El cometa 12P/Pons-Brooks es un cometa periódico de unos 30km de diámetro que completa una orbita el Sol cada 71 años. Es uno de los cometas periódicos más brillantes y fue descubierto en julio de 1812 por Jean-Louis Pons, quien en su fructífera vida de astrónomo descubrió un total de 37 cometas.
El pasado 20 de julio este cometa sufrió un outburst o estallido de actividad y pasó de magnitud 16,6 a magnitud 11,6 en cuestión de horas, esto es cien veces más brillante. El cometa está acercándose al Sol aunque no alcanzará el perihelio hasta el mes de abril de 2024.
Con el anuncio del outburst muchos astrónomos han apuntado sus telescopios hasta este cometa (ahora en la constelación de Draco, por lo que es accesible para los observadores boreales) y se han obtenido imágenes de gran calidad que muestran una coma brillante.
En torno al 22 de julio las imágenes del cometa 12P/Pons-Brooks mostraban una peculiar forma como de «pezuña de caballo». Durante los últimos días la coma del cometa ha continuado aumentando de tamaño.
¿Qué causa los estallidos en el cometa?
Los astrónomos han estudiado este tipo de estallidos a lo largo de los años y si la naturaleza es similar a otros casos estudiados podrían ser causados por el calor solar que debilita la corteza del cometa, provocando que el monóxido de carbono (CO) y el dióxido de carbono (CO2) escapen desde el interior hasta la superficie en una erupción explosiva liberando polvo y escombros. Esto se produce más frecuentemente en los cometas que giran muy despacio sobre si mismos, teniendo una de sus caras expuestas al Sol de manera prolongada.
¿Cómo ver el cometa 12P/Pons-Brooks?
Al ser un cometa con un periodo de 71 años esta será probablemente la única oportunidad que tendremos la mayoría de nosotros de ver este cometa (la última vez que alcanzó el perihelio fue en mayo de 1954, un mes antes alcanzó una magnitud de 6). Se espera que el 12P/Pons-Brooks siga ganando brillo paulatinamente durante los próximos meses a medida que se acerque a nosotros.
Actualmente lo encontramos muy alto en el cielo durante la noche en la constelación de Draco y para noviembre se estará encaminando hacia la constelación de Lira mientras va ganando velocidad. Entre diciembre y enero atravesará el Cisne y ya en marzo lo encontraremos en Pegaso, muy bajo en el horizonte antes del atardecer.
Para abril de 2024 lo encontraremos bajo en el horizonte cerca de Júpiter durante el crepúsculo vespertino, será seguramente el mejor momento para observarlo. En junio de 2024 estará a 1,6UA de la Tierra y probablemente lo tendremos en magnitud 6, al límite de observación a simple vista pero ya estará muy cerca del Sol y no tendremos oportunidad de observarlo en horas de oscuridad. No obstante se da la circunstancia de que en abril de 2024 habrá un eclipse solar en México y Estados Unidos y ese será un momento perfecto para ver el cometa 12P/Pons-Brooks durante su máximo brillo. ¡Si es que tienes ojos suficientes para observar todo a la vez!
Durante los últimos días ha llegado a nuestras manos un ocular Svbony Zoom 3-8mm y hemos podido probarlo con nuestros telescopios. En este artículo os hablaremos de los pros y los contras de este ocular pero ya os adelantamos que puede ser una opción interesante para muchos de vosotros siempre y cuando tengáis unas determinadas condiciones de observación.
Svbony sigue sorprendiéndonos con algunos artículos muy interesantes, con una notable relación calidad/precio como ya hemo podido comprobar anteriormente con la cámara SV305, sus barlows o el set de filtros. No estamos ante material «tope gama» pero son productos económicos que cumplen con lo que prometen.
Polivalencia de los oculares zoom
Soy de los que opina que si vas a hacer una observación muy variada (cúmulos, planetas, nebulosas, etc…) el ocular zoom es un gran aliado pero si realmente quieres observar en las mejores condiciones un objeto determinado lo ideal es usar un ocular de focal fija. Cada momento y cada objeto tiene su material ideal.
En el caso de los oculares zoom lo habitual es que encontremos que sus campos aparentes varían dependiendo de la focal y que ofrezcan campos más estrechos en distancias focales más largas que es cuando más valoras disfrutar de un gran campo de observación. Algunos modelos también adolecen de reflejos molestos que no aparecen cuando usamos un ocular de focal fija.
Un ocular zoom para planetaria
Este Svbony Zoom 3-8mm es un un ocular bastante especializado por su alta focal. No es habitual encontrar oculares zoom de focales tan cortas y no serán muchas las veces que podamos usarlo debido al seeing. En el mercado podemos encontrar oculares de similares focales como el Nagler Zoom 3-6mm de TeleVue por alrededor de ¡690€! con un campo aparente de 50º en todo su rango de uso.
El Svbony Zoom 3-8mm (SV215 en su denominación comercial) por su parte ronda los 150€ ¿Estará a la altura con ese precio?
Este ocular dispone de 6 puntos de bloqueo (sistema click-lock) entre los 3 y los 8mm y ofrece un campo constante de visión de 56º que he podido comprobar que cumple realmente.
Según Svbony el alivio ocular (eye relief) de esta óptica es de unos 10mm. Esto es, la distancia a la que podemos situar el ojo del ocular y seguir viendo todo el campo. Tenemos que tener en cuenta que al meter más aumentos esta cifra disminuye, es decir, vamos a observar con el ojo muy pegado al ocular y esto no resulta cómodo para muchas personas, especialmente si usan gafas. El ocular cuenta con una goma que puede plegarse para aliviar el eye relief, pero aun así ten en cuenta este dato si usas gafas para observar.
La calidad de las ópticas y los revestimientos es adecuada y ofrece una imagen contrastada y sin reflejos ni imágenes fantasma. No aprecié signos destacados de cromatismo al observar Venus o la Luna y la imagen era nítida incluso cerca del borde del campo.
Al tacto el ocular se muestra sólido y robusto, con carcasa de metal y gomas de buena calidad. La mecánica da sensación de seguridad con un ajuste notable cuando cambiamos de focal gracias a la anilla texturizada que ofrece un tacto correcto. De hecho incluso puede parecer algo «duro» y si el ocular no está bien sujeto al portaocular o a la diagonal corremos el riesgo de hacerlo girar. A medida que vamos girando la anilla y dando más aumentos vemos como el ocular se alarga.
Aunque el ocular es casi totalmente parfocal, es cierto que terminaremos teniendo que hacer unos ligeros ajustes en el enfocador del telescopio cuando cambiamos los aumentos desde sus extremos, al pasar de 3 a 8 mm por ejemplo.
Un detalle a tener en cuenta es que la carcasa del anillo del ocular es muy larga y podría no entrar totalmente en una diagonal, aunque no debería suponer mayor problema.
¿Es este ocular para tí?
Personalmente recomendaría este ocular para observación lunar y planetaria, tal vez también para observación de estrellas dobles pero no se lo recomendaría a todo el mundo.
Creo que es perfecto para telescopios refractores y reflectores pero no tanto para telescopios catadióptricos, debido a su larga focal nativa será frecuente que vayamos «pasados» de aumentos y no le podamos sacar partido a no ser que disfrutemos de un seeing casi perfecto.
Si este ocular te ha convencido puedes adquirirlo en la tienda de AliExpress a un precio económico de 150€.
August is an astronomer’s dream, with a plethora of celestial events perfect for astrophotography. Whether you are a professional or an amateur photographer, the month of August offers a myriad of opportunities to capture breathtaking images of the night sky.
First on the calendar is the full “Sturgeon Moon” on August 1, which also happens to be a supermoon. This phenomenon occurs when the moon is at its closest point to Earth, making it appear larger and brighter. This is an excellent chance to capture the moonrise with its enchanting glow.
The waning moon in the first ten days of August is an ideal time to photograph the Milky Way. With less moonlight to compete with, the stars in our galaxy shine even brighter. Grab your camera and embrace the darkness as you capture the ethereal beauty of the Milky Way.
Mark your calendars for August 9, as it presents a rare opportunity to witness the moon rising next to the Pleiades cluster. This cluster, also known as the Seven Sisters, boasts a cluster of stars that will offer a stunning backdrop to the moon’s majestic ascent.
The highlight of the month is undoubtedly the Perseid meteor shower on August 12/13. Known for its prolific display of shooting stars, this celestial event is expected to produce around 100 meteors per hour. The absence of moonlight due to the New Moon creates the perfect environment to capture these fleeting wonders of the night sky.
As August draws to a close, gear up for the second full moon on August 30, which is also a “Blue Supermoon.” This full moon is not only the brightest of the year but also a photographic delight. Position yourself close to the eastern horizon to capture its full radiance as it rises.
Last but not least, on August 27, Saturn reaches opposition, a phenomenon where the planet is directly opposite the Sun in the Earth’s sky. This presents an ideal time to photograph Saturn and its iconic rings using specialized imaging techniques and telescopes.
So, prepare your cameras and make the most of August’s astronomical wonders. Whether it’s the Perseid meteor shower, the Sturgeon Moon, or the captivating beauty of the Milky Way, this month promises a visual feast for astrophotographers of all levels. Don’t miss out on the opportunity to capture these cosmic marvels and share them with the world.
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August is one of the best months of the year for astrophotography – and this year that goes double. Not only are the night skies graced by the year’s most famous meteor shower of all – the Perseids – but there are two full moons. An occasional consequence of the moon orbiting Earth every 29 days (or so), August 1’s ‘Sturgeon Moon’ will be followed by August 30’s ‘Blue Moon.’
Add Saturn reaching its opposition and August 2023 is a great time to dust off that camera and tripod and get outside looking up.
Read: Night photography techniques, tips and tricks
Tuesday, August 1: a full ‘Sturgeon Supermoon’
The appearance of the full moon each month is a highlight for many astrophotographers, clear skies allowing. The trick is to recognize that the most impactful moment is when the full moon appears in east on the horizon soon after sunset where there’s still light on the surrounding environment. This month that moment comes at moonrise where you are a few hours after it’s precisely opposite the sun with regard to Earth. As a bonus, the full ‘Sturgeon Moon’ is also the second of four supermoons in 2023, though practically speaking that means very little to the casual observer. Arm yourself with a 70-300mm lens, a tripod, and a remote shutter release and experiment with short exposures from a high position with a good view down to the eastern horizon.
Read: How to photograph the full moon
Tuesday, August 6: ‘Milky Way window’
Tonight is Last Quarter Moon, meaning that our satellite will be half-lit, on the wane and rising after midnight. That makes the next 10 or so nights excellent for astrophotography of all kinds and, this month, for wide-angle shots of the summer Milky Way.
Read: The best lenses for astrophotography
Wednesday, August 9: Moon and Pleiades
If you are up early this morning (as in, just after midnight), there’s a rare chance to catch a late-night moonrise to the right of the famous open cluster of stars called the Pleiades (or the ‘Seven Sisters’). Typically associated with winter, the Pleiades is now rising in the small hours. Although you likely won’t be able to capture it in your camera, Uranus will be to the right of the moon.
Read: When to photograph the moon
Saturday/Sunday, August 12/13: Perseid meteor shower
Although the media likes to hype all kinds of meteor showers these days, astrophotographers have for many decades been imaging this annual event. Predicted to produce around 100 “shooting stars” per hour during its pre-dawn peak on Sunday, August 13, the Perseids is an ideal time to go hunting for a dark place. None more so than this year because, by lucky chance, the Perseids’ peak occurs just a few days before New Moon, so the night skies will be dark. Capturing ‘shooting stars’ is best done automatically (all you need is a tripod, an intervalometer or a shutter release cable that can be locked in place). One option is to take a lawn chair so you can sit back behind the camera’s field of view and watch the show with your own eyes. Another is to point your ‘shooting star’ camera northeast (where the source constellation of Perseus will be) and get busy with another camera capturing the Milky Way in the south.
Read:How to photograph a meteor shower
Read:How to photograph the stunning Perseid meteor shower
Wednesday, August 30: a full ‘Blue Supermoon’
The second full moon of August is the third of four supermoons and, technically, it’s the biggest and brightest of the year. It’s actually the brightness you’ll notice most, though only if you regularly image the full moon. However, try to capture it close to the eastern horizon, where it will appear largest purely because it will rise next to buildings, trees and hills. It will be best photographed at moonrise where you are tonight, with Europe having a second chance to photograph it early in the twilight on Thursday, August 31.
Read:The best cameras for astrophotography
Astrophotography shot of the month: close-up of Saturn at opposition
The best time to image the two largest planets in the solar system – Saturn and Jupiter – is during their annual opposition. Since Earth orbits the Sun a lot more quickly than Saturn (29 years) and Jupiter (12 years), once each year we get in between the Sun and one of these planets and they get the full glare of the sun from our point of view. On that night (and for a few weeks on either side) it’s possible to image Saturn and Jupiter full-on and, as a bonus, they rise in the east and dusk and set in the west at dawn.
This month, Saturn reaches opposition, with the date of August 27 the actual moment when it’s 100%-lit from our point of view in 2023. It’s the ideal time to put a telescope on Saturn to see its rings. In almost all backyard telescopes it appears very small. So to image the ringed planet requires a long focal length, a lot of magnification, and some special techniques.
Although any DSLR or mirrorless camera using a wide-angle lens can capture Saturn as a bright dot in the night sky, for a close-up you’ll need a telescope with a minimum of 1,000mm focal length on a tracking mount and one of the best CCD/CMOS digital imaging cameras (also called astronomy or planetary cameras). These cameras shoot high-speed video. You then extract the sharpest frames – something called ‘lucky imaging’ – then stack them using RegiStax (or similar) to create sharp-looking and colorful images.AstroBackyard has a useful overview of the process.
Read:Best CCD cameras for astrophotography: specialist cameras for space watchers
Photos of a whirlpool galaxy and a shipwreck off Co Wexford with the Milky Way in the background have won an astrophotography competition run by the Dublin Institute for Advanced Studies.
One of the winning photos captured an image of the Milky Way behind a shipwreck near Bannow Bay, Saltmills, Co Wexford.
The photo was taken by Adrian Hendroff, from Stepaside, south Co Dublin. The now rusting ship had been a steam dredger that ran aground in the 1980s.
[ Sinéad O’Connor 1966-2023: A life in pictures ]
Professor Peter Gallagher, head of astrophysics at the Dublin research institute, said the photo had “mesmerised” the competition judging panel.
“The Milky Way captured above the ship in all its glory is perfectly framed with the rusting ship, seaweed laced mudflats and the faint glow of the Northern Lights. It’s clear a huge amount of thought and creativity went into capturing this image,” he said.
The winner of the “Out of this World” category was a photo of a whirlpool galaxy some 31 million light years from Earth, taken by Sara Harvey, from Bishopstown, Co Cork.
Commenting on the winner, Prof Gallagher said there was a “really impressive” level of detail captured by the photo.
“It is well framed to include many points of interest including the hot, young stars and yellow, older stars within the winding, graceful arms of the Galaxy. This is a technically brilliant image,” he said.
There were more than 70 entries submitted to the competition.
Runners up included Patryk Sadowski, from Derry; Keith Levins, from Blackrock, Co Cork; Enda Kelly, from Wicklow town; and David Mackie, from Athenry, Co Galway.
The judging panel included Prof Gallagher, Brenda Fitzsimons, photo editor of The Irish Times, Michael McCreary, president of the Irish Astronomical Society, and Niamh Breathnach, director of Alice Public Relations, who sponsor the competition.
In a captivating celestial spectacle, the spiral galaxy NGC 1532, affectionately known as Haley’s Coronet, has been caught in a cosmic tug-of-war with its smaller companion, the dwarf galaxy NGC 1531. This extraordinary interaction was recently captured by the US Department of Energy’s Dark Energy Camera (DECam) mounted on the National Science Foundation’s Víctor M. Blanco 4-meter telescope at Cerro Tololo Inter-American Observatory in Chile.
Astrophotography is possibly the most awe-inspiring genre of photography, and the best cameras for astrophotography enable anyone with the know-how to capture stunning photos of space from earth. The images captured might not be as detailed or as images captured by the DECam or indeed the James Webb Telescope but with patience and research you’ll be surprised at what you can achieve.
• Also check out the best telescopes for astrophotography so you can capture images even deeper into space
Galaxies are the building blocks of our universe and over billions of years, they undergo a process of growth and evolution. Thanks to advancing camera technology, mesmerizing images such as this offer us a glimpse into the early stages of how galaxies grow by absorbing nearby companions and merging with other galaxies.
Located in the Eridanus constellation, around 55 million light-years away, is the NGC 1532 barred spiral galaxy which – when viewed from Earth – is seen with sweeping spiral arms, one extending downwards and the other upwards
The reason for the asymmetry of the galaxy is the gravitational pull of its smaller neighbor, the NGC 1531 dwarf galaxy. Despite its vastly smaller size, the dwarf galaxy exerts a noticeable gravitational influence on the larger one, creating a distortion in one of its spiral arms. When two galaxies interact, they release plumes of gas and dust which produce bridge-like structures between them, held in place by competing tidal forces. This captivating interplay also triggers bursts of star formations which adds to the magical astronomical spectacle.
Captured on a Dark Energy Camera mounted on the National Science Foundation’s Víctor M. Blanco 4-meter Telescope at the Cerro Tololo Inter-American Observatory in Chile, the highly sensitive camera allows astronomers to detect faint objects in our solar system. Since it has an exceptionally wide field of view, it plays a vital role in capturing detailed galaxies in deep space and gives scientists a better understanding of how our solar system came to be.
DECam is made up of five main components: a 570-megapixel CCD camera, a low-noise electronic readout system, a wide-field optical corrector, a combination shutter-filter system and a hexapod adjustor to provide stability. With a 2.2° field of view, in a single image, it’s able to capture an area 20x the size of the moon when viewed from Earth making it the widest ground-based infrared imaging system.
As we delve deeper into the cosmos and continue to unearth its secrets, awe-inspiring celestial display such as Haley’s Coronet reminds us of the ever-changing and dynamic nature of our universe. We still have so many unanswered questions about the cosmos such as how did the universe begin? And what is dark matter? But large-scale, high-resolution telescopes positioned both on Earth and deep in space are enabling astronomers to develop a better understanding of our fascinating universe.
Also check out the best lenses for astrophotography and browse a range of wide-angle lenses geared up for shooting the night sky
¡Qué ganas teníamos de irnos de vacaciones! ¡Y qué ganas de volver a sacar los telescopios bajo un cielo oscuro! Tras unos últimos novilunios estropeados por las nubes y unas semanas bastante estresantes con cambio de trabajo incluido ya se agradecían unos días de asueto para volver a conectar con nuestro interior, relajarnos y poder afrontar con perspectiva la segunda mitad del año.
En los últimos años hemos hecho habitual lo de partir las vacaciones en dos semanas y aprovechar tanto el novilunio de julio como el de agosto para ir a sitios con cielos oscuros. El año pasado fuimos a Lleida y a Albacete y este año hemos optado por Cuenca y en agosto volveremos a Teruel, que tan buenas experiencias nos ha dado en años anteriores. La verdad es que encontrar alojamiento este año ha vuelto a ser una locura y una vez más me ha pillado el toro. Cuando me quise dar cuenta ya estábamos en Semana Santa y el mes de mayo fue un caos con entrevistas de trabajo y otros líos, total que llegó finales de mayo y todavía no teníamos nada cerrado.
Ya sabéis que además buscamos sitios muy concretos para nuestras vacaciones: tiene que ser un sitio con un cielo muy oscuro, una casa individual o no muy grande para que no nos molesten (ni molestar nosotros a otros huéspedes ya que vamos con el horario cambiado y dormimos hasta tarde). No debe ser muy caro, que la economía está para pocas bromas… y debe ofrecer algo interesante para ver en los alrededores. Con todas estas premisas y tras mucho buscar al final encontramos una casa rural en Paravientos, un pequeño pueblo de Cuenca a medio camino entre la capital y Teruel.
El alojamiento
Llegamos el domingo por la tarde tras 3 horas de viaje que se pasaron volando. La casa estaba muy bien, la habían terminado hace un año así que estaba todo nuevo con una cocina completa, horno, lavadora, lavavajillas, SmartTV, Wifi,… en el patio teníamos una gran barbacoa de la que dimos uso un par de días. Me puse a explorar los exteriores para ver donde plantar el telescopio por las noches. La casa estaba a las afueras del pueblo y no había farolas directas. Cerca de la puerta había un sitio con buenas vistas del horizonte sur y oeste. El este estaba tapado hasta los 30º de altitud por el monte donde se encontraba el pueblo. Como primera opción valdría y si esa noche no me encontraba cómodo pues cambiaría de localización al día siguiente, había varias opciones.
Después de cenar y con las últimas luces de la tarde comencé a montar el telescopio. Teníamos unos 20ºC y soplaba algo de viento. Me puse a alinear a la polar y empecé a tener algunos problemas para ver Polaris a través de la cámara del Polemaster. Estaban entrando nubes…
Lo que al principio eran unas nubes dispersas terminó por cerrarse completamente en cuestión de media hora. Eran nubes bajas que llegaron a gran velocidad arrastradas por el viento. La previsión meteorológica daba un 25% de cobertura de nubes pero se quedó muy corta. Estuvimos esperando un rato a ver si abría pero a eso de la 01:00 desistí y me puse a recoger todo el equipo con bastante desánimo. En fin, quedaban 6 noches por delante así que no quedaba otra que esperar a que mejorase.
Al día siguiente aprovechamos para ir a hacer algo de compra y conocer los pueblos cercanos. El entorno está repleto de caminos de gran belleza natural con muchos bosques y fauna salvaje (un pequeño zorro se nos presentó en la puerta de casa uno de los días). Como es natural también hay bichos y en el descansillo encontré dos arañas lobo, una de ellas de buen tamaño y también otro par de días encontramos en el mismo sitio dos escolopendras moribundas ¿Habrían peleado con las arañas y perdido la batalla? Por ese motivo procurábamos tener las puertas de la calle cerradas y sacudir el calzado antes de ponérnoslo. La araña lobo a priori es inofensiva pero una picadura de escolopendra puede ser bastante dolorosa.
Primera noche de astronomía
Llegada la segunda noche también pintaba bastante mal con tormentas a unos cuantos kilómetros de distancia y cielos encapotados pero la previsión meteorológica anunciaba que a partir de media noche terminaría por despejar así que decidí volver a montar el equipo, tales eran las ganas que tenía. Llegaron a caer incluso algunas gotitas en algún momento lo que casi me llevó a recoger pero afortunadamente la tormenta pasó de largo y finalmente se quedó un cielo despejado aunque con mucha humedad y poca transparencia. En seguida alcanzamos el punto de rocío y tuve que encender incluso las cintas calefactables.
Comencé a sacar la luminancia del objeto que tenía preparado, Barnard 147, una nebulosa oscura en el Cisne. Había visto unos días atrás una foto de esta zona y me gustó mucho. Algunas formas de las nebulosas oscuras recuerdan a animales: un coyote, la cara de un perro, una liebre… bueno, depende de la imaginación de cada uno, claro.
El SQM marcó un triste 21.18 a causa de la poca transparencia, la alta humedad producía valores de -12ºC con el termómetro Infrarrojo al apuntar al cielo. No era una gran noche pero quería aprovecharla todo lo que pudiera.
Aún así aguanté hasta el amanecer astronómico, en torno a las 05:00, momento en que empecé a hacer los flats. A partir de ese momento no merece la pena seguir haciendo lights porque aunque nuestro ojo no vea la claridad, la cámara si que empieza a registrar los gradientes de luz ¡Y los gallos también ya que empezaron a dar el relevo a los cárabos y autillos que nos acompañaron por la noche!.
La tercera noche también había mala previsión meteorológica, la noche empezaría despejada pero luego llegarían las nubes así que en vez de montar el telescopio solo saqué la cámara y me dediqué a hacer alguna foto nocturna de la casa, unas fotos de la Vía Láctea y finalmente un timelapse hasta que empezó a nublarse. Otra noche truncada por la meteorología, de momento menos de un 50% de noches aprovechables.
También turismo paleontológico
Al día siguiente visitamos Riodeva donde hay un museo de Dinopolis llamado Titania, el único que nos quedaba por ver de todos los que hay repartidos por Teruel. Comimos en el pueblo y preguntamos si quedaba muy lejos Arcos de las Salinas, donde está Galactica. En distancia estaba cerca pero en tiempo era casi 1 hora. El problema es que hay que dar mucho rodeo por caminos forestales o carreteras en no muy buen estado. Nos aventuramos a intentarlo pero en algún punto nos equivocamos de camino y acabamos en una pista forestal que no tenía muy buena pinta así que decidimos darnos la vuelta y dejarlo para otra ocasión. Hacía mucho calor, con temperaturas rondando los 38ºC y no apetecía mucho darse la paliza con el coche así que nos volvimos a la casa rural a descansar un poco antes de afrontar la cuarta noche.
Al anochecer estuve haciendo unas fotos del Sol gracias a la potente calima que actuaba de filtro solar. Se podían apreciar perfectamente las manchas solares. El atardecer era tan impresionante que no pude evitar hacer un timelapse, parecía totalmente marciano.
Por la noche montamos el telescopio y me dispuse a sacar el color de B147, bueno el color de las estrellas porque la nebulosa como tal es oscura. Una noche pésima, con una transparencia muy pobre pero hice de tripas corazón y aproveché lo que pude. La advección de minerales en el aire era tan alta que el efecto de la contaminación lumínica de los pueblos al sur se veía acrecentado. Al sacar algunas fotos con la Star Adventurer y la Canon el fenómeno era desolador. Para más inri alguna luz estroboscópica de un parque eólico cercano no paraba de destellear.
Durante la noche vimos bastante actividad de estrellas fugaces. La mayoría muy rápidas y tenues, pero alguna que otra dejaba rastros brillantes de gran longitud.
Al día siguiente fuimos a Teruel a visitar Dinópolis. Habíamos estado ya hace 10 años y nos gustó mucho así que decidimos repetir la experiencia. Además habían renovado el museo recientemente y la verdad es que mereció la pena volver a verlo. Es una auténtica pasada los fósiles que se pueden ver allí. También usamos algunas de las atracciones del parque que no estaban en la otra ocasión que fuimos. En una de ellas, Mar Jurásico, nos pasó una cosa bastante graciosa. Había muy poca gente en el parque con lo que pudimos disfrutar casi de las atracciones para nosotros. En una de estas nos despistamos en un pasillo y nos metimos por una puerta de emergencia y aparecimos en otra sala que no tenía nada que ver con la atracción anterior… nos quedamos un poco alucinando y empezamos a buscar a algún empleado o alguna señal. Al final encontramos a un chico y le dijimos «Oye, creo que nos hemos metido por donde no era y queremos volver a donde estábamos», el chico se quedó un poco comunicando cuando le explicamos por dónde nos habíamos metido… al final volvimos al Jurásico entre risas.
A eso de las 18:00 empiezan a cerrar el parque así que retomamos el camino de vuelta a casa para aprovechar la quinta y última noche de astronomía.
Fue la mejor de todas, la calima se había ido casi por completo. La temperatura era algo más baja y la humedad se mantuvo bajo control toda la noche. Por fin pude aprovechar de la observación visual con los 10×50 y los 2.1×42.
Mientras el telescopio seguía tomando tomas de luminancia de la nebulosa yo me dedicaba a observar el cielo. Comencé con los 10×50 y partí de Antares para localizar M4 un cúmulo globular muy sencillo de observar a pesar de la baja altura, la postura era cómoda y siguiendo la cola de Scorpio hasta su final me dejaba prácticamente al lado del Cúmulo de Ptolomeo. un abierto muy fácil de localizar. Desde éste subí un poco más y a la derecha llegué al cúmulo de la mariposa, que con prismáticos no es muy vistoso pero con telescopio es una delicia.
Me dejo llevar por la corriente de la Vía Láctea como si de un rio se tratara y subiendo llego hasta M8, la nebulosa de la Laguna. Creo que llego a intuir la Trífida un poco más arriba pero no se si es cosa de mi imaginación. Los que si se aprecian con facilidad son los cúmulos M22 y M28 sobre la «tapa de la tetera» de Sagitario. Si seguimos subiendo llegamos a M17 o Nebulosa Omega y un poco más arriba M16 o Nebulosa del Águila. En esta zona merece la pena pararse unos cuantos minutos y asegurarnos de que la vista se adapta totalmente a la oscuridad.
Seguí subiendo y aquí ya las cervicales empezaban a quejarse pero la zona cenital era otra delicia para la vista a través de binoculares. Dentro del triángulo de verano no me costó encontrar M27 una vez me dejé guiar por el cúmulo de La Percha, siempre tan peculiar y la constelación de La Flecha. Por encima de la punta de ésta encontramos una tenue bolita gris por el rabillo del ojo. Intenté ver también la Nebulosa de los Velos, un reto que siempre me propongo pero la proximidad del pueblo pasó factura y en esta ocasión me fue imposible observarla. Comencé a girar la silla y eché un vistazo a M13 que se mostraba espléndido. Y girando 180º llegué a la Galaxia de Andrómeda que nunca pierdo la ocasión para observarla y finalicé en el doble cúmulo de Perseo.
Luego volví a repetir el recorrido pero usando los 2,1×42. Es curiosísimo el efecto de estos prismáticos, que apenas dan aumentos pero hace que aparezcan el doble de estrellas ante nuestros ojos.
Fue una noche bien aprovechada en la que el SQM llegó a 21,35 sin duda afectado por la luz próxima del pueblo.
Por desgracia el resto de noches no fueron aprovechables por la presencia de nubes, dando como resultado un total de solo 3 noches aprovechables de las 7 que estuvimos, uno de los balances más pobres de los últimos años. No obstante volveremos a intentarlo de nuevo en el novilunio de agosto, esperemos que con mejor suerte.
Three years after the release of the Sony A7R IV, the long-anticipated Sony A7R V is finally here. At the time of its release back in 2019, the A7R IV was the biggest and baddest Sony camera out there, boasting the highest megapixel sensor of any mirrorless camera to date (a whopping 61MP). With big shoes to fill, the Sony A7R V (aka the Sony A7R 5) needs to not only match the impressive specs and performance of the A7R IV but improve on it.
We gave the A7R IV high praise in our hands-on review, and we even rated it best overall in our best cameras guide and gave it a respectable third place in both our best cameras for astrophotography and best cameras for low light photography guide. But how does the A7R V compare? What new features and specs does it have that the A7R IV doesn’t? Is it worth upgrading if you already own the A7R IV? We put it to the test to answer all of those questions.
Sony A7R V: Design
We love how versatile the LCD screen is
Overall a very similar layout and design to its predecessor
EVF and LCD screen are both 63% higher resolution than the A7R IV
Overall, the design of the A7R V is very similar to the A7R IV, and much like what you’d expect from Sony at this stage. It’s ever so slightly bigger (we’re talking fractions of an inch here), and it is 2 oz / 58 g heavier. The video record button is in a much easier-to-reach place on the A7R V, and it has a dedicated photo/video/Slow and Quick (S&Q) dial on the top of the camera body. We thought it felt comfortable in the hand and we could easily shoot for long periods with it without getting an achy neck or arms.
However, by far our favorite design aspect of the A7R V is the 4-axis, multi-angle 3.2-inch LCD screen. Sony finally answered our prayers and did away with the tilt-only screen and instead gave us this fantastically versatile screen that can accommodate shooting at quite literally any angle you can come up with. Not only can it flip out to the side of the camera and spin around to record vlogs or take selfies, but it has another trick up its sleeve. It’s attached to an extra plate that tilts down and out to provide even more shooting angles and keep the screen away from the ports if you want to add any microphones or monitors. We cannot tell you how much we loved this.
Specifications
System: Mirrorless
Sensor: Full-frame
ISO range: ISO 100 – 3200 (expanded 50 – 102,400)
Burst shooting: 10FPS
AF: 693 phase-detect autofocus points
Video: 8K/25p video recording
Storage: Dual UHS-II SD/CFexpress Type A slots
Screen: Fully articulating 3.2-inch touchscreen
Dimensions: 5.16 x 3.82 x 3.23-inch / 131 x 97 x 82 mm
Weight: 1.59 lbs / 723 g including battery
It may seem like a small, silly thing to be so passionate about a ‘flippy screen’, as it’s affectionately known, but in practicality, it makes shooting so much easier when you can actually see what it is you’re shooting without having to contort yourself into weird positions. That was one of our main gripes with the Sony A1, and, if we’re going to be dropping $6500 on a camera like that, we want the camera to have a fully articulating screen.
If we’re being picky, we’d like it if the screen would fit flush against the rest of the back of the camera body. That said, it does flip around so the actual screen isn’t on show, so when it’s sitting in your camera bag the screen isn’t going to get damaged.
The Sony A7R V shares the same 61MP back-illuminated Exmor R CMOS as its predecessor, but the brand new BIONZ XR image processor boasts up to 8x the processing speed of the previous model — and considering that buffer lag was one of our complaints with the A7R IV, this is a welcome addition.
Sony A7R V: Performance
Battery life isn’t as good as the A7R IV, although still enough for what we needed
Solid low-light performance, but is likely too noisy for astro
Sony’s autofocus just keeps getting better thanks to the new AI system
Sony claims the battery life is good for up to 600 shots (down from the A7R IV’s 670). However, in our review of its predecessor, we found that in a single session of shooting over 2000 images, the battery didn’t even lose half a charge, so realistically we don’t think those 70 shots are going to make much difference here. We took the A7R V on a five day trip to the Lake District in England and didn’t have to charge it once. So unless you’re doing some serious all-day professional shooting with it, we think the battery life is more than sufficient. Besides, we’d always recommend carrying spare batteries anyway.
We were impressed with its color depth and dynamic range — we shot with it on a bright day on a forest trail, and it handled the bright light with the harsh shadows beautifully and we had no issues at all of losing any detail. In an ideal world, we would’ve used a polariser or ND filter here, but it’s good to know that it copes well without one.
As expected, the autofocus system inside this camera is nothing short of incredible — Sony just keeps continuously raising the bar. They’ve upped the number of focus points from 567 to 693, making it more accurate across the frame, and the new AI dedicated processing unit is also a game-changer for autofocus and tracking. This new ‘deep learning’ system, called Real Time Recognition, can also detect and distinguish subjects like cars, trains, planes, animals and insects — a refreshing addition to the previous model being limited to cats, dogs and birds. When it comes to human detection, it’s designed to recognize movements and poses, and not only can it detect eyes, head and major body parts, but it will also detect noses, necks, shoulders, elbows, wrists, hips, knees and ankles.
We thought it gave a solid low light performance for cityscapes and scenes with ambient light (such as streetlamps etc), but the massive 61MP sensor does mean that the images have noise when you bump the ISO up. The EVF and LCD screen gave a beautifully detailed and bright view of the scene, even in the dark, and image noise only became distractingly noticeable after around ISO 6400 (and even then, we are pixel-peeping perfectionists).
When we tested it out for astrophotography, however, the images at a lower ISO weren’t as detailed as the shots with a higher ISO, but the ones with higher ISO had a lot more noticeable noise. Normally this would be a dealbreaker for a camera aimed at astrophotography, but as the AI denoise tools are so advanced now, you can make more allowance for image noise than before because you can clean up the images much better. We used the AI Denoise in Lightroom, but we also thought the noise removal tools in Affinity Photo 2 were very impressive.
Image 1 of 2
We tried it in Lightroom and it gave very clean results. We tested two images — the image above was taken with an ISO of 2500. As you can see, there wasn’t much noticeable noise in the ‘before’ image (unless you zoom right in), and the ‘after’ image is much cleaner still.
We also tried an image with ISO 6400, shown below. The original image had much more noise, and the AI Denoise did do a fair job at getting rid of most of it, but there was still a fair amount of color fringing, particularly in the area with the cloud. (Obviously, in an ideal world there wouldn’t be any clouds, but the Welsh weather will do what it pleases).
Out of the two images, the ISO 6400 has more detail, but also more noise than the ISO 2500 image.
One thing we did notice, though, was the improved accuracy of White Balance control, thanks to the camera’s new AI capabilities in addition to the Visible Light + IR sensor on the camera body. This was particularly noticeable for astro shoots. We shot in a backyard on the outskirts of a city which would normally give a brown/orange glow, whereas there was practically no color temperature or tint editing needed when we imported the images into Lightroom.
Image 1 of 2
Sony A7R V: Functionality
Eight stops image stabilization proves great for low light
Much improved video settings
Customizable buttons and dials provide great ease-of-use
The 8 stops of image stabilization makes this camera shine when it comes to low-light photography. The new AI unit enables high AF precision down to light levels as low as EV -4.0 in AF-S mode. We shot images of a bridge in a small city at night, and thanks to the ambient light and image stabilization, we were able to shoot handheld (albeit leaning on a wall) at 1/3 of a second at ISO 100 to create light trails from the cars, and the rest of the image was still pin sharp. These extra stops of image stabilization mean you don’t have to bump the ISO up to produce brighter images, as you can just slow down the shutter speed instead.
Although we did find more image noise when we had to bump the ISO up when there was less ambient light (streetlamps etc), the ISO reach is still great for low-light photography. Although, if we’re splitting hairs, the A7R V has a slightly higher boosted maximum ISO of 102400, whereas the A7R IV had 102,800. Even though the A7R IV technically wins there, in practical uses it’s unlikely you’d actually notice any difference. Besides, it’s very unlikely you’d have the ISO that high anyway.
The LCD screen is also bigger and more detailed, going from 3-inches to 3.2-inches and from 1.44M to 2.1M dots, and the EVF has also been improved from a resolution of 5.76M to a whopping 9.44M dots (the same resolution as the A1). We liked the number of buttons and dials on the body — simple enough not to overwhelm but enough to customize the settings without having to dive into the menus. There are three dials on the body, so you could set one to control the shutter speed, one for aperture and one for ISO, making manual shooting a breeze.
One big difference in its functionality is the improved video settings, which will make this camera very tempting if you’re a content creator or videographer. The Sony A7R V can shoot 8K video at 7680 x 4320 video resolution, with 120FPS high-speed video — improved from the A7R IV’s 4K video at 4320 x 2160.
The Sony A7R V also has improved Pixel Shift Multi Shooting, using AI assistance to help reduce blurriness caused by movement and changing conditions when taking multiple shots. The downside, though, is that you have to process the final composite on the Imaging Edge software on your computer rather than in-camera.
Should you buy the Sony A7R V?
We think the Sony A7R V is a fantastic all-round camera that can handle most things you throw at it. We wouldn’t necessarily recommend getting it if you already have the A7R IV or IVA (unless you are a videographer and want the 8K 25p video from the V).
If you shoot many different photographic styles, we think this camera is a fantastic option and will see you through almost any situation. If you do the occasional astro shoot every now and again and don’t mind having to rely on AI denoise, then this will certainly be sufficient. However, if astro is your main photography style, we think there are better-suited cameras out there with lower-resolution sensors that would give less image noise.
If the Sony A7R V isn’t for you
If you love the sound of the new Sony A7R V but can’t quite justify the cost, consider the previous model; the Sony A7R IV. You’ll save around $800 and realistically, the two cameras aren’t majorly different to one another.
If it’s astrophotography you’re wanting to do and you need a camera that’s going to produce less image noise, the Canon EOS R5 or Nikon Z7 II would both be great options — they both have 47MP sensors, so still beautifully detailed but not quite as many megapixels as the A7R IVA or V, and would make great all-rounders for all styles of photography. The Sony A7III, although now over 5 years old, is also a firm favorite among photographers for its low-light capabilities, and due to its age, it’s more affordable than the powerful Canon or Nikon models we mentioned.
If you want to shoot low-light photography on a budget, try the Canon EOS R8. It’s an entry level full-frame mirrorless camera that would be great for all types of shooting, astro included.
Have you ever looked at the wonders of the James Webb Space Telescope and thought, ‘I wish I could do that’?
Well, little did you know that there is a nifty gadget that can allow you to take photographs of the Sun, Moon, and stars without complex hardware or extensive knowledge of astronomy.
Okay, the images won’t be JWST tier, but they will make your friends marvel and your nights more sparkly.
Vaonis has announced the Hestia, what it calls the first-ever smartphone telescope for taking photos of the cosmos:
While Vaonis has already released a series of smart telescopes that cover a range of prices, like the 61-megapixel Hyperia ($45 000/R700 000) or the much more affordable $1 499 (R26 500) Vespera, the Hestia is a little cooler.
The previous two systems are commanded by an all-in-one smartphone app, but the Hestia leverages the camera everyone carries in their pocket as the actual capture system.
“Harnessing the power of your smartphone and our cutting-edge technology, Hestia enables you to capture the brilliance of the Sun, the enchanting beauty of the Moon, and the captivating depths of the Universe — without complex setups or extensive knowledge of astronomy. Simply place your smartphone on Hestia’s ocular, align the device with the celestial object of your choice, let yourself be guided by our super user-friendly app, and unlock a whole new world of exploration.”
Sounds simple enough:
For the real nerds, here are the technicalities:
The design of the Hestia uses a patented six-lens in three groups optical design that features a 30mm (1.2 inch) objective and prisms to collect and focus light directly into a smartphone’s camera. It has a 1.8-degree field of view, and through the Vaonis app, images can be captured as either JPEGs or TIFFs.
Image: Vaonis
It uses a magnetic mount to assure that it can accommodate all present and future smartphone designs, and as smartphone cameras improve, so will what is able to be captured with Hestia.
Image: Vaonis
Vaonis says its compact smartphone telescope mount provides up to five times better sharpness and detail resolution of lunar craters and sunspots than a smartphone alone and up to 25 times better low light sensitivity.
The Vaonis Hestia is available to back on Kickstarter for as little as $149 (R2 600), which is 40% off the $249 (R4 400) expected final retail price.
Although the iPhone isn’t nearly as powerful as this telescope, it’s still able to take good night sky photos. That’s because astrophotography is really about long exposures, and that’s something iPhone 11 and up is well-equipped for.
Introduced with these models, Night Mode takes brighter photos in low-light environments, boosting clarity while reducing noise.
This is the most affordable setup to take night sky photos with an iPhone, though Night Mode is only available on these models, according to Apple Insider:
iPhone 11, iPhone 11 Pro, iPhone 11 Pro Max
iPhone 12, iPhone 12 mini, iPhone 12 Pro, iPhone 12 Pro Max
iPhone 13, iPhone 13 mini, iPhone 13 Pro, iPhone 13 Pro Max
If you don’t have one of those models and wish to upgrade your astrophotography game, head over to Digicape, South Africa’s largest independent Apple retailer.
Digicape offers a trade-in option, which makes it easier and more affordable than ever to upgrade. Fill in this form to trade in your preloved devices at Digicape and use the value towards your next purchase.
If you’ve never set up a telescope in your back yard, you’ve never been truly disappointed. The Hubble can take some great shots of Saturn, nebulae, and other astronomical phenomena, but even an expensive backyard scope produces only smudges. To do astronomy properly, you’ll spend your time huddled over a camera and a computer, stacking images to produce something that almost lives up to your expectations.
At CES, Unistellar introduced a device designed to fit over the eyepiece of a telescope to do all of this for you.
According to the guys at Unistellar, this box contains a small Linux computer, camera, GPS, and an LCD. Once the telescope is set up, the module takes a few pictures of the telescope’s field of view, stacks the images, and overlays the result in the eyepiece. Think of this as ‘live’ astrophotography.
In addition to making Jupiter look less like a Great Red Smudge, the Unistellar module adds augmented reality; it knows where the telescope is pointing and will add a label if you’re looking at any astronomical objects of note.
While I wasn’t able to take a look inside this extremely cool device, the Unistellar guys said they’ll be launching a crowdfunding campaign in the near future.