Astrophotographer Joshua Brazzle introduces the new photo series he’s launching with PDN called Deep Sky Marianas.
Joshua Brazzle/for PDN
The Sturgeon Super Moon is my first astronomical event photo I’ve taken since my transition to Saipan from Tinian.
This image of the Sturgeon Super Moon was taken by astrophotographer Joshua Brazzle at 9 p.m. on Aug. 2, 2023, from Saipan.
Joshua Brazzle/For PDN
Tinian has lower light pollution than Saipan. Finding a dark place will be my biggest challenge here. It’s possible to shoot in high light pollution, but it costs a bit more in astrophotography gear. Moving to Saipan will not hold me back from what I love to do. When it comes to challenges in astrophotography, I keep on working towards improving no matter what issues I come across. I hope one day Saipan will have an official star gazing park for the community and tourists, or maybe an observatory in the future.
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Deep Sky Marianas: M57, The Ring Nebula
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Deep Sky Marianas: M16, The Eagle in the Heavens and Pillars of Creation
Astrophotography is popular with hobbyists, advanced amateurs, and professionals alike, and a high-quality camera is essential for capturing the cosmos. With NASA’s recent achievements and the number of celestial events that have been visible from planet earth in recent years, it’s no surprise that interest in this style of photography continues to grow. The best cameras for astrophotography will help you capture the beauty of the stars from your own backyard — although it will certainly help if your backyard happens to be in an area without much light pollution!
— Best Overall: Nikon D850 — Best Mirrorless: Sony A7 III — Best APS-C: Fujifilm X-T4 — Best Deep Sky: ZWO Optical asi183mc Pro — Best Budget: Canon EOS 6D Mark II
How We Picked the Best Cameras for Astrophotography
When selecting the cameras in this buying guide we considered sensor size, megapixel capability, low-light performance and budget. When compiling our choices, we made sure to include a mixture of DSLR cameras, mirrorless cameras, and at least one dedicated astrophotography camera. Products that appear in this guide were selected through a mixture of hands-on use, editorial reviews, and user feedback.
The Best Cameras for Astrophotography: Reviews and Recommendations
Best Overall: Nikon D850
Heavens In High-Res. Nikon
Why It Made The Cut: The 45.7 megapixel sensor found inside the Nikon D850 makes it a beast when it comes to shooting astrophotography — giving shooters ultra-detailed images with very little digital noise, even at high ISOs.
Specs:
— Sensor: 45.7 megapixel — ISO Range: 64 to 25600 (expandable to 102400) — Weight: 2.22 pounds (body only)
Pros:
— 4K video capability — Rear tilting touchscreen for easy composition — Excellent weather sealing
Cons:
— Large and heavy compared to other options
The Nikon D850 is a standout for capturing the galaxy. Its 45.7-megapixel sensor means files that are detailed and high-res enough that you can crop into them without fretting over pixel loss. The D850 can shoot 4K UHD video at 30 frames per second (fps), performs well at high ISOs, and has fully illuminated buttons on its body, making it easy to operate in the dark. Although the D850 has an optical viewfinder, the camera’s rear tilting touchscreen makes it easier to focus in dark environments, without having to keep your eye to the lens.
Although it’s bulkier than some of the other options on the market, the D850 has a rugged build that will work well in even the harshest environments, and you simply can’t beat the high-megapixel images it takes of the night sky.
Best Mirrorless:Sony A7 III
Mirrorless Night. Sony
Why It Made The Cut: The Sony A7 III remains one of the best mirrorless cameras for low light photography, making it a great tool for the aspiring astrophotographer, plus, since it’s an older model it has a slightly less expensive price point.
Specs:
— Sensor: 24.2 megapixel — ISO Range:100 to 51200 (expandable 50 to 204,800) — Weight: 1.43 pounds (body only)
Pros:
— Older model means savings up-front — 693-point AF (autofocus) system — Large capacity body, rated for 710 shots per charge
Cons:
— Newer model available
The Sony A7 III provides an excellent mixture of features that will appeal to astrophotographers who are interested in a versatile camera that can be used for other types of photography as well. Although there is a newer model available in the Sony A7 IV, the A7 III remains a highly capable camera and a great entry point into full-frame mirrorless cameras. It has a large-capacity Sony battery that can shoot approximately 710 shots per charge, excellent performance in low-light situations, and autofocus points that cover 93 percent of the camera’s frame. That capability makes this camera a great tool for composing wind-angle starscape shots that also include elements like rock formations or distant lighthouses.
Best APS-C: Fujifilm X-T4
Clear Film and Video. Fujifilm
Why It Made The Cut: Fujifilm’s flagship mirrorless APS-C camera is a powerful tool for shooting in the dark. The tactile dials also make it more comfortable to operate in low-light conditions than some of its competitors.
Specs:
— Sensor: 26.1 megapixel — ISO Range:160-to 2800 (expandable 80 to 51200) — Weight: 1.34 pounds (body only)
Pros:
— 425 phase-detect AF points — Fully articulating LCD screen for easy composing — 10-bit 4K video recording capabilities — Tactile controls
Cons:
— Doesn’t come with an external charger
This lightweight APS-C camera is an excellent choice for the astrophotographer who is interested in both stills and video. Fujifilm has created a camera that performs well in both departments and makes it easy to switch back and forth between the two. TheFujifilm X-T4’s 425 AF points work well in low lighting conditions, and the 26.1- megapixel sensor should provide plenty of resolution for most astrophotographers. It includes a number of beautiful film-simulation modes for enhancing your starscapes in-camera, and the tactile controls make it easy to change settings when working late at night in low-light conditions.
Best for Deep Sky:ZWO Optical asi183mc Pro
Purpose-Designed For Space. ZWO
Why It Made The Cut: The ZWO Optical asi183mc Pro is designed to be used with a telescope for capturing deep-sky objects like nebulae, supernova remnants and the moon. It’s a specialized piece of equipment that will be able to capture exquisite details that a DSLR or mirrorless camera would certainly miss.
Specs:
— Sensor: 20.1 megapixel — ISO Range: Scope-mounted astrophotography camera — Weight: .0308 pounds
Pros:
— Capable of capturing details that other cameras would miss — USB 3 output — Easy-to-use astrophotography camera
Cons:
— Requires a telescope to use — Requires specific software to process images
Once it’s attached to a great telescope, the ZWO Optical asi183mc Pro is a dedicated astrophotography camera that will allow you to get detailed shots of deep-sky objects. The electronic shutter minimizes camera shake and it can shoot at up to 19 frames per second. An integrated TEC cooling system reduces sensor temperature when it’s in use, which helps reduce noise when capturing objects located in deep sky.
Like all astrophotography cameras, the ZWO will need to be plugged in and connected to specific software to actually process the images that it captures. However, this particular model is designed to be used without RGB color filters — minimizing the amount of equipment you will need when you head out to shoot.
Best Budget: Canon EOS 6D Mark II
Capable Classic. Canon
Why It Made The Cut: This older model DSLR is still capable of capturing the beauty of the night sky with its 26.2 megapixel sensor and expansive ISO range, plus since it’s an older model it will be a touch more affordable than some of the other options in this guide.
Specs:
— Sensor: 26.2 megapixel — ISO Range:100 to 40000 (expandable to 50 to102400) — Weight: 1.69 pounds (body only)
— No 4K video — Single SD slot — Not the most impressive dynamic range
Although the Canon EOS 6D Mark II is half a decade old, this mid-range DSLR remains an excellent budget-friendly choice for astrophotographers. It’s one of the lightest full-frame DSLRs on the market, has an impressive ISO range that makes it good for shooting late at night, and since it’s a EF-mount lens, the glass that it utilizes is significantly more budget friendly than some of the other options in this buying guide. The vari-angle touch screen also makes it easy to compose images without having to use the optical viewfinder, and although it lacks 4K video capabilities, it does offer interesting features like a 4K time-lapse mode.
Things to Consider Before Buying the Best Cameras for Astrophotography
Many of the most hyped up specs found on modern day cameras are irrelevant when it comes to astrophotography — meaning the most expensive and newest model might not always be the best suited for shooting late at night. For example, when you’re shooting astrophotography, your camera is going to be mounted on a tripod, so specs like in-body stabilization, or extremely fast autofocus won’t hold much weight. Here’s what you should be paying attention to before you purchase a camera for astrophotography.
Megapixels and Sensor Size
Generally speaking, a camera with a larger sensor will perform better at higher ISOs than a camera with a smaller sensor. Having a camera that can produce an image with limited noise at a high ISO is important for astrophotography. When you shoot late at night, you will likely push your camera to a high ISO, so that it can capture subtle nighttime detail. Cameras with large sensors deliver more pixels and better detail. Larger sensors also mean that the camera is more efficient at collecting light to produce high-quality images.
Mirrorless vs. DSLR vs. Dedicated Astrophotography Camera
When it comes to astrophotography, the debate over whether mirrorless or DSLR is better is sort of a moot point. Generally speaking, a mirrorless camera will have a lightweight body, but will be pricier than an older model DSLR. A DSLR will generally have more lens options — and with astrophotography the lens that is attached to your camera is typically more important than whatever body you are shooting with. Many of the advanced settings found in mirrorless cameras aren’t really relevant to astrophotography either. A third option that is overlooked by many photographers, is a dedicated astrophotography camera. These cameras attach to a telescope and give photographers the tools to capture objects in deep space that can’t be viewed with the naked eye.
FAQs
Q: How many megapixels does a camera need for astrophotography?
A camera that can shoot more megapixels will ultimately give you a more detailed image, which is something that’s pretty important in astrophotography. While a 45.7- megapixel camera will render more detail in your shots of the sky, these files will also take up more hard-drive space to store. Most modern mirrorless cameras with a 26-megapixel sensor will give you plenty of details for astrophotography, but more megapixels certainly won’t hurt. If you’re looking for the most pixels, just expect to pay more up front for your camera, and have ample hard drive space to store those large files.
Q: What kind of camera is best for astrophotography?
An astro-specific camera that can be mounted to a telescope is probably the “best” at astrophotography, as it will get you the clearest shots of the night sky. Unfortunately these cameras are only designed for this purpose and won’t be nearly as versatile as some of the DSLRs and mirrorless cameras that can be used for astrophotography. They also require that you own a telescope to mount them on. If you’re planning to shoot the stars with a DSLR or mirrorless camera, look for something that has high ISO capabilities and is good at controlling image noise.
Q: Can any camera do astrophotography?
Most modern DSLRs and mirrorless cameras are a good fit for astrophotography because of their large sensor sizes, high ISO capabilities and control of image noise.
Q: Is mirrorless better for astrophotography?
Mirrorless and DSLRs are both fine choices for astrophotography, but realistically there are a lot more mirrorless options currently on the market. A modern day mirrorless camera will do a great job in low light conditions, and is more compact than a DSLR, making it easy to travel with. However, older DSLR models will often have large sensors and can be found for better deals on the refurbished market.
Q: Which is better for astrophotography, Canon or Nikon?
Canon and Nikon both produce great cameras that can be used for astrophotography. Which is better is really a matter of preference. For many photographers it comes down to what lenses they already have in their collection.
Q: How do I start astrophotography?
Getting started with astrophotography is easy — head to a place with limited light pollution, grab a tripod to stabilize your shots, and start shooting. For a related tool, here is our guide to the best binoculars for astrophotography.
Q: What gear do you need for astrophotography?
In addition to a camera that can handle shooting at high ISOs with minimal noise, you will want a wide, fast aperture lens and a tripod — so that you can stabilize your long exposures as you capture the beauty of the night sky.
Final Thoughts on the Best Cameras for Astrophotography
The specs and settings that make a camera good for astrophotography are very different from what makes a camera good at other forms of photography — meaning you don’t necessarily need to splurge and get the newest or most expensive camera on the market to get gear that will be great at capturing the night skies. When shopping for a camera for astrophotography, the most important specs to consider are its sensor size, megapixel capabilities and its ISO range. The crucial thing to look for is a camera that will perform well and create low-noise images when it is operating at high ISOs. For a great budget pick, consider the Canon EOS 6D Mark II, which is a capable and classic option that still promises strong results. If you’re looking for a great option to use with your telescope, the ZWO Optical asi183mc Pro will go farther than the competition. The Nikon D850 on the other hand, is our overall favorite for most people for its power and versatility.
Why Trust Us
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This post was created by a non-news editorial team at Recurrent Media, Futurism’s owner. Futurism may receive a portion of sales on products linked within this post.
This photograph of Comet West (C/1975 V1) shows both its gas and dust tails well, an improvement over previous images. It appeared in “Catch a Comet on Film,” a story by Rick Dilsizian in the January 1996 issue. The imager took a 2½-minute exposure on Fuji F100 film in a 5½-inch Schmidt camera. Credit: James L. Matteson
In the premier issue of Astronomy, dated August 1973, a page labeled “Wanted: Contributors to Astronomy” put this call out to imagers: “Photographs, preferably in color whenever possible, but black and white are acceptable. For color, transparencies are preferred over prints, made with as large a film print as possible. We would like to receive 4×5 transparencies, but accept 5mm. Black and white prints should be on glossy paper, 5×7 inches or larger. Photos are used with accompanying articles, singly in special ‘Star Gallery’ photo spreads and to illustrate articles by other authors.”
Let’s be honest. Nobody in the ’70s was taking great shots of celestial objects. Even the professional observatories were producing images that today would be considered substandard.
I used to purchase slides of deep-sky objects from Palomar Observatory in California to augment the simple talks I was giving at the time. They were created from glass plates attached to the 200-inch Hale Reflector. Many of them required multihour exposures over several nights. And all resulted in black-and-white images.
Advances in cameras and processing techniques allowed astroimagers opportunities for close-up shots, and a favorite target was the Horsehead Nebula (B33). The image to the left was taken in 1999; the one to the right in 2008. Credit: George Greaney; Adam Block/Mount Lemmon SkyCenter/University of Arizona
Capture it on film
The state of amateur astroimaging in early 1975 was still bad enough that, in a story titled “Piggyback Astrophotography” by Leo C. Henzl Jr., only two images accompanied the text — and both were of equipment! Indeed, backyard photographers were trying lots of new techniques to get the most out of their equipment and photographic emulsions.
As late as the November 1993 issue, Lumicon was still selling gas hypersensitization kits to improve film astrophotography. Such a technique stabilized photographic emulsions against a problem called “reciprocity failure,” where the sensitivity of the film would fall off dramatically as the exposure time increased.
The next issue saw the first true ad for a CCD camera, produced by Sirius Instruments of Villa Park, Illinois. The first story about CCD imaging appeared in March 1994. Titled “Virtual Sky,” by then-Editor Robert Burnham, the author wondered in the story’s subtitle, “If it comes at you out of a computer screen instead of an eyepiece, is it still astronomy?”
The next story about the benefits of CCD cameras was “Catching Comets with a CCD,” by Glenn Gombert and John Chumack. It appeared in the February 1995 issue. And — oh, my! — the images that accompanied the story were so miserable compared with what’s being produced today that they’re laughable. (See the images in the middle of page 56, and tell me you don’t agree.)
For the October 1996 issue, astrophotographer Tony Hallas wrote “Kodak’s Hot New Astrophoto Film.” In it he described his testing of Kodak Pro Gold 400 (also known as PPF) film. Accompanying his story were some impressive deep-sky shots — well, impressive for the time.
Then, for March 1997, Chris Schur wrote “Choosing the Right Film for Hale-Bopp,” which debuted a few images of the previous bright comet, C/1996 B2 (Hyakutake). It seemed the top imagers weren’t quite ready to make the jump to digital imaging.
The first amateur photograph to appear in issue No. 1 of Astronomy (August 1973) was this image of a solar eclipse. Credit: Jay M. PasachoffAnother eclipse image that appeared in the magazine’s premier issue, this one of the diamond ring from the 1970 solar eclipse, shows how far astroimagers have come in half a century. Credit: Harvard-Smithsonian-National Geographic PhotographBy 2010, eclipse photography had come a long way. This shot of the July 11, 2010, total solar eclipse, taken through a 3.2-inch telescope, was the first to show shadow bands on clouds. Credit: Mike D. Reynolds
The digital age
Astronomy announced two Santa Barbara Instrument Group (SBIG) CCD cameras in the April 1998 issue. Each sported a new advancement: an additional chip that made the cameras self-guiding. This was a huge moment for imagers. No longer would they have to sit with their eye glued to the eyepiece of a guide telescope, correcting for inconsistencies in the drive with tiny movements of the scope’s motors. In the September 1999 issue, a simple adaptive optics accessory, SBIG’s AO-7, promised relief from the curse of atmospheric seeing.
The first roundup and recommendations of CCD cameras appeared in the February 2000 issue. The story, “Capture the Sky on a CCD” by Gregory Terrance, was the first of a three-part series on CCD imaging. And, like most amateur efforts during that time, the pictures that appeared with the stories would be tossed out by today’s imagers.
When I became photo editor in 2003, the magazine was still receiving slides and photographs in a rough 3-to-1 ratio. To use them in the publication, I had to send each out to a photographic service company for scanning. Amateurs didn’t start sending digital images until 005, and those were all on CD-ROM disks. Things are so much simpler now.
Only two years separate these images of the Orion Nebula (M42), but new processing techniques used on the one to the right, taken in 2009, put it in another class. Credit: Warren A. Keller; Tony Hallas
A picturesque future
Today’s astroimagers benefit from a half-century of improvements in optics, drives and mounts, cameras, and software. We owe our thanks to lots of inventors and manufacturers who were willing to take a chance. Also, let’s not forget the hundreds of thousands of examples of trial and error by dedicated amateur astronomers that brought us to where we are now.
Hopefully, history will repeat itself so that when I write “100 years of astroimaging” in the August 2073 issue, we’ll all look back and chuckle at the “poor” state of early 21st-century imaging. Until then, keep shooting!
Even wide-field shots of the Milky Way benefited from new cameras, chips, and software. The region of Sagittarius to the right was captured in 2013; the one to the left in 1999. Credit: Jeff Dai; John ChumackThe first amateur photograph of a planet appeared in Astronomy’s second issue, September 1973. It supposedly approximated what an observer would see through an 8-inch telescope. Credit: Steven ReedThis image of Saturn, taken through an 8-inch telescope, was labeled “outstanding” in the story “High Resolution Astrophotography: Improving Your Odds,” which appeared in the April 1975 issue. Credit: James RouseAs late as the February 2000 issue, these planetary shots were considered high quality by amateur celestial imagers. Credit: Thierry LegaultThis amateur shot of the Moon was the first of our natural satellite to be featured in the magazine. It appeared in September 1973, in the story “Film: A Grainy Dilemma for Sky Shooters,” which summed up the state of imaging at the time. Credit: John Sanford For the August 2005 issue, astroimager Brian Lula wrote “Image Like a Pro.” Among the pictures displayed was this one of spiral galaxy IC 342, which he captured during a gibbous Moon. It required 50 three-minute exposures through a 20-inch telescope. Credit: Brian LulaThe first image I ever selected for Reader Gallery was this magnificent multiple exposure showing the analemma above the Tholos of Delphi, Greece. It appeared in the August 2003 issue and demonstrated to me the care with which imagers were creating and composing their work. Credit: Anthony Ayiomamitis
The author took this image of star trails above observatory domes from near San Pedro de Atacama, Chile, looking toward the South Celestial Pole. Credit: Molly Wakeling
I got started in astrophotography in July 2015, when I received my first telescope as a gift: an 8-inch Schmidt-Cassegrain on an altitude-azimuth mount. After nearly falling over, seeing Saturn for the first time, I decided I must attach a camera to the telescope somehow so I could share that beauty with the world.
Astrophotography is often associated with expensive telescopes, robotic mounts, and highly technical challenges. But getting started can be easier than you think: All you need is a basic DSLR and a tripod.
Star trails
Images of star trails are stunning and easy to make. Start with your DSLR and a short-focal-length lens (a stock 18–55mm zoom lens at 18mm is perfect) on a tripod, and pick an area of sky. Capturing the motion of stars as they wheel around the celestial poles is particularly mesmerizing, so facing north (or south, in the Southern Hemisphere) is a good place to start. A nice foreground, such as a barn or a tent or even a distant tree line or mountain, will make for a captivating image.
In Manual mode, set the exposure time to 30 seconds and choose a relatively high ISO, such as 1600 or 3200. Use the widest f/stop, or stop down one or two if you are using a very fast lens, such as f/1.8. If your camera has a built-in multiple-exposure mode, use that to trigger it. If not, an intervalometer is an indispensable tool for all kinds of astronomy purposes. Intervalometers can be programmed to activate the shutter for you (rather than you manually depressing the shutter button), including in Bulb mode, where you can set an arbitrary exposure time. You can get an intervalometer for around $20.
Take long exposures — 15 to 60 seconds to avoid saturation — for at least one hour, although you can go all night. I recommend taking images in JPEG format for ease of processing, or you can convert raw shots to JPEGs later.
Processing star trail images is simple through free software called Startrails (www.startrails.de). Simply load all the photos, press the Startrails button, choose the mode, and watch the magic. You can import the final image into Photoshop or another image processor to tweak colors, contrast, and other details.
Time-lapse videos
This same technique can be used to take time-lapse videos of objects rising or setting, such as the Milky Way, the constellation Orion, or a crescent Moon. In this case, choose a short enough exposure that the stars don’t trail as much. (Fifteen seconds is good for an 18mm lens.) Otherwise, use the same the settings and technique as for star trails.
There are many free and paid programs to turn individual frames into a video. A favorite of mine is TimeLapse DeFlicker ($35 at www.timelapsedeflicker.com), which smooths variation in light between exposures. Add some space-themed music for a fun video of the night!
Nightscapes
Nightscape (or skyscape) images are wide-field shots of the night sky with a fascinating foreground, such as mountains, buildings, or anything else you might think of. Nightscape photos are best taken in raw format and from dark locations, far from cities.
A fast camera lens, such as a 14mm f/2, can capture the Milky Way rising using a single 20-second exposure. For an even more stunning image, photographers might take a single long exposure of the foreground — say 30 or 60 seconds, while lighting the landscape in some way — and then take several 15-second exposures of the sky to keep the stars from trailing. Stacking software can align and combine the sky exposures into one bright, high-contrast image; the photographer then replaces the sky in the foreground frame with the stacked sky frame.
Eight years after my first astroimaging experience, I now run four automated imaging rigs in my yard, with even bigger plans for the future. And I am thrilled to start sharing my knowledge and love of astronomy here!
LONDON — Queen legend Sir Brian May and NASA’s OSIRIS-REx chief scientist Dante Lauretta challenge Space.com readers to photograph objects in the solar system. The prize? A signed copy of their new book about asteroid Bennu.
A venerated rock star and astrophysicist, May cooperated with the team behind NASA’s asteroid sample-return mission OSIRIS-REx, helping to find a landing spot on the treacherous surface of asteroid Bennu, a space rock that turned out completely different from what the researchers expected.
The collaboration spawned the book “Bennu 3-D: Anatomy of an asteroid,” the first-ever atlas of an asteroid, that comes full of 3D images created by May. Lauretta and May, who are the book’s authors, detailed the collaboration at a recent event in London and generously agreed to donate a copy of the book with a signed plate into Space.com’s new astrophotography competition.
Video: Queen’s Brian May talks about NASA’s OSIRIS-REx and asteroid Bennu book
“Brian and I would like to invite all Space.com readers to submit their entries into the astrophotography contest and I want to challenge you to take a picture of a solar system object,” Lauretta said in a video, launching the competition.
May added: “If you win, you will get a copy of this book with a special plate that has both our signatures on it, so get to it, okay?”
May, who famously completed his PhD in astrophysics in 2007 after a more than 30-year-long hiatus enforced by Queen’s rise to fame in the early 1970s, previously cooperated with other space exploration missions. They include Europe’s comet-chaser Rosetta to the comet 67P and NASA’s New Horizons mission, which took images of Pluto during its historic first flyby of that world in 2015. In an exclusive interview with Space.com, May said the OSIRIS-REx cooperation, however, asked much more of him than his previous astronomy gigs.
Bennu 3-D Anatomy of an Asteroid – book cover.
“Dante [Lauretta] wanted to involve me at an early stage so we could actually contribute to the conduct of a mission,” May told Space.com. “That’s the crucial difference.”
In the preface of the book, Lauretta explained how crucial May’s work was in helping the scientists find a safe-enough landing spot for OSIRIS-Rex to collect a sample from. When the mission first reached its destination, the potentially hazardous near-Earth asteroid Bennu, it found none of the smooth beach-like plains the researchers had expected and designed their mission for. The landing, or rather a brief touchdown, was critical for the success of the mission, NASA’s first-ever attempt to bring to Earth a piece of an asteroid.
Related stories:
— Asteroid Bennu is nothing like scientists expected —OSIRIS-REx team preps for September landing of asteroid Bennu bits — Asteroid Bennu is old before its time thanks to the sun
“I was amazed by the results that Brian and his collaborator Claudia Manzoni produced by processing our data in stereo images, allowing us to see Bennu’s rugged and rough landscape in glorious 3-D,” Lauretta wrote in the book’s preface. “Seeing Bennu’s surface in this way really brought home the intimidating reality of this asteroid. It was far beyond our initial spacecraft design capabilities. At first, it seemed like our task was impossible, that we were never going to find a suitable location to collect our sample.”
Astrophotographers can submit their entries into the competition by email to [email protected]by Sept. 15. Please include “astrophoto competition” in the subject line to be considered. The Space.com editorial team will select and announce the winner onSept. 20 in our astrophoto of the month story, four days before OSIRIS-REx delivers its precious cargo to Earth.
SPACE.COM GIVEAWAY: Copy of “Bennu 3-D: Anatomy of an asteroid” with plate insert signed plate by authors Sir Brian May and Dante Lauretta
Official Rules
NO PURCHASE NECESSARY. Open to legal residents of 50 U.S & DC, and elsewhere, 18 or older. Employees, agents, officers & directors of Future PLC, Inc. (“Sponsor”), its parent, subsidiaries, affiliates & advertising & promotion agencies (collectively with Facebook, Inc., “Released Parties”) & members of their immediate family (spouse, parent, children, siblings & their respective spouses, regardless of where they reside) & persons living in the same household, whether or not related, are not eligible. Void where prohibited. Subject to all applicable federal, state & local laws.
HOW TO ENTER: Beginning at 12:00 PM ET on Aug. 8, 2023 (“Event”), visit the Space.com announcement page (“Event Page”), and submit an astrophotography photo to our submission email “[email protected]“by September 15, 2023 with the subject line “astrophoto competition” and information on the image and its credit. If, for whatever reason, the Event is cancelled or postponed, this giveaway will not occur. Entries generated by script, macro or other automated means or by any means which subvert the entry process are void. Limit one (1) entry per person/email. Multiple entries will be void. Entries become the sole property of Sponsor. Entry must not be offensive or inappropriate, as determined by Sponsor in its sole discretion. Sponsor reserves the right to disqualify any entry and remove any comment that it determines, in its sole discretion, is not in compliance with these Official Rules or is otherwise not in keeping with Sponsor’s image.
WINNER DETERMINATION: The Space.com editorial team will select and announce the winner onSept. 20, as determined by Sponsor in its sole discretion. Odds of winning depend on the number of eligible entries received and timing of response.
WINNER NOTIFICATION: Potential winner will be notified via email on their winning submission email & they will have 24 hours from notification to respond to Sponsor. The failure to respond to such notification or a potential winner’s noncompliance with these Official Rules may result in disqualification, & at Sponsor’s sole discretion, prize may be awarded to an alternate winner.
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Want to know how to photograph the Perseid meteor shower? The annual phenomenon technically began in mid-July, but peaks this weekend on August 12-13, and will continue through until August 24.
Technically, the most prolific meteor shower of the year is the Geminids in December, when it’s possible to see up to 120 shooting stars per hour. However, the most reliable – and easily the best in 2023 in the northern hemisphere – is the Perseid meteor shower every August.
It’s advisable to shoot around or after midnight to get the most ‘shooting stars’ in the darkest skies. This year conditions are better than usual, as the moon is waning, with the new moon arriving early on August 16. This means that the skies will be darker, giving you a better chance of seeing and photographing the meteors. Of course, you also need a cloudless night – so paying attention to the weather forecast will help you plan the best evenings.
With the right astrophotography tools it’s possible to photograph shooting stars on any night of the year. But meteor showers like the Perseids bring incredibly high activity – and lots of opportunity for stunning night sky photography. So what is the Perseid meteor shower? And why does it happen?
Well, it’s called ‘the Perseids’ because the meteors appear to originate from the constellation of Perseus – it’s ‘radiant point’. The Perseids occur when the nights are reliably warm and the skies are more likely to be clear in much of the northern hemisphere.
Perseid Meteor shower shot in Mongolia 2016. 14-28mm lens with exposure of 25 seconds at f/2.8, ISO 5000 (Image credit: Getty Images)
What is a shooting star? Essentially, it’s just dust. Earth’s orbit of the Sun often takes it through stacks of debris left in the solar system by comets and asteroids. Mostly it’s just dust particles – no bigger than grains of sand – that Earth’s atmosphere slams into. As it does, these particles energize briefly and become disintegrating meteors. If you’re standing on the night side of Earth in complete darkness, you’ll see a shooting star. The pile of particles that cause the Perseids come from Comet Swift-Tuttle, which last passed through the solar system in 1992 on its 133-years long orbit of the Sun.
Read more: How and when to photograph the moon
The trouble is, a shooting star typically only lasts a split-second – though occasionally as long as a second – as it streaks across the night sky. That doesn’t give you enough time to react to it, so your camera’s shutter needs to be already open, ready, and waiting for the light from a shooting star to hit its image sensor. That means long exposures of up to 30 seconds or beyond.
What’s so special about the Perseids?
The Perseids can turn into a festival of fireballs. Image: CC0 Creative Commons
An annual highlight of the astrophotography calendar, the Perseids meteor shower can rain down well over 50 meteors per hour, sometimes as many as 200. If the moon is out of the way, it can be a stunning experience, which makes the 2023 a key event in this year’s astrophotographer’s calendar.
Called the ‘Tears of St. Lawrence’ by Catholics because of its timing near a saint’s day, shooting stars from the Perseid meteor shower are fairly swift, striking Earth’s atmosphere at 37 miles/60 kilometres per second. They often have persistent ‘trains’ behind them that make them ideal to capture in long exposure photographs.
Read more:How to photograph the International Space Station
When and where to see the Perseids
August is when the Perseids will peak. Credit: ESO/C. Malin
Plan on camping out. It’s better to go for a clear sky and slightly fewer meteors a few days before or after the predicted peak than to plan a trip to a dark sky site on the big night if bad weather is predicted.
Picking a site with little light pollution is important because you’re going to be opening the shutter for at least 25 seconds, so a lot of light is going to get in. This interactive world light pollution map and the Dark Site Finder are both very useful for scouting a good location away from the bright lights of urban areas. However, if you can’t travel outside a city, you can still try to photograph shooting stars. Find somewhere where no streetlights are going to interfere with your composition, and get your camera into the shadow of a building.
Although the darkest skies are between midnight and dawn, the radiant of the Perseids – the constellation of Perseus – is ‘up’ right after dark in the northern hemisphere, so you can start looking for shooting stars right away. Or, while you wait for the night skies to darken, you could try to capture a beautiful crescent moon just above the southwestern horizon before it leaves the sky.
You’ll need a DSLR or mirrorless camera to capture meteors
Our best astrophotography tools buying guide has you covered for all the gear you’ll need to photograph the Perseids this year. However, here’s a quick overview for the key kit you’ll need…
DSLR
You can use any DSLR or mirrorless camera as long as it has a manual mode, and you can shoot long exposure images for at least 30 seconds. However, a camera with a full-frame sensor is the best option because it will capture more light and feature less image noise when used at high ISOs.
Wide-angle lens
Since you want to capture as much of the night sky as possible to maximise your chance of capturing shooting stars, a wide-angle lens is best. The best lenses for astrophotography have an effective focal length of between 10mm and 28mm.
Tripod
Keeping your camera steady is an absolute must for this long exposure project, so you’ll need the best tripod you can get. If it’s windy, don’t use the tripod’s extension arm. Check that the horizon is level before taking a shot.
Other gear
A shutter release cable that can be locked, or an intervalometer or remote control, will be helpful for taking repeated long exposures without having to manually depress the shutter button every 25 seconds.
Even summer nights can get cold after midnight, especially if you’re stationary while your camera does its work, so also take a coat and a fold-up chair.
Where to point the camera: the radiant
The Perseids show with a 20 second exposure on a 15mm fisheye lens. Canon EOS 5D Mark III with EF 15mm f/2.8. This is a composite shot with a 45 minute long exposure for the star trails, followed immediately by a 30 second exposure for the static stars (so you can see which ones made the trails), followed by three more shots of the Perseid shooting stars. (Image credit: Getty Images)
The Perseids meteor shower is named after the constellation of Perseus because that’s the location in the night sky that its shooting stars appear to originate from (though it’s not the source of them). Astronomers call it the radiant point, and can be seen in the night sky just below the W-shaped constellation of Cassiopeia.
How important is this to point your camera at? That depends on your composition. Since the shooting stars will appear to come from here, pointing at Perseus can get you an impression of movement. However, you’re then restricted to meteors that occur near that radiant point.
Where to point the camera: composition
The Perseids is the year’s most reliable meteor shower. Image: Jamie Carter
Although it’s tempting to point your camera at the radiant, meteors can just as easily appear anywhere in the sky.
By pointing at the radiant you’ll likely miss as many meteors as you’ll catch, so it’s better to get something interesting in the foreground – perhaps an old barn, a tree, or a sculpture – in your composition to add interest. That way you’ll have a beautiful astro-landscape photo that, hopefully, will feature a shooting star or two.
Besides, the Milky Way will be visible in the south-eastern sky during August, if you’re in a dark sky site, that is. You might rate that as a tempting backdrop for a shooting star.
Taking the shot
With your lens’s focus set to infinity, and its aperture to around f/2.8 (or as open as possible), choose ISO 800 or ISO 1600 (or even higher if you’re in a really dark sky site) and fix the shutter speed to 25sec. Take the shot, and if you’re not happy with result as a stand-alone image, make adjustments and re-take.
Once you’re happy, here comes the fun bit; take the same shot 50-200 times in Raw over the course of an hour, or a couple of hours. Just be careful not to switch-on any lights, or nudge your tripod during the shooting period; keep dark and stand well back.
Taking long exposures is the easiest way to capture a shooting star. Credit: NASA/Bill Ingalls
Either way, you’ll end up with hundreds of shots of the night sky, some of which will hopefully have shooting stars within them. If that’s all you’re after, you can extract the images that do feature a shooting star and ditch the rest. However, if you use the free software StarStaX, you can drag-and-drop all 200 photos into it to create a star-trail image … featuring shooting stars, of course. It’s also possible to do this on Adobe Photoshop.
Read more:How to capture star trails
When is the next meteor shower?
The Geminids in December is another chance to catch a bright meteor. Credit: CC0 Creative Commons
Although the Perseids is the most reliable, and most easily photographed meteor shower of the year because it occurs during summer in the northern hemisphere, there are other nights during the year where you are just as likely to see some shooting stars.
October’s Orionids – which are caused by Halley’s Comet – are often impressive, and this year are predicted to peak the night of 21-22 October. And then prepare for the Geminids, which will be at the height of their activity on night of 14-15 December.
Read more: • The beginner’s guide to photographing the night sky • Astrophotography tips, tricks and techniques • The best telescopes for astrophotography • The best camera for astrophotography: tools and lenses to shoot night skies • The best star tracker camera mounts • Best astrophotography events in 2023
Las estrellas fugaces de las Perseidas o Lágrimas de San Lorenzo son una lluvia de meteoros muy observada en el hemisferio norte debido a su alta actividad y a su coincidencia con la época de vacaciones, momento en que mucha gente se desplaza a pueblos y lugares con poca contaminación lumínica donde es más fácil verlas.
Las Perseidas son los fragmentos y polvo del cometa 109P/Swift-Tuttle que entran en la atmósfera a gran velocidad (unos 60 km/s), produciendo unos destellos rápidos y brillantes. En buenas condiciones podemos llegar a ver unos 100 meteoros a la hora durante su máximo aunque ha habido años excepcionales como por ejemplo entre 1991 y 1994 cuando se registraron tasas horarias de entre 200 y 400 meteoros/hora.
Durante su viaje alrededor del Sol nuestro planeta atraviesa durante unos días el mismo camino que siguió el cometa 109/P hace muchos años. En su viaje por el espacio, los cometas dejan tras de si un rastro de pequeñas partículas de hielo y roca que quedan vagando hasta que otro cuerpo celeste colisione con ellas. La Tierra, provista con una densa atmósfera, desintegra esas partículas antes de que puedan alcanzar el suelo y durante unos breves segundos podemos contemplar esa desintegración brillando en el cielo de manera fugaz.
¿Cuándo se pueden ver las Perseidas de 2023?
Las estrellas fugaces se pueden ver durante todo el año, hay multitud de lluvias de estrellas de enero a diciembre. Las Perseidas en concreto pueden observarse desde el 17 de julio al 26 de agosto siendo su pico de actividad entre el 11 y el 12 de agosto según la International Meteor Organization (IMO). La mejor noche para verlas este 2023 es la madrugada del 11 al 12 de agosto aunque no descartéis tampoco la noche del 12 al 13, en muchas ocasiones se han producido picos dobles de actividad en función de la densidad del tubo meteórico que atraviese la Tierra.
Este año coinciden con la Luna nueva por lo que tendremos unas noches muy oscuras para poder observar los meteoros más débiles. Tenemos, por tanto unas condiciones muy buenas para su observación.
Una casa rural bajo la Vía Láctea. Un lugar perfecto para ver las Perseidas.
¿Cómo ver la lluvia de meteoros?
Lo primero de todo es alejarnos de las luces de pueblos y ciudades. Necesitamos un entorno libre de contaminación lumínica así que toca coger el coche si dispones de él y desplazarse al campo o bien ir a un parque sin iluminación si no tienes posibilidad de salir de la ciudad.
Puedes utilizar un mapa de contaminación lumínica como www.lightpollutionmap.info para buscar un lugar oscuro donde poder ver las estrellas fugaces.
En éste blog ya hemos dado algunos consejos sobre cómo observar las estrellas fugaces. Básicamente lo mejor que puedes hacer una vez en el lugar oscuro de observación es tumbarte en el suelo (preferiblemente sobre una manta, colchoneta o saco de dormir) y mirar hacia el cenit (la parte más alta del cielo) con los pies orientados hacia la constelación de Perseo (más o menos hacia el noreste).
Hay que permanecer totalmente a oscuras y no encender teléfonos móviles ni linternas (podemos llevar una linterna de luz roja). Esperar hasta que nuestra vista se adapte a la oscuridad. Sabremos si estamos en un lugar suficientemente oscuro si podemos ver la Vía Láctea a simple vista.
Unas camas de camping y un cielo estrellado. Lo único que necesitas para ver las Perseidas.
Es muy recomendable ir cor ropa de abrigo en el coche (aunque sea verano en el campo la temperatura baja mucho por la noche), nos iremos poniendo capas a medida que baje la temperatura. Un jersey o un forro polar no sobrarán.
Llevad también agua o bebidas con cafeína para manteneros despiertos y algo de comer.
¿Cuál es el mejor sitio para ver las Perseidas en 2023?
Siempre insistimos en que para ver bien las estrellas fugaces hay que salir de la ciudad, lejos de la contaminación lumínica en busca de un cielo estrellado. En el caso de las Perseidas 2023 este factor es muy importante, debido a que al haber Luna nueva al salir al campo vamos a tener un cielo muy oscuro, pero en cualquier caso siempre es mejor que estemos lejos de farolas y fuentes de luz artificial. Si tienes una zona montañosa cerca puedes ascender para observar mejor las estrellas.
Por ejemplo, en Madrid la zona de la Sierra es de las mejores para ver las estrellas. Evita los lugares donde hay observatorios astronómicos ya que las luces de los coches puede interferir en el trabajo de los profesionales. En Calar Alto, por ejemplo, todos los años se producen graves molestias a los astrónomos cuando llegan estas fechas debido a la afluencia masiva. No es necesario ir hasta allí, tenéis sitios oscuros en las proximidades donde veréis muy bien el cielo y no molestaréis.
Calar Alto tiene un cielo espectacular pero no debemos interferir con luces el trabajo de los profesionales.
Los Pirineos, Sierra Nevada o provincias con poca contaminación lumínica como Guadalajara, Soria, Cuenca, Teruel, Lleida… son destinos perfectos para ir a ver la lluvia de estrellas de agosto. En Turismo Estelar podrás encontrar multitud de casas rurales donde poder ver las Perseidas.
Evita ir a los lugares más concurridos o conocidos porque es muy posible que los encuentres masificados y, por lo tanto, habrá más posibilidades de que te deslumbren las luces de coches o gente que acude con linternas potentes. Por ejemplo, aquí en Madrid todos los años el puerto de Cotos se pone hasta arriba de gente cuando tienes multitud de pueblecitos de camino que son igual de válidos y estarás mucho más a gusto.
En general, será bueno cualquier sitio donde seas capaz de ver la Vía Láctea a simple vista, esa banda lechosa que recorre el cielo en las noches de verano y que no es otra cosa que miles de estrellas en los brazos de nuestra propia galaxia.
También es buena idea contactar con alguna sociedad astronómica local, ya que seguramente organizarán alguna salida para observar las lluvias de meteoros, es una buena forma de conocer a otros astrónomos aficionados. Mirar las estrellas es una afición que permite hacer buenas amistades.
Trucos para ver BIEN las Perseidas
A parte de buscar un buen lugar de observación oscuro, elevado y donde no nos molesten luces artificiales (ni de tráfico rodado) el mejor consejo que podemos darte es que te abrigues bien. Cuando llegues por la tarde hará calor y es posible que vayas con camisa de manga corta o chanclas. Eso está bien, pero recuerda que por la noche la temperatura bajará (nos hemos cansado de advertir de esto y siempre hay alguien que pasa frío).
Llévate capas de ropa, por ejemplo una camisa térmica, un forro polar y un abrigo. Créenos si te decimos que al menos las dos primeras las usarás y el abrigo lo agradecerás. Unos pantalones largos y calzado cerrado con calcetines es fundamental. La cabeza es el lugar por el que perdemos más temperatura así que no está de más llevar también algún gorrito por si acaso.
Para ver las «Lágrimas de San Lorenzo» no es recomendable usar telescopios o prismáticos. Es mucho mejor observar a simple vista para tener un mayor campo de visión. Durante este año, en las noches de verano, podrás ver en el cielo varios puntos muy brillantes, son planetas. Júpiter y Saturno están próximos a su oposición y por eso destacan tanto.
Si puedes llevar una tumbona o una hamaca reclinable mejor que mejor. Debes mirar hacia el cielo así que cuanto más cómoda la postura menos te cansarás. Te puedes tumbar en el suelo, pero si estás en el campo mucho ojo con las garrapatas, pueden transmitir enfermedades muy graves. De nuevo llevar ropa larga y cerrada te evitará sustos.
No te olvides de llevar bebida (además de agua un termo con chocolate caliente o un caldo te ayudará a entrar en calor) y comida (bocadillo, frutos secos o galletas y chocolate…). El móvil siempre cargado, pero mejor no lo uses, ya que su brillo te deslumbrará y necesitarás acostumbrar tu vista de nuevo a la oscuridad durante varios minutos. Si necesitas usar alguna linterna procura que sea de luz roja o usa un celofán rojo para cubrir cualquier luz que pueda molestar.
Aunque las Perseidas parecen salir de la zona de la constelación de Perseo lo mejor es que mires al cénit con los pies apuntando a esta constelación, dado que los meteoros pueden aparecer en cualquier parte del cielo. Son muy rápidos y algunos brillan muy poco así que no te despistes. Puedes ir contando el número de estrellas fugaces que ves y hacer un recuento por horas. Así podrás certificar cuando se produjo el pico de actividad.
Las Perseidas en la cultura general
Como ya hemos dicho antes, estas estrellas fugaces reciben su denominación porque tienen su radiante cerca de la constelación de Perseo.
En la mitología griega Perseo era un semidiós, hijo de Zeus y de la mortal Dánae. Entre sus logros destaca el rescate de la princesa de Etiopía, Andrómeda, que había sido entregada en sacrificio al monstruo marino Ceto por sus padres, Cefeo y Casiopea (constelaciones que encontramos en la misma región del cielo).
Popularmente también se las conoce también como «Lágrimas de San Lorenzo», puesto que el 10 de agosto es el día de este santo que murió quemado en una parrilla.
What began as a Christmas gift from his daughters has launched the former owner of O’Keeffe’s Mensland in Shepparton into the world of astrophotography.
“I often get asked if I have always been interested in astrophotography. The answer is no,” Mr O’Keeffe said.
The universe of stargazing opened to him when his daughters gifted him a telescope shortly after his retirement in 2020.
While Mr O’Keeffe’s interest in photography was long-standing, the night sky was a new frontier.
“I had always had an interest in traditional photography over the years and had good cameras,” he said.
But his curiosity didn’t stop at the gift’s possibilities.
“I was actually really pleased with the gift from the girls but thought it would be worth getting something a bit more advanced,” he said.
So, he dove into the intricacies of telescopes, ultimately unveiling the captivating realm of photographing nebulas and galaxies.
A glimpse into the cosmos: The Rosette Nebula. Photo by Brendan O’Keeffe.
However, behind his images are hours of patience and persistence.
“I spend a lot of my time at night trying to get that perfect shot,” Mr O’Keeffe said.
“Sometimes into the early hours of the morning.
“But once the clouds come in, it’s over.”
His perseverance, however, doesn’t rely solely on waiting for celestial clarity.
“I have taught myself and researched astrophotography through YouTube and a range of forums around the world,” he said.
“It’s been really rewarding being able to progress to a level that is really advanced, and I keep learning as I go along.”
Mr O’Keeffe said that while many people had telescopes, few had delved deep enough to discover their full potential.
“It really is unique and there’s not many doing it,” he said.
And his work hasn’t gone unnoticed.
Mr O’Keeffe said his images had garnered attention from young and old alike.
“I have a great following and enjoy the feedback I receive from people on social media and in person,” he said.
One of his recent accomplishments is a photograph of the Rosette Nebula.
“The Rosette Nebula is 5000 light years away from Earth,” Mr O’Keeffe said.
“Light seen from this nebula today left Rosette before Egypt’s Great Pyramid of Giza was built.
“It took me 30 shots at five minutes each to get enough data to produce this photograph.”
As the stars continueto allure, and Mr O’Keeffe continues to astound, one thing is clear: retirement, for him, is merely a launchpad to the galaxies beyond.
To see more of Mr O’Keeffe’s astronomical photographs, you can visit his Instagram and Facebook pages.
One of the photographs, entitled ‘M-51 – A Galactic Dance’ captured by Sara Harvey from Bishopstown was selected as the overall winning entry in the aptly named ‘Out of this World’ category in the Dublin Institute of Advanced Studies (DIAS) ‘Reach for the Stars’ astrophotography competition.
Entrants to the category were tasked with capturing images depicting scenes or elements of astronomical interest, such as deep space stills or images of the solar system.
Sara’s photo captured the Whirlpool Galaxy, located a mere 31 million light years from the Earth.
As viewed from Earth, the galaxy has a ‘face-on appearance’, with Sara’s image capturing its distinct spiral structure and galactic core in all its spectacular and vibrantly colourful glory.
Commenting on Sara’s winning photo Professor Peter Gallagher, Head of Astrophysics at DIAS and a member of the judging panel for ‘Reach for the Stars’ described it as a “technically brilliant image”.
“The level of detail captured is really impressive. 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,” said professor Gallagher.
“You can also see some tiny galaxies floating in the background and its companion galaxy NGC 5195 is clearly visible,” he added.
Another image, captured by Keith Levins from Blackrock entitled ‘The Almighty Arch’ was runner-up in the ‘Back To Earth’ category.
A tracked panoramic image, its was shot at Bray Head on Valentia Island, part of the Kerry International Sky Reserve, a gold tier sky reserve and the only one of its kind in the northern hemisphere.
The image shows the Bray Tower, which was used for coastal watches during World War II resting below the illuminated Milky Way.
Both award winning submissions, along with 11 other top-rated images, are being showcased as part of a free outdoor exhibition at DIAS’s Dublin premises.
Among them will be another image called ‘Star Boy’ taken by Colm O’Dwyer from Ballincollig of Barnard 150, a meandering dark dust nebula approximately 1,200 light years away located in the constellation Cepheus
All the winning images are all available to view now online at www.reachforthestars.ie.
The object moved east to west over the course of 10 minutes. Photo: Ari Rex.
It was a normal night, out under the stars at Gundaroo.
Ari Rex was running one of his usual astrophotography workshops on Friday (14 July), training several clients in the art of capturing the night sky on camera.
At about 8 pm, something peculiar caught the group’s attention. Ari describes it as “an elliptical white object flying towards us”. The object moved west to east for about 10 minutes before disappearing from sight.
As a photographer of Canberra’s skies for more than 10 years, and with many prestigious awards and events under his belt, Ari has encountered plenty of “intriguing phenomena” during his regular astrophotography sessions. But this one was different.
“It didn’t look like anything I’ve ever seen,” he said.
Ari had been closely following recent hearings in the US, where a former military intelligence officer claimed Congress had been kept in the dark about “unidentified anomalous phenomena”, known as UAP or “unidentified flying object” (UFO).
In a social media post on 29 July, Ari described the white-ish smear as a UFO, in the hope others might have ideas.
A close-up of the phenomenon. Photo: Ari Rex.
Some commenters compared it to a reflection of sunlight high in the atmosphere or a cloud in the shape of a Tic Tac, liquorice, or even a tampon.
The experts were in disagreement over whether or not it might have been the plume from the rocket Chandrayaan-3, launched by the Indian Space Research Organisation (ISRO) that day and destined for the Moon.
“It would not be the plume from the Chandrayaan-3 mission, as that happened earlier (as people saw), and by this time, it was not over our location,” Dr Brad Tucker from the Australian National University (ANU) wrote.
“It is not astronomical – i.e. something in space. It looks more atmospheric, especially given it seems to be in that thin, light band of clouds.”
Another from Gilmore Space Technologies in Queensland said: “It is far too close timing-wise to not be Chandrayaan”.
“What are the odds of something else entirely, appearing exactly like a rocket blowdown, within half an hour of a sighting confirmed by hundreds of people?”
Since then, Ari has become “99.99 per cent sure” it was, in fact, the “IFO”, or Indian Flying Object.
“After conducting a thorough investigation into the UFO I shared earlier this week I have determined that the mysterious object is actually the fumes from the Chandrayaan-3 rocket launched by India to explore the Moon,” he says.
“Congratulations to ISRO for the successful launch, and let’s keep our fingers crossed for a smooth touchdown in approximately three weeks.”
