
this
is
an
image
of
EMA
NGC
29.3
of
the
region
of
the
Leo
sickle
taken
with
the
with
a
50
millimeter
lens.
Instead
of
with
the
telescope.
Now
you
can
actually
ask
pigs
inside
to
take
a
portion
of
this
of
this
image
and
blow
it
up
and
register
it
to
the
actual
image
here
and
then
you
you,
you
do
a
process
of.
E
Let
me
show
you
what
what
is
in
the
various
steps.
So
this
is
the
image
that
picks
insight
is
registered
to
the
same
scale
as
this
other
image
here
and
you
can
see
it's
you
see
the
stars.
You
see
the
galaxies
and
there's
lots
of
noise
in
the
background.
But
the
interesting
part
is
that,
given
that
the
this
image
was
taken
from
a
much
wider
field
of
view,
the
gradients
are
very
simple.
So,
with
a
simple
multi
scale,
medium
transport
transform
to
remove
essentially
the
first
eight
layers,
I
believe
the
first
date
wavelet
layers.
E
You
obtain
just
the
background,
which
is
very
simple
as
basically
just
a
linear
gradient
and
then
what
you
do
is
to
subtract
from
you
do
the
same,
a
trick
by
removing
the
wavelet
layers
from
the
image
that
you
want
to
correct.
So
I
started
with
this
image:
I
removed
the
wavelet
layers,
then
I
remove
the
background
that
I
expect
and
after
some
smoothing
you
obtain
this,
which
is
representation
of
the
gradients
in
of
the
artifacts
and
the
gradients
in
my
original
image.
E
At
this
point,
all
you
have
to
do
is
to
use
a
pigs,
pixel
math,
to
remove
subtract
this
from
this
and
the
result.
Is
this
an
image
without
those
ugly
circular
gradients
anymore?
So
I
was
really
impressed
that
this
technique
and
I'm
simple
it
is
to
use
it
and
you
can
even
you
can
use
a
basic
imagery
that
you
get
with
a
much
wider
field
lens
much
faster
f-stop.
So,
for
instance,
this
image
here
is
just
the
seven
hour.
Is
ass,
that's
one
hours
after
F
2.8
and
it's
one
hour
at
f/4.
E
E
Shared
the
link
here,
okay
and
by
the
way,
Paulo
the
there's,
a
there's,
a
beautiful
there's,
a
video
that
Vicente
gave
it
to
an
Italian
audience
posted
by
Luca,
a
teacher
and
the
it's
Vincent
doesn't
speak
Italian,
so
his
presentation
was
in
English
and
so
for
everybody
who
doesn't
understand
Italian.
If
you
want,
you
can
listen
directly
to
be
sent
in
English
and
just
disregard
to
the
Italian
translation
that
comes
next.
I
will
share
that
that
youtube
link
as
well.
If
you're
interested.
A
A
A
Some
of
you
may
have
heard
of
Eric
Coles,
who
is
a
frequent
flyer
on
the
Imaging
channel
and
one
of
the
one
of
the
very
best
imagers
out
there
I
think
is
going
to
be
presenting
at
our
imaging
sig
online,
so
I'm
looking
forward
to
that
and
Glen.
What
are
your
upcoming
events
that
you
want
to
tell
people
about
here.
B
So
I
haven't
planned
anything
for
my
program.
I
keep
getting
sucked
into
the
the
armchair
star
party
deal
and
YouTube
streaming
everybody's
programs.
So
it's
improving
in
that
other
people
are
starting
to
learn
how
to
stream.
So
so
wolf
is
doing
his
own
streaming
for
solar
and
for
the
intro
to
the
night
sky
and
or
they're
just
using
meat
and
not
YouTube
and
Rashi
is
also
learning
how
to
stream
from
his
from
his
Mac.
B
So
some
of
that
load
is
is
starting
to
shift,
but
they
still
want
me
in
the
armchair
start
party
to
to
do
the
stellarium,
magic
and
everything
so
speaking
of
which,
for
those
of
you
that
that
may
want
to
volunteer
so
the
they
have
picked.
The
next
date
for
the
armchair
star
party
number
two
will
be
July
10th.
It's
a
Friday
and
I
think
it's
third
quarter,
moon,
maybe
from
memory
from
the
meeting
last
night
or
the
night
before
and
let's
see
this
might
be
a
little
bit
of
an
eye
chart.
But.
B
A
Speaking
of
Munoz
I,
don't
know
how
many
of
you
saw
mark
streebek
posted
the
other
day.
Yesterday,
I
guess
it
was
he
and
Mellish,
and
another
member
got
together
and
put
together
a
an
observatory
down
in
New,
Mexico
and
I.
Think
maybe
maybe
they'll
present
on
that.
So
we'll
see
who
we
can
find
out
about
that.