PadrePeace

Started another thread on this sorry..

I saw this on Instagram and spotted that Alyn Wallace is unloading the new SW Adventurer GTI EQ mount from his van. So I guess he’s testing it for them ahead of sales release. 
https://www.instagram.com/reel/CbNRl_xKZlv/?utm_medium=share_sheet

I blew a frame from the video up which is posted below. 

SW have this mount on their site (see below) but only pictures and no price or specs. Looks pretty light even with the tripod. Will be interesting to see where it fits in relation to the EQM-35 PRO SynScan. Same drive and gears by the look of it.

The last image is an advert that did the rounds back in Jan but since then it’s all gone quiet until now. 

Searching google some retailers are saying available this Summer.

Wishing clear skies to all .. and no moon!!! 🌔

On 09/02/2022 at 14:02, vlaiv said:

I blame this part here:

These clamped connections can easily introduce tilt.

When assembling the setup - it is important that you hold firmly rest of the optical train against this clamping connection as you tighten compression ring screws (like "pushing in" motion with other hand).

If you don't do that - it will "sag" under its own weight and be clamped like that - with a tilt. That tilt then might stay as is when pointing to the zenith as it is held by clamps.

One way of checking if it is connection is to take two different exposures:

1. one as is

2. one where you rotate imaging setup by 180 degrees in that clamp

You should get image that is 180 degrees rotated - if star elongation rotated as well (stayed with the stars) - then there is tilt elsewhere in the train, but if star elongation "stayed with the frame" (like again in top part) - then it is this clamping connection.

I’m with Vlaiv on this. There will be no point adjusting the lens collimation before you irradiate any likely joint issues at the camera end. Those thumb screw compression joints are notorious for allowing tilt especially if you build your rig with the scope horizontal.

I’ve had this myself and now mount the camera and associated gear into the focuser thumb screw holder with the telescope in a vertical position with the camera dropping in from the top. In this way you are using gravity to seat the joint in the vertical. You will also be better able to ‘feel’ when the two flat faces mate up before you tighten the thumb screws. I finally position the torch on my mobile phone level with the joint on the opposite side to my eye but just out of sight so as not to blind yourself to see if light is passing through the joint which indicates a gap. Do this around the whole joint to be certain the joint is fully closed. I hope that’s clear enough.

Clear skies

So well deserved. An image of that quality captured on that scope (SW 130PDS) speaks volumes for both the kit and the owner. Well done buddy. 

31 minutes ago, Chefgage said:

I have the same camera. Is this issue just with the L-extreme or does it extend to the L-enhance as well? I ask as I don't seem to have a problem with flats using the L-enhance and the asiair setting the exposure time in auto mode.

If you are not having flats calibration issues with the L-enhance then I guess it’s fine. I don’t think the exposure time of the flats is the issue. I tried a lot of different flats exp times none of which fixed the fact that my flats actually added to my subs rather than subtracting artefacts. To be clear I used the Flats tool in NINA to produce both those flats that didn’t work at 121 gain and those that did work at 200 gain.

Perhaps you might consider posting an image of your L-enhance master flat and a calibrated image with the camera capture settings you used for both images in order to record your experience here for others?

59 minutes ago, Budgie1 said:

Thanks @PadrePeace, I'd been keeping my eye on the thread that @scotty38 started about using the L-eXtreme with the ASI294MC back in January, but confirmation from yourself about the gain settings you're using and the link to the SharpCap thread is useful. 👍

I use the 1,25" L-eXtreme and have just got the 2" version of the Askar Duo-Band filter so I can use a filter draw with the 294MC, rather then having to remove the camera when I want to change filter. The Askar is a 7nm fitler, the same as the L-eXtreme, and with the little use I've had with it to date, seems to produce good results.

It looks like I've got another week or so of clouds & storms to come, so I'll use your settings and create a Darks library and give it a go on the next clear night.

Did you find you could reduce the exposure times with the added gain setting, or did you stick to what you would normally use?

I did reduce exposure time with increased gain. 

I thought I’d chime in to offer my experiences with the ASI294MC when used with my Dual band filter for deep sky imaging. Particularly, I want to share how I have overcome the notorious Flats issue for which this sensor seems to have a reputation. 

Firstly, I find the 294MC is a very capable camera for OSC which I love using and I have never had any calibration issues in this mode. 

Secondly, for me the Flats issues really only occur with my Dual band filter which specifically exposes the apparent non-linear response of the sensor between 117-190 gain settings. I personally tried many different exposure, ADU, temperature Flats combinations at my preferred gain of 121 and just could not find flats that worked. That all changed once I read the SharpCap article on the 294MC sensor here: https://forums.sharpcap.co.uk/viewtopic.php?t=3855

I now avoid the 117-190 gain window when using my dual band filter (I shoot at 200 gain 30 offset) and have immediately found that my matched flats now work perfectly. The loss in stops due to shooting at 200 gain vice 120 gain is not that significant so I’d commend this fix to anyone struggling with their Flats for a 294MC /Dual band filter combo. Note that it seems that each sensor/dual band filter combination seems to offer a different looking Flat image, in the way that fingerprints are different. 

Finally, here is my latest image shot with this combo (L-extreme Dual) which used the flats shown very successfully as you can see. 

Hope this helps, clear skies

I thought I’d chime in just to say firstly, that’s a great image Budgie1 that shows that the 294MC is a capable camera for OSC. Secondly, as AdamJ rightly says, the issues are with Dual band filters which specifically expose the non linear response of the sensor between 117-190 gain settings. I personally tried many different exposure, ADU, temperature Flats combinations at my preferred gain of 120 and just could not find flats that worked. That all changed once I read the SharpCap article on the 294MC sensor here: https://forums.sharpcap.co.uk/viewtopic.php?t=3855

I now avoid the 117-190 gain window when using my dual band filter (I shoot at 200 gain 30 offset) and have immediately found that my matched flats now work perfectly. The loss in stops due to shooting at 200 gain vice 120 gain is not that significant so I’d commend this fix to anyone struggling with their Flats for a 294MC /Dual band filter combo. Note that it seems that each sensor/dual band filter combination seems to offer a different looking Flat image, in the way that fingerprints are different. 

Finally, here is my latest image shot with this combo (L-extreme Dual) which used the flats shown very successfully as you can see. 

Hope this helps, clear skies

When I used a DSLR (650D) it typically ran at 10degrees C above ambient.  I’d say there is no advantage to pause between DSLR shots as to do so to get even a moderate cooling effect is rapidly lost as soon as the next sub starts.
As for cooled CCD or CMOS sensors they are very good at accurately holding a set temperature and so I’d not loose a second longer than you need to in capturing all of those many lovely subs.
 Clear skies to you. 

Can APP do that OSC stacking drizzle thing Vlaiv / AdamJ?

Don’t wish to hog the thread but the Askar 180 worked well with my ASI294MC in dual NB now that I have started shooting at 200gain to get over the Flats mismatch problem so many have with this sensor. This is 19hrs through the I-extreme Ha and OIII filter mounted on an AzGTI, with 6 min exp. 
 

An earlier image of Sh2-115 taken in Nov 21 in NB and RGB through the Askar180. 

An area of hydrogen and oxygen deep in our night skies designated Sh2-115 (bottom right). I’ve shot this area before but this time I widened the field of view to capture the surounding flows of hydrogen and oxygen gas that sprawl across hundreds of lightyears of deep space. This ‘emission’ nebula lies along the edge of one of the outer Milky Way's giant molecular clouds, about 7,500 light-years away. Hot stars power the nebular glow by stimulating the atoms in the gas cloud which emit their signature colours. The cluster stars are likely only 100 million years old or so and are still embedded within Sh2-115.
The small blue ball type object is Abell 71, a nebula initially cataloged as a planetary nebula, it is now recognized as a small patch of dense hydrogen and oxygen emission. This took 23hrs to capture over several weeks due to the lack of clear skies. It is comprised of 21hrs of narrowband Ha, SII, OIII filter images each at 6 mins exposure and 2hrs of OSC RGB imagery to capture the colour in the stars. ASI294MC pro, ATIK460EX mono, iOptron Skyguider Pro mount, Askar FMA180 scope. Astrodon narrowband filters.

Clear Skies all. 

You mentioned a FOV sized ring that flats don’t deal with. What does the rest of your setup comprise of? I’m taking about everything forward of the sensor ie Filters and sizes, scope,  flattener/reducer, focuser if not the scope’s standard one etc.

The only FOV sized ring I have ever heard of is vignetting but I’m expecting you know enough about what you are doing to recognise that when you see it. If it’s associated only with the full frame sensor then I’d guess it’s a rig incomparability with such a big sensor. 

I took some 6 mins subs at 200 gain and 30 offset last night and will try matched calibration files with them to see if I can get flats to work with my 294MC. 

23 hours ago, scotty38 said:

Interesting thanks. Might give this a go just to see what happens but, touch wood, I seem to be ok now I sorted the offset discrepancies...

Scotty38

I use the NINA Flats tool to get my flats. I can set the offset in NINA and have it at 30 currently. Where would I find the ASCOM offset?

22 hours ago, vlaiv said:

That is very interesting find. I had no idea camera can behave like that.

It is good to know that such thing is possible.

Credit to AdamJ who put me onto this thread. 

Might be worth us all having a look at this thread. Authoritative advice in here on getting good flats with the 294. https://forums.sharpcap.co.uk/viewtopic.php?t=3855

9 hours ago, edarter said:

thanks, and doing that allows the use of a master flat? (as can be produced in APP)

All I can say until I can check my own rig is that it seems to work for Scotty38. 

11 minutes ago, edarter said:

following this thread as I have the 294mc pro on my wish list, does this mean the issue is solved now then? Making sure the offset is as per ASI recommendation?

Thanks
Ed

I think you need to ensure the both the Ascom driver offset and the camera offset are both the same. Not sure that you need to have them at default but I would simply to start off with a baseline setting to move on from if that is your wish.

22 minutes ago, scotty38 said:

Yep:

Great. That’s what I’m getting but just a different pattern which is clearly a fingerprint of my specific setup. Thanks for helping with images. Paints a thousand words. Glad you got your kit working well. 

4 minutes ago, scotty38 said:

Same file in APP:

Could you see what happens when you select the neutralise-BG box in the top right panel just under the green histogram?

6 minutes ago, scotty38 said:

Just a screenshot.. I'll sort the files, give me a minute

Here you go, you'll have to ignore the gradient and the poor framing, I'm imaging right now to fix the latter at least....

Now I have to work out why your master  flat looks different to the one I have coming out of APP? (As attached) what’s the yellow colour all about. Is this Flat neutralised?

If your flats are working could you kindly post shots of your master flat and the final image? You could well have dropped on a diagnosis for an issue that has plagued owners of this sensor for some considerable time.

1 minute ago, scotty38 said:

Yes I am, the images aren't any better so if you can find a fix for that.... 🙂

slightly confused Sorry. Are you saying your flats don’t do what they should? If so, what has aligning  the offsets done?

3 hours ago, scotty38 said:

In the interests of transparency it would appear I am a bigger idiot than I thought I was....

I think I have fixed my issue and it seems to be down to offsets. This is all using ASCOM drivers and examining fits headers etc I found discrepancies where some show an offset of 8 and others show nothing. I recently built a new mini pc and on checking it's, of course, using the default offset of 30. This also explain why some of my l-extreme images were ok (not the ones where Vlaiv found a darks issue too but again that was the offset) but nthey were taken prior to building the mini pc.

Using matching offsets for all the files and all is good as you'd expect. What I cannot explain is why the offset was 8 as I have no reason why I'd have changed it and also do not know why some files have the offset in the header and some do not but anyway at least I know why now.

Sorry for the inconvenience and I can now get back to taking nicely calibrated but crappy images.....

So are you now calibrating Dual band flats with your subs and they are working? Thanks for your heads-up on offsets. I’ll check mine.