Quote:
Originally Posted by alpal
Hi Bert - some of those stars in the middle of the 1st frame
are not perfectly round.
Could you have some sort of guiding issue as well?
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You are quite correct it is either guiding flex or image train flex or a combination of both. This distortion of stars was at an angle without the wood frame. It corresponded to the direction of gravity ie at the same angle as the latitude of the polar axis.
With the wood frame this distortion reduced and only showed in the vertical direction of the wood frame.
I was using a 100ED as guider on the side by side. I then mounted a 90mm MAK on top of the RH200 as a guider. It did not make much difference.
I suspect there is still movement of the optical train in the vertical direction of the wooden frame.
I am going to get a rigid aluminium frame made with eight or more adjustable bolts with teflon pads to hold the camera very firmly.
Here is an animated gif of two enlarged x3 crops from sequential 480s images that were guided by the MAK. 2MB
http://d1355990.i49.quadrahosting.co...2_06/480s_.gif
The same for 960s exposures.
http://d1355990.i49.quadrahosting.co...2_06/960s_.gif
One very good thing that has come out of this is that the distortion at the corners has disappeared. It was flexure of the image train relative to the optic not due to the optic. The factory alignment and collimation is spot on.
It is a very big ask to load an optic with this huge load of focuser, CFW and a very heavy camera and then expect a field that is far larger than the design criteria of the optic to stay perfect. If the camera was only 36x25mm with a lighter CFW rather than 38x38mm of the PL16803 and a very large CFW this would barely be noticeable.
I see this as a challenge to really push all the components I have chosen to work together by eliminating what is now just basically flexure. The combination of very fast F3 optics and a large image field is very prone to the slightest flexure.
Bert