Neowise

 

Comet Neowise in northwest Oregon on July 19, 2020. ISO 25600, 70 mm focal length, 3 s exposures, F2.8. 127 light frames, 180 dark, 89 flat.

Many, many photographers went out last month to capture comet Neowise and I too tried my luck. If you are looking for a hobby where you can spend long hours standing around in the dark and then even more hours back at home in your study processing the pictures you took, then astrophotography might be for you! (You can see the full-size images of this post on Flickr.)

The first thing to do is find a dark site. Using the Light Pollution Map shows that Oregon has quite a few dark places to observe the night sky, once you get away from the larger towns and cities. But there are two other problems. The places where light pollution is low are covered with trees. They make Oregon beautiful and the air pleasant to breathe, but they are in the way when you are trying to see things far away. Especially things, like comet Neowise, near the horizon. The second problem is haze from the humidity, although in the summer months it is not too bad. Thanks to Covid, air pollution is down, which also helps.

Earlier the same evening. ISO 800, 60 mm focal length, 2 s exposures, F2.8. 60 light frames, 60 dark frames, and 30 flat frames.

Since we already live quite a bit away from Portland, I had to drive only about another fifteen minutes to a Class 4 Bortle dark sky site. Not perfect, but it worked, especially since I was going to look northwest, away from the light pollution. I found a spot on top of a hill where they were conveniently clearing the trees for my photographic adventure. Hence the bulldozer in the picture above. The spot is near the tiny town of Timber, OR, and I am guessing the glow along the horizon is leftover from sunset and maybe some of the lights of Timber.

First Night

On July 19th I went out with big plans: I would take pictures of the comet but also setup an equatorial mount and take pictures of deep space objects in the Milky Way. I thought I could do this in parallel, but was too busy and had to serialize. Comet pictures until it dropped below the horizon, then another two hours of deep-sky shots. I'm not too happy about the latter, but blog about them later. In total, I spent five hours in that clearing, took almost 1,500 frames, was visited by a couple of deer, tons of bugs, and saw four pick-up trucks drive by during that time.

None of the comet pictures of the first night were tracked. Just a tri-pod, a fairly wide angle lens, and short exposures. I was there before sunset to set up and you can see the progression from civil to nautical to astronomical twilight to night in these pictures. The one with the dozer above was first. The one on top of the page was last. As the night went on, the comet and that part of the sky dropped closer and closer to the horizon and disappeared after midnight. Late in July, Neowise was circumpolar, but my observation spot was below another hill.

Second shot of the first evening. ISO 2000, focal length 46 mm, 3 s exposures, F2.8. 55 light frames, 90 dark, and 60 flat frames.

My camera is fairly light sensitive, but in order to take these kind of pictures, you need to take lots of them. Tens and hundreds. Later they all get stacked together to filter out the noise and enhance the light. There are several free and commercial programs available that make this stacking possible. You can assist these programs by taking additional type of pictures. The ones with the subject in them are called light frames. Dark frames use the same ISO and exposure settings, but you cover the front of your lens so that these pictures come out black. This has to be done at the same ambient temperature as the light frames. The camera sensor behaves differently at different temperatures. Settings like ISO and exposure time also have an influence. The collection of these dark frames contain signal variation from the sensor that is also present in the light frames. With both of these sets available, the stacking programs can remove some of the sensor noise.

Flat frames are taken with a white light source, same ISO as the light frames. I used an empty pdf page on a tablet covered with a sheet of paper as my light source. I held it in front of the lens and took pictures in aperture priority mode. The stacking software uses these frames to subtract dust on the lens or sensor, as well as hot and dead pixels on the sensor.

Third shot of the night. ISO 6400, focal length 24 mm, 5 s exposures, F2,8. 89 light frames, 47 dark, and 30 flat.

I am quite new to astrophotography and in the past I have used Deep Sky Stacker (DSS) to stack my images. It is a free Windows program, but it works under Wine in Linux. It is a sophisticated but complex program and more often than not, I could not get the results I wanted. Looking for an alternative, I discovered Sequator. It is also free and works in Wine very well. It has a lot less knobs to experiment with than DSS, but it is a lot easier to use. And, it has a horizon freezing feature that I really like.

When you take a lot of pictures with an exposure of several seconds, the sky moves but the horizon stays put in relation to your tripod. (Yeah, I know it is actually the Earth that moves.) When a stacking program aligns the stars, it rotates and shifts each frame until everything matches. That means the horizon becomes blurry. Sequator lets you paint the sky in one of the frames to help it distinguish between sky and horizon. The brush's smallest diameter is not very small, but the marking doesn't have to be very precise for Sequator to do a good job. The process took less than a minute or so for my Neowise pictures. Sequator had the most trouble with the top-of-post picture. I spent hours in post-processing to fix that horizon.

Since I'm fairly new to this, I also wanted to experiment. Manual focusing at night is difficult, and I already knew that I wanted to keep my exposures to five seconds or less. I wanted sharp, pinpoint stars, not star trails. But I also knew that five seconds is too short get some of the fainter objects in the sky, or the wispy ionization trail of Neowise. The bluish, straight tail of Neowise are ions that get knocked loose, while the bent, white/yellow tail is water vapor that has been heated up by the sun. I read why one is bent and the other is straight, but I still don't understand it.

The high ISO picture on top is interesting. A single shot from that set is really grainy as you can see in the zoomed in portion below. Stacking 127 of them and combining them with 180 dark frames and another 89 flat frames, produced a fairly acceptable result. I like how the blue ion trail came out and am quite happy that the trees are not completely black. I shone a flashlight at them, but they were quite far away. I did the same with the dozer in the third set, but it was almost too bright. The light on the dozer in the first set of the night (ISO 800) is from one of the few trucks that drove by.

Zoom of an unprocessed single frame that I used to create the image at the top of this post. The high ISO creates a lot of noise. Stacking 127 of these kinds of frames removes most of it. 

None of these pictures have stars quite like I wanted them. Especially the high ISO picture on the top of the post has highly distorted stars. That is better visible in the full-size images on Flickr. By the time I was taking the last set of frames, it had become quite windy. I was also on soft ground: recently deforested ground. So, maybe it was not just the focus.

After stacking these frames, more work was needed. I use the gimp for layering the stacked images with the light painted ones and to fix blemishes such as stacking artifacts on the horizon. For general picture manipulation, I use rawtherapee.

I mentioned earlier that the sky moves in relation to the ground we stand on. Just to show how much, I created the GIF below. It is made from the same 127 unprocessed light frames I used for the top picture. Note not only can you see how much the sky moves in 127 * 3 s = 6.35 minutes, but also how many satellites fly by (and have to be filtered out by the stacking software.) Watch closely and you can see them streaking by in all directions.

Second Night

A week later, I went out again. Same spot, but this time with a longer lens and an equatorial mount: I wanted a close-up! It was quite windy that night, the ground was still soft and squishy, and my setup is heavy and wobbly. The lens and camera alone are 8 lbs. The counter weights and arm add another 9.5 lbs. A heavier duty tripod could help, especially for locations that are reachable by car. Add a larger EQ mount and now it is way too heavy for me to carry up Saddle Mountain.

My equatorial mount setup

Despite the difficulties, I got a decent picture. I took longer exposures, 30 seconds, and had to eliminate about half of my light frames that did not turn out. On my second night out, the comet had become too faint to see with my (bad) naked eyes. Once I found it and knew where exactly to look, I could kind of see/guess it with averted vision. My camera, by collecting photons for 30 seconds at a time, was able to get the shot below.

ISO 1600, focal length 200 mm, 30 s exposures, F5.6. 14 usable of 27 light frames, 27 dark, and 36 flat.

Because the comet tail is so long, I thought a portrait shot would be good. When I reoriented the camera, I must have touched the focus ring in the dark. Unfortunately, I did not check and the picture below has little disks for stars, instead of the sharp , tiny dots I wanted.

ISO 1600, focal length 200 mm, 30 s exposures, F5.6, 13/25 light frames, 27 dark, and 36 flat.

I fixed the focusing after that set, but now the comet was so low to the horizon that tree branches kept getting into the way. I wish I could have had more time and do a whole set and stack it. When Neowise comes around again in more than 6,000 years, I will probably not be around anymore.

ISO 6400, focal length 200 mm, 30 s exposures, F5.6, single frame.

That was a  lot of work. I learned a few things and did get a few decent pictures. Now I have to decide which one to print and hang onto my wall. I'm thinking maybe the first or third one at the top of this post. Or both! Please, head over to Flickr and have a look at the full resolution versions.

Tokyo and Mount Fuji

 

Mount Fuji at sunset

Remember when we used to be able to travel internationally? Not so long ago? In February I went to Tokyo to visit our collaborators at RIKEN and added the weekend to do some sightseeing. This was my sixth trip to Japan and I did not have enough time to travel far from Tokyo, but wanted to see new areas. I had a few ideas, but the weather and my hotel room assisted in setting a course. By chance I was given a room with a view to the west and Mount Fuji. When I arrived the weather was clear and I got to see the sunset below from my room! Talk about motivation to see more like this. You can see all pictures from this trip over on Flickr.

View from my hotel room on the day of arrival. Tokyo tower all lit up and the sun setting behind Mount Fuji.

Once you get to the street level in Tokyo, seeing Mount Fuji becomes a lot harder. There are of course many towers that offer a view but I wanted something different than the cityscape above. A hill or a park would be nice. Doing some searches I found Mount Takao at the western edge of Tokyo. The Takaosanguchi station at the bottom of the mountain is easily reachable by train from central Tokyo. I left the hotel Sunday around lunch time after I had figured out how to get there. A cable car near the train station takes you half way up Takao. There are several pleasant hiking paths that lead to the top and some attractions along the way, but it was getting evening and I wanted to be on top at sunset. (That also meant I had to walk all the way down to Takasanguchi because the cable car stops operating after dark.)

Cable car and hiking paths up Mount Takao

The top of Mount Takao

From the top of Mount Takao you have a clear view of Mount Fuji to the west and all of Tokyo to the east. Unfortunately, the best view points for each are quite a bit away from each other. I was here to take sunset pictures of Mount Fuji, but it would have been incredible to capture the full moon raising out of the bay of Tokyo with all the city lights right in front of it. I definitely want to get back some day and capture that moment. By the time I was done with my sunset pictures, it was pitch black and the moon was quite high in the sky already.

Full moon over Tokyo

Because it was a full moon, Mount Fuji was bathed in light even long after sunset. The lights from the sun, moon, and the amusement park in the picture below combine to create an interesting mood. Venus is in the top right. The amusement park is called Lake Sagami Pleasure Forest. The Japanese like to use English words to name things that might be interesting to tourists, but often their word choices and combinations sound funny. Almost always you can sense a mystical or lyrical meaning, but it is also clear that the translator was not done by a native English speaker. I don't understand why they do not spend a little bit of money for a professional, instead of making banners and signs, or put places on maps, with google translated phrases. On the other hand, maybe it is on purpose for the amusement of the non-Japanse.

Mount Fuji lit by full-moon light after sunset

I wanted to come back the next day to do it all again and improve on my efforts, but the next day was Monday and my plane was leaving that evening just before sunset. I did have time to explore more of Tokyo earlier in the day before my return trip and took some photos, but they are not that interesting.

More interesting was Saturday, before my trip to Mount Takao. From my hotel window I had seen a tiny, at that distance, elevated train coming and going every few minutes and I was wondering where it went. In figuring out where to go exploring, I came across the artificial island of Odaiba and learned that the fully automated trains I had been watching went there. Neat!

Full moon between the building towers and the setting sun reflected in the windows.

The picture above is not completely accidental. It took several hours of planning and waiting for the right moment and then it almost didn't happen because of the clouds. Luckly, there was just a large enough hole, at the right moment, to get the shot. I used the Photographer's Ephemeris to figure out where to be at what time.

The island of Odaiba has many attractions, including a miniature Statue of Liberty (which was enshrouded in scaffolding in preparation for the Olympic games, which were still supposed to happen at that time.) An afternoon is not enough to explore it all and the many indoor spaces are difficult for photography. Outdoors was pretty good, though. Also, don't bother with the world's tallest indoor waterfall. It's more of a small faucet someone has let running high up. Not very impressive. The Rainbow bridge in the picture below, is more interesting. (After googling for the waterfall I found that it drops two tons of water in seven minutes from a height of 35 meters, several times per day. Maybe I was not there at the right time.)

Rainbow bridge

I want to go back some day.

My Book

"My" book (others helped too!)

 Our book got published end of last year, but due to shipping problems and holidays I only got my hard copy a little over a week ago. This project started in May 2017 with Yutaka Ishikawa of RIKEN proposing that the four of us undertake such a project. We began by outlining the structure of the book and thinking about whom to invite to participate. We wanted to cover the last three decades in operating systems for supercomputers and hoped for contributions from all major players during that time. Forty authors from three continents joined us in the end. One glaring omission are the recent successes of the Chinese in the Top500 list. Despite trying quite persistently we were unable to get a chapter on that. There are other omissions too, for example the K40 project, where the book remains quiet. But, all in all, it is a nice history and lessons learned that covers a large number of projects.

 Once we had the chapter list we worked with the authors and Springer Verlag to to give the book a logical flow, consistency, and a cohesive feel. This is not a bunch of isolated chapters thrown together. The book is organized into three major parts, each roughly covering one decade between the 90s and now. Each part has an introduction to explain what motivated the work done during that time, and the influence things like the arrival of MPI and Linux, and the move to commodity components, had on the projects described in the book. There are a common bibliography, index, and list of acronyms that cover the entire book.

 It was a lot of work and it was fun to work with the people who contributed to the book.  I am very proud of the end result. Not only because I think it is a good book, but also because it covers many of the projects I worked on over the last, nearly thirty years, and many of my friends and colleagues from that time contributed.

 Some Easter eggs for you. The SUNMOS and Puma section has pictures I drew nearly thirty years ago using Framemaker. Current versions of that product can still open those old files and convert them.  That is not the case for some other tools. I have PowerPoint and Word files that can no longer be viewed. One of them is a depiction of a cluster I drew for the first SOS workshop. There are jpeg versions still in circulation. For the book I created a new image. Nowadays, supercomputers have impressive images on their front panels. (Back then we had to do with blinking lights.) So, I superimposed an image of Mt. Hood, tallest peak near my new home, onto the front of my new drawing. I took that picture on a hike with my daughter. The book cover picture is also mine. I took it when we got to see Oakforest PACS in Japan.

 The book topic is pretty specialized but it should still be an interesting read for people interested in systems software and supercomputers. And No, you don't have to buy one to support me or the authors. Our pay was a hard copy of the book (two for editors), and that's all we'll ever get. But it is nice to be able to go to Amazon or your favorite online bookshop, type in your name, and see the book pop up.

Heceta Lighthouse

Heceta Lighthouse at sunset

Last Summer Lee Ann, Anika, and I spent a couple of nights near Florence on the Oregon coast. All pictures from that trip are in my flickr album. We had rented a house on Heceta Beach just north of the town which gave us quick access to several interesting sites in this part of Oregon. One of them is the Heceta Lighthouse. It is nicely visible from a viewpoint along highway 101.

Heceta Lighthouse as seen from highway 101

While browsing souvenir shops and art galleries in Florence some of the best pictures are at sunset from right behind the lighthouse, like the picture at the top of this post. The problem is that the site and the park below it close at sunset. This seems to be common in Oregon and is a real problem for evening and night photography.
At Heceta Lighthouse there is, literally, a way around that, if you have good shoes and a flashlight. It is called Hobbit Trail. It starts North of the lighthouse on 101, climbs over a hill, and 1.5 miles later reaches the lighthouse. The other fork of the trail leads down to Hobbit beach. It is a beautiful trail, but a bit of work, especially if you are in a rush to catch the sunset and then back in the dark using flashlights. But, well worth it. Doing this hike and photographing the lighthouse with Anika was my favored activity on this trip.

Hobbit Beach from the fork of the trail that leads to Heceta lighthouse

Taking the lighthouse picture is tricky. The horizon is very bright with the setting sun, the lighthouse light is on, but turning, which is an issue with long exposures, and the foreground is already dark. I had to use photomatix, the Linux version of course, to create the HDR image. I tried exposure blending and luminosity masks, but was not able to create a picture that was as good as the HDR. The white walls of the buildings and the lens and lantern make it difficult.
The HDR image is pretty good. Better than many Heceta Lighthouse pictures on the Internet, but not as good as some of them. I need to learn more about luminosity masks.

Thor's Well

I visited Florence in the 90s and have been wanting to go back for a while. On one of those Top-Ten Places to Visit websites I saw a picture of Thor's Well. It was captioned as the drain of the Pacific Ocean, a must see site in the world, right here in Oregon, and on the way to Florence. Clearly, I had to see and photograph this.
My picture is nowhere near as dramatic as most of the pictures out there. To get a really good picture  you need high tide, clear weather, near sunset, and ideally the moon setting in the Northeast. Needless to say, getting all these things lined up properly on the Oregon coast requires time and patience. An additional difficulty is that the good spots to take this shot are dangerous - people have been washed out into the ocean or fallen into the hole - and prone to soak expensive camera equipment with saltwater. So, Thor's Well was a little disappointing for us this time. We'll try again.

The Milky Way and Jupiter from the back porch of our vacation rental near Florence

Many spots along the Oregon coast are quite dark and offer beautiful views of the night sky when the weather is nice. I took the above picture of the Milky Way from the back porch of the house we had rented. To the left is some light pollution from houses nearby and Florence further South. My camera was on an equatorial mount but it was not properly aligned with the North star; I'm still learning how to do that. I took a bunch of pictures and tried to stack them, but none were as good as the single picture above. More photography skills to learn.
This trip was in August. One reason it took me so long to write about it was that many of the pictures took quite a bit of time processing and many of my attempts did not work out as I had hoped. Nevertheless, this was a fun trip and I like the pictures I brought back home. Look at all of them in my flickr album.