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An award-winning photographer tells you how to take pictures of the night sky – CBC.ca

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Dave Brosha is a professional photographer who, over the last 15 years, has taken highly stunning pictures of the Canadian wilderness.

It was when he was living in Yellowknife — before he pursued photography full time — that he first became interested in pointing his lens toward the skies.

“Yellowknife is known as one of the best areas on the planet for displays of the aurora borealis,” he said. “I found myself outside many, many nights under the stars.”

Since then Brosha has been short-listed multiple times for the Astronomy Photography of the Year Awards, and in 2010 he was the first runner-up in the category of land and space.

Now that he’s based in P.E.I., he splits his time between doing commercial assignments and teaching photography to people across Canada and in other parts of the world. 

Every summer, he holds a workshop on the Island with his colleague, Paul Zizka, on sunset and nighttime photography that features astrophotography, the art of capturing a picture of an object in space.

“Between Worlds.” Self-portrait photographed on the edge of a glacier in Iceland. ISO 3200, f/2.5, 30-seconds. (Dave Brosha/Dave Brosha Photography)

“There’s people that are more into deep-space photography, actually photographing the galaxies and close-ups of planets and stars and stuff like that,” Brosha said. “But to me, astrophotography is really just going out into the world once the light disappears and just exploring the beauty of that.”

Dave Brosha. (Amy Stackhouse)

Though his workshop just ended, Brosha took some time to tell CBC what beginners need to know to get into this hobby, which he says at its most barebones doesn’t require more than a fairly basic DSLR camera or a good smartphone — not even a fancy location.

“My favourite nighttime photographs have always just kind of come in my own backyard. I don’t have to drive anywhere, and it’s right there,” he said. 

“Whether exploring star trails or aurora borealis or Milky Way photographs, or just being able to go outside in your own backyard, it’s [all] pretty wonderful. 

“It helps to live in the countryside.”

Switching to manual

All good nighttime photographers — and all good photographers in general — must have a firm grasp on the concept of exposure. That’s the amount of light that’s allowed to reach the camera sensor. A picture that’s underexposed is one that looks too dark.

“Apparitions.” Photographed on a still night at low tide at Hopewell Rocks, New Brunswick. (Dave Brosha/Dave Brosha Photography)

“You have to understand the principles of capturing very small amounts of light over a longer time. So you have to know how to be able to operate your camera to capture those miniscule bits of light,” Brosha said. “It really forces you to slow down and think.”

For starters, that means ditching your camera’s auto settings. 

“You can’t really shoot night photography effectively in just auto mode. You have to learn the exposure triangle,” he said. “It takes a little bit of work, for sure. But the rewards are tremendous.”

Keep it steady

“World Goes Round”. The Old Man of Storr in the Isle of Skye, Scotland. ISO 4000, f/2.8, timelapse stitch of 45 30-second images. (Dave Brosha/Dave Brosha Photography)

The longer the camera’s shutter remains open, the larger the amount of light the camera takes in. As such, in a night photography environment, it’s common to see shutter speeds of over 20 to 30 seconds. 

But a slow shutter speed means the camera is very sensitive to any motion.

That’s great if you’re trying to capture the movement of celestial bodies such as when taking a “star trail” photograph, but even a slight movement could lead to blurry images.

Brosha said that for long exposures, it’s important to keep your camera steady. That means a good tripod is almost a must.

“If all else fails, I’ve improvised by propping my camera up on a solid surface,” Brosha said. “Using a timer on your camera rather than pressing your shutter also helps reduce camera shake.”

Check your ISO

Cranking up the ISO allows for more light to get in the camera at the expense of quality.

That could compensate for a faster shutter speed when capturing a moving object, such as when trying to capture the outlines of bright northern lights.

And having both a slow shutter speed and a high ISO could lead to highly detailed images of the night sky, such as this self-portrait with the Milky Way as a backdrop. It was taken with a 3200-ISO, and a 30-second shutter speed.

“Shine Your Light.” Self-portrait taken in The Pinnacles in Western Australia. ISO 3200, f/2.8, 30 seconds. (Dave Brosha/Dave Brosha Photography)

“When you go out there, and you even just let your eyes adjust for the dark, and you’re out there an hour, it’s remarkable how much more you see. The camera can take that even further,” Brosha said. “[It] picks up so much more.”

Perfect conditions

Brosha said that other than avoiding pouring rain, there are no real “ideal” conditions as to when to venture out, and that all types of weather can lead to interesting pictures.

“Cloudy? Reflected light pollution can actually look interesting in a long exposure. Full moon? Not the best conditions for shooting the Milky Way, but great conditions for being able to see your foregrounds,” he said.

“Where The Wild Winds Blow.” Portrait of Maggie Hood, Iceland. ISO 3200, f/2.2, 2.5-seconds. The subject was lit by an off-camera strobe. (Dave Brosha/Dave Brosha Photography)

A pitch-black night is a prime setting for taking pictures of stars. And if you’re looking to take a picture of the northern lights, you better look, well, north.

“It’s generally easier to photograph on the North Shore, when the aurora borealis is predicted. So that’s what I would probably recommend to people,” Brosha said.

Go out there and shoot

“Night Falls.” Alexandra Falls in the Northwest Territories. ISO 1600, f/7.1, 25-second exposure. (Dave Brosha/Dave Brosha Photography)

Brosha said that astrophotography may look intimidating on the surface, but that it’s not as complicated as most people might think. 

“All you have to grasp to begin is the concept of long exposure. And that usually I find for people is something that they can get the hang of pretty quickly. It just takes a little bit of practice,” he said.

Once you got that nailed down, Brosha said you can get really creative with it. And the setting allows for that.

“Every time you turn on a light, like a flashlight, your eyes kind of lose the adjustment to the nighttime that you’ve gained,” he said. 

“So you really try to function with as little light as possible. And so everything becomes slower and more deliberate.”

Plus, Brosha said, it’s a fine excuse to go outdoors.

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Here’s how Helene and other storms dumped a whopping 40 trillion gallons of rain on the South

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More than 40 trillion gallons of rain drenched the Southeast United States in the last week from Hurricane Helene and a run-of-the-mill rainstorm that sloshed in ahead of it — an unheard of amount of water that has stunned experts.

That’s enough to fill the Dallas Cowboys’ stadium 51,000 times, or Lake Tahoe just once. If it was concentrated just on the state of North Carolina that much water would be 3.5 feet deep (more than 1 meter). It’s enough to fill more than 60 million Olympic-size swimming pools.

“That’s an astronomical amount of precipitation,” said Ed Clark, head of the National Oceanic and Atmospheric Administration’s National Water Center in Tuscaloosa, Alabama. “I have not seen something in my 25 years of working at the weather service that is this geographically large of an extent and the sheer volume of water that fell from the sky.”

The flood damage from the rain is apocalyptic, meteorologists said. More than 100 people are dead, according to officials.

Private meteorologist Ryan Maue, a former NOAA chief scientist, calculated the amount of rain, using precipitation measurements made in 2.5-mile-by-2.5 mile grids as measured by satellites and ground observations. He came up with 40 trillion gallons through Sunday for the eastern United States, with 20 trillion gallons of that hitting just Georgia, Tennessee, the Carolinas and Florida from Hurricane Helene.

Clark did the calculations independently and said the 40 trillion gallon figure (151 trillion liters) is about right and, if anything, conservative. Maue said maybe 1 to 2 trillion more gallons of rain had fallen, much if it in Virginia, since his calculations.

Clark, who spends much of his work on issues of shrinking western water supplies, said to put the amount of rain in perspective, it’s more than twice the combined amount of water stored by two key Colorado River basin reservoirs: Lake Powell and Lake Mead.

Several meteorologists said this was a combination of two, maybe three storm systems. Before Helene struck, rain had fallen heavily for days because a low pressure system had “cut off” from the jet stream — which moves weather systems along west to east — and stalled over the Southeast. That funneled plenty of warm water from the Gulf of Mexico. And a storm that fell just short of named status parked along North Carolina’s Atlantic coast, dumping as much as 20 inches of rain, said North Carolina state climatologist Kathie Dello.

Then add Helene, one of the largest storms in the last couple decades and one that held plenty of rain because it was young and moved fast before it hit the Appalachians, said University of Albany hurricane expert Kristen Corbosiero.

“It was not just a perfect storm, but it was a combination of multiple storms that that led to the enormous amount of rain,” Maue said. “That collected at high elevation, we’re talking 3,000 to 6000 feet. And when you drop trillions of gallons on a mountain, that has to go down.”

The fact that these storms hit the mountains made everything worse, and not just because of runoff. The interaction between the mountains and the storm systems wrings more moisture out of the air, Clark, Maue and Corbosiero said.

North Carolina weather officials said their top measurement total was 31.33 inches in the tiny town of Busick. Mount Mitchell also got more than 2 feet of rainfall.

Before 2017’s Hurricane Harvey, “I said to our colleagues, you know, I never thought in my career that we would measure rainfall in feet,” Clark said. “And after Harvey, Florence, the more isolated events in eastern Kentucky, portions of South Dakota. We’re seeing events year in and year out where we are measuring rainfall in feet.”

Storms are getting wetter as the climate change s, said Corbosiero and Dello. A basic law of physics says the air holds nearly 4% more moisture for every degree Fahrenheit warmer (7% for every degree Celsius) and the world has warmed more than 2 degrees (1.2 degrees Celsius) since pre-industrial times.

Corbosiero said meteorologists are vigorously debating how much of Helene is due to worsening climate change and how much is random.

For Dello, the “fingerprints of climate change” were clear.

“We’ve seen tropical storm impacts in western North Carolina. But these storms are wetter and these storms are warmer. And there would have been a time when a tropical storm would have been heading toward North Carolina and would have caused some rain and some damage, but not apocalyptic destruction. ”

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Follow AP’s climate coverage at https://apnews.com/hub/climate

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Follow Seth Borenstein on Twitter at @borenbears

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Associated Press climate and environmental coverage receives support from several private foundations. See more about AP’s climate initiative here. The AP is solely responsible for all content.

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‘Big Sam’: Paleontologists unearth giant skull of Pachyrhinosaurus in Alberta

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It’s a dinosaur that roamed Alberta’s badlands more than 70 million years ago, sporting a big, bumpy, bony head the size of a baby elephant.

On Wednesday, paleontologists near Grande Prairie pulled its 272-kilogram skull from the ground.

They call it “Big Sam.”

The adult Pachyrhinosaurus is the second plant-eating dinosaur to be unearthed from a dense bonebed belonging to a herd that died together on the edge of a valley that now sits 450 kilometres northwest of Edmonton.

It didn’t die alone.

“We have hundreds of juvenile bones in the bonebed, so we know that there are many babies and some adults among all of the big adults,” Emily Bamforth, a paleontologist with the nearby Philip J. Currie Dinosaur Museum, said in an interview on the way to the dig site.

She described the horned Pachyrhinosaurus as “the smaller, older cousin of the triceratops.”

“This species of dinosaur is endemic to the Grand Prairie area, so it’s found here and nowhere else in the world. They are … kind of about the size of an Indian elephant and a rhino,” she added.

The head alone, she said, is about the size of a baby elephant.

The discovery was a long time coming.

The bonebed was first discovered by a high school teacher out for a walk about 50 years ago. It took the teacher a decade to get anyone from southern Alberta to come to take a look.

“At the time, sort of in the ’70s and ’80s, paleontology in northern Alberta was virtually unknown,” said Bamforth.

When paleontogists eventually got to the site, Bamforth said, they learned “it’s actually one of the densest dinosaur bonebeds in North America.”

“It contains about 100 to 300 bones per square metre,” she said.

Paleontologists have been at the site sporadically ever since, combing through bones belonging to turtles, dinosaurs and lizards. Sixteen years ago, they discovered a large skull of an approximately 30-year-old Pachyrhinosaurus, which is now at the museum.

About a year ago, they found the second adult: Big Sam.

Bamforth said both dinosaurs are believed to have been the elders in the herd.

“Their distinguishing feature is that, instead of having a horn on their nose like a triceratops, they had this big, bony bump called a boss. And they have big, bony bumps over their eyes as well,” she said.

“It makes them look a little strange. It’s the one dinosaur that if you find it, it’s the only possible thing it can be.”

The genders of the two adults are unknown.

Bamforth said the extraction was difficult because Big Sam was intertwined in a cluster of about 300 other bones.

The skull was found upside down, “as if the animal was lying on its back,” but was well preserved, she said.

She said the excavation process involved putting plaster on the skull and wooden planks around if for stability. From there, it was lifted out — very carefully — with a crane, and was to be shipped on a trolley to the museum for study.

“I have extracted skulls in the past. This is probably the biggest one I’ve ever done though,” said Bamforth.

“It’s pretty exciting.”

This report by The Canadian Press was first published Sept. 25, 2024.

The Canadian Press. All rights reserved.

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The ancient jar smashed by a 4-year-old is back on display at an Israeli museum after repair

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TEL AVIV, Israel (AP) — A rare Bronze-Era jar accidentally smashed by a 4-year-old visiting a museum was back on display Wednesday after restoration experts were able to carefully piece the artifact back together.

Last month, a family from northern Israel was visiting the museum when their youngest son tipped over the jar, which smashed into pieces.

Alex Geller, the boy’s father, said his son — the youngest of three — is exceptionally curious, and that the moment he heard the crash, “please let that not be my child” was the first thought that raced through his head.

The jar has been on display at the Hecht Museum in Haifa for 35 years. It was one of the only containers of its size and from that period still complete when it was discovered.

The Bronze Age jar is one of many artifacts exhibited out in the open, part of the Hecht Museum’s vision of letting visitors explore history without glass barriers, said Inbal Rivlin, the director of the museum, which is associated with Haifa University in northern Israel.

It was likely used to hold wine or oil, and dates back to between 2200 and 1500 B.C.

Rivlin and the museum decided to turn the moment, which captured international attention, into a teaching moment, inviting the Geller family back for a special visit and hands-on activity to illustrate the restoration process.

Rivlin added that the incident provided a welcome distraction from the ongoing war in Gaza. “Well, he’s just a kid. So I think that somehow it touches the heart of the people in Israel and around the world,“ said Rivlin.

Roee Shafir, a restoration expert at the museum, said the repairs would be fairly simple, as the pieces were from a single, complete jar. Archaeologists often face the more daunting task of sifting through piles of shards from multiple objects and trying to piece them together.

Experts used 3D technology, hi-resolution videos, and special glue to painstakingly reconstruct the large jar.

Less than two weeks after it broke, the jar went back on display at the museum. The gluing process left small hairline cracks, and a few pieces are missing, but the jar’s impressive size remains.

The only noticeable difference in the exhibit was a new sign reading “please don’t touch.”

The Canadian Press. All rights reserved.

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