Common wildlife photography mistakes (and how to avoid them)


Wildlife photography can be both challenging and rewarding, but it can also be frustrating. The genre is fraught with obstacles, many of which you can’t control. The perfect shot from your hide might be spoiled by an unexpected loud noise, or adverse weather conditions may send your subjects back home to their nest, where you’d also rather be. 

These things are largely out of our control, but there are many things that are within our control, and with some careful planning and diligence, you can avoid making simple errors. Here are some of the most common mistakes photographers make when shooting wildlife photography, along with tips on how to avoid them:

Focusing mistakes

The most important thing to get sharp is the subject’s eyes – do this an other parts of the body can be blurred, as here (Image credit: Chris George)

One of the biggest mistakes photographers make when shooting wildlife is getting the focus wrong. This can happen for a variety of reasons, such as using the wrong focus mode, not focusing on the right part of the frame or not focusing quickly enough to keep up with fast-moving animals. 


Ukrainian ecologists say nature will suffer no matter war’s result (commentary)


By Oleksii Vasyliuk and Yuliia Spinova

© Mongabay

At the start of last month’s UN Biodiversity Conference (COP15) in Montreal, UN Environmental Programme Executive Director, Inger Andersen, made the memorable statement, “we are at war with nature” and must “make peace.” As Ukrainian ecologists now in Kyiv doing our work despite unsteady electricity — a full hour of uninterrupted internet is a luxury — and air raid sirens and explosions, we are constantly reminded of the extent to which war itself is at war with nature. For on top of the tragic loss of human life and the destruction of towns and cities, our country’s biodiversity is taking a beating. We would like to convey to the international community the impact the war in Ukraine is having on our flora and fauna, and suggest pathways forward.

First, it’s important to understand that the war’s assault on nature did not begin in February 2022. Rather, we have been monitoring the direct and indirect impacts of military actions on Ukraine’s natural ecosystems since the 2014 hostilities. Prior to 2022, combat occurred only in Eastern Ukraine, but there even protected areas, notably distinctive Ukrainian steppe ecosystems, were affected. The current full-scale invasion has significantly expanded the war zone into sites like the Polissia, an important Ramsar site; the coast along the Black and Azov Seas; and much of the steppe, which represents about half of Ukraine’s landscape.

© Mongabay

An unexploded shell in the deciduous forest part of Kreidova Flora Nature Reserve, April 2017. Image courtesy of Dr. Yuliia Spinova.

Due to the war, affected ecosystems suffer soil and water pollution as well as harm from direct impact. The Russians use a carpet-bombing approach, often employing weapons forbidden by the UN, which cause fires across enormous areas. They are building bunkers and moving military equipment across the landscape, the kind of damage that was seen in WWII. However, in that war the front line moved constantly, which meant less concentrated damage. Today, the war is at a geographic standstill, with large areas scarred by craters from munitions. Continual bombardment over the course of months means more physical devastation happening more quickly.

In terms of biodiversity, Ukraine is responsible for one out of every three species under protection in Europe — those found only in Ukraine’s steppe zone. This includes species like the Middle-European great bustard, the heaviest flying bird in the world, the sandy blind mole rat, and the marbled polecat, so beloved that a special coin was made to honor it. Preserving these species depends on Ukraine. Unfortunately, they are endemic in areas where there is military action, so it’s possible that after the war they may no longer exist.

Much of Ukraine’s steppe grasslands have been plowed up for agriculture. Before the onset of war this was the main threat to biodiversity, as only 3% of steppe landscapes remained in a natural state, and even fewer were protected. Now it’s a different scenario. In occupied areas agriculture has pretty much stopped, and many fields have been abandoned. But that doesn’t mean it’s gotten any easier for nature. Much land has turned into crater fields dotted with the waste of military equipment. We’re also seeing the beginnings of agriculture in protected areas and national parks. Plus, invasive species are more of a problem. Before the conflict, there were natural landscapes and everything else was agricultural: invasives were pretty much limited to along the roads. People used to clear invasive plants — numbering some 700 species, about 150 from North America — but those populations are not there anymore. We have places where maple and pseudoacacia have taken over landscapes. The war has given invasive plants a chance to get established.

© Mongabay

Trenches dug inside the Kreidova Flora Nature Reserve, June 2017. Image courtesy of Andrii Tupikov.

Bird biodiversity is also of great concern. In southern Ukraine, the entire coastal area where two seas meet is occupied by Russians. During the summer, large groupings of birds are found here — species like the great black-headed gull, the Dalmatian pelican and the Sandwich tern. Almost all migratory birds of Central Europe form colonies here in the summer and gather here again before flying to Africa in the fall. It’s a key migration stopover and the largest area of wintering birds in Europe, especially Central and Eastern Europe. Now we don’t know whether the birds that regularly travel here were able to do so, or were forced to go somewhere else. When data becomes available, we’ll have a better understanding, but we expect to see fewer birds.

The question of data brings up the challenge of continuing biodiversity science in wartime. Specialists living in occupied areas became refugees and some were not able to take data archives with them—they left with nothing. In the last two months Russia has begun actively targeting our research infrastructure with rockets and drones, which has done a great deal of damage. In Kharkiv, the university was destroyed in the first days of the full-scale invasion. Researchers hid everything they could and managed to put some data archives and collections of organic materials into basements. The city of Kherson was recently freed, and colleagues went to the herbarium to collect and hide what they could in storage.

The other big problem is lack of electricity, which makes communication really difficult. For instance, the night before writing this commentary, 30 drones were launched in the direction of one of us, and five hit energy infrastructure. The most important thing is that we’re trying to collect biodiversity data and upload it to the Global Biodiversity Information Facility. We have almost 400,000 records of data collected in occupied and free areas, which we share with international groups and fellow biologists and ecologists. The best way to preserve data is to publish openly.

© Mongabay

Military equipment box lids in Kreidova Flora Nature Reserve. Image courtesy of Dr. Yuliia Spinova.

An important bright spot has been collaboration among scientists. The Ukraine War Environmental Consequences Work Group (UWEC), which publishes a monthly journal, is the only English-language project where specialists can read and publish about their expertise and share it internationally. Our editorial team includes scientists and communicators from Ukraine, Russia and Belarus. This is unusual. One of the consequences of war is the hate that is growing on all sides. It is touching for us that several people I’m working with have lost their countries and now they’re trying to help us here in Ukraine. The project has a huge democratic weight. When we’re trying to do the right thing for people and for nature, nationality doesn’t matter.

Despite the danger and difficulty, we continue to gather information on the war’s impact on biodiversity. We appeal to the international community to assist with monitoring and data management and to expedite programs that aid environmental preservation. Examples include granting approval of Emerald Network candidate sites under the Bern Convention, and for the IUCN to be able to add animals and plants that are endemic to war-affected areas in southern Ukraine to the endangered species list. We’d like also for people to get information out about the status of natural parks and reserves. Since the beginning of the war, the Ukrainian Nature Protection Group, of which we are part, has been collecting donations to support this work. We appreciate that people around the world care about biodiversity at risk, and want to help.

Committed as we are to Ukraine prevailing, we know that independent of the outcome of this war, nature will suffer. We know, too, that environmental damage will also occur in the aftermath of war, when rebuilding our country will require sand, granite and other natural materials. At this juncture, Ukraine has been able to reclaim some occupied areas. These places were homes to thousands of people, and sustained much wildlife. We see this as a victory, but it’s not purely joyful because those areas have been significantly damaged. Fight though we must, nature doesn’t care who wins; nature yearns for peace. And, ultimately, reparations.

Oleksii Vasyliuk is a zoologist and leader and co-founder of Ukrainian Nature Conservation Group and an editor for UWEC. He can be contacted via [email protected].

Dr. Yuliia Spinova is an ecologist and co-founder and current member of UWEC. She can be contacted via [email protected].

UWEC welcomes inquiries about biodiversity science and developments in Ukraine: [email protected].

Banner image: A car burns after a Russian bombardment in Kharkiv, Ukraine, April 2022. Image by AP Photo/Felipe Dana via Flickr.

See related coverage here at Mongabay:


Black Sea dolphin deaths prompt ecocide allegations against Russia


This article was originally published on Mongabay


Watch the moon eclipse Mars tonight


It’s time to take the telescope out. 

On Monday night (Jan. 30), the moon will eclipse Mars in what’s known as an occultation, during which the moon will pass in front of Mars from the perspective of Earth.


The Centre for British Photography’s first exhibition celebrates uproarious, feminist self-portraits


Jermyn Street is one of London’s oldest and grandest commercial strips. This is Beau Brummel territory – a district of gentlemen’s clubs and costumers. Not so long ago, you’d come to Jermyn Street for fresh shirts, new boots, hours in the sauna, or a discreet lunch with your “niece”.

An alien presence has arrived. Flanked by Alfred Dunhill and the Piccadilly Arcade, until recently the curved glass storefront of 49 Jermyn Street was home to Boggi, an Italian menswear store. But the tastefully besuited mannequins have been replaced by photographs of Spitting Image puppets: the welcome display of a new institution dubbed, rather grandly, the Centre for British Photography.

Enter the double doors and instead of a temple to genteel menswear, you’ll find an uproarious display of self-portraits by naughty women. This is the opening show, Headstrong: Women and Empowerment, an exhibition of contemporary works on a broadly feminist theme curated by photographer Anna Fox, who leads the Fast Forward: Women in Photography project.

There are irresistibly feisty responses to the everyday unpleasantnesses of navigating the world as a woman. A nod to the building’s former occupants comes in Sarah Maple’s Self Portrait with Pocket Square, in which the artist appears beautifully besuited. Standing as though for a wedding portrait in front of a huge floral display, she cups her hands around her protruding (pregnant) belly, a lit cigarette dangling from her vividly painted lips.

A feminist artist who needles cultural expectations around Muslim identity as well as entrenched sexism, Maple is a provocateur, inviting us to revisit preconceptions of how women should behave – here she reminds us of how a pregnant woman’s body becomes public property.

The Iranian-Canadian artist Shirin Fathi explores beauty ideals in her series The Disobedient Nose, inspired by the normalisation of rhinoplasty among Iranian women. Fathi pictures herself as though for a series of northern Renaissance portraits, with the offending protuberance modified and embroidered.

Haley Morris-Cafiero’s The Bully Pulpit (2018) takes its title from Teddy Roosevelt, who used the term approvingly to describe a prominent platform from which to promote an agenda. Today, Morris-Cafiero suggests, the public platform of political office has been replaced by social media, and the politician by the ­online mob. Here, the artist turns the tables on trolls who attacked her following an earlier body of work (Wait Watchers), exploring the way larger bodies are viewed in public space.

Sketches of rhinoplasty performed by me, Shirin Fathi, 2022 (Photo: Courtesy of the artist/Centre for British Photography)

© Provided by The i
Sketches of rhinoplasty performed by me, Shirin Fathi, 2022 (Photo: Courtesy of the artist/Centre for British Photography)

For The Bully Pulpit she tracked down online photos of those who had previously trolled her, then restaged the pictures using costumes, wigs and prosthetics, incorporating the trolls’ comments into the final image. In one, she appears as a man in a towel taking a selfie with “You’re fat and gross and your arms make me want to puke” etched in steam on the mirror. “What’s wrong with body shaming?” says a neon sign behind a white-haired figure in a burgundy vest. Morris-Cafiero uses humour to reclaim space, but also points out how judgmental the online image world is for women.

Photographer and psychological therapist Rosy Martin’s altar-like tableau I didn’t put myself down for sainthood (2018), displayed at the Arnolfini in Bristol last year, explores the ambivalence of care. Posing as a reluctant angel, she invites us to ponder the expectation that women will take the role of caregiver for their elderly parents: a relationship in which love and duty can come bundled up with exhaustion, frustration, resentment and hopelessness.

Together with Jo Spence (one of the most important figures in late 20th century British photography), Martin pioneered “photo therapy”, inviting the subject to revisit their personal history by embodying the figure in an old photograph. Here, we see Martin performing as her mother and father – poses echoed by Spence in a separate display on the floor above.

Headstrong occupies a high-ceilinged central space. Beyond, a shop displays books and high-end prints for sale. Above, a mezzanine offering three little galleries for solo displays. The highlight is a sizzling selection of work by Spence unpicking the “Cinderella myth”: the dream of a white wedding, the aspiration to royalty and the idea that beauty and allure will fix all ills.

I didn’t put myself down for sainthood, Rosy Martin in collaboration with Verity Welstead, 2018 (Photo: Courtesy of the artist/Centre for British Photography)

© Provided by The i
I didn’t put myself down for sainthood, Rosy Martin in collaboration with Verity Welstead, 2018 (Photo: Courtesy of the artist/Centre for British Photography)

Where Spence looked to the wedding of Prince Charles and Lady Diana, a younger photographer, Natasha Caruana, revisits similar territory a generation on, in the year Prince William married Kate Middleton. Fairytale for Sale (2011-13) is a collection of images used by women to sell their wedding dresses. In each picture, the bride has obscured her face (sometimes in an inadvertently creepy way), recasting the wedding photo as the site of unpleasant incident.

British Ghanaian artist and performer Heather Agyepong’s Wish You Were Here revisits popular photography of the early 20th century, in staged scenes evoking Aida Overton Walker, a vaudeville performer known as the “Queen of the Cakewalk”. As with Morris-Cafiero’s series on cyber bullying, ­Agyepong’s restaging of vintage postcard scenes uses photography as a tool of witty subversion.

In the basement is an archive fitted with rolling shelves, and a low-ceilinged gallery for collection displays. The launch show explores the theme of home in 20th century documentary photography, from Bill Brandt’s portraits of 1930s domestic servants in Kensington, to Ken Grant’s claustrophobic ­interiors of neighbours congregating in Birkenhead in the 1980s and 90s.

The English at Home packs a lot into a small room, and acknowledges the importance of mid-century magazines like Picture Post as well as evolving ideas about access, voyeurism and social tourism. A whole wall is given to Daniel Meadows and Martin Parr’s 1973 series showing the front rooms in a terrace of apparently identical houses in Salford.

It’s shown opposite Karen Knorr’s irresistibly naughty series Belgravia (1979), for which she staged tableaux showing London’s upper social set paired with more or less outrageous statements suggesting their wealth, privilege and entitlement.

What’s in a name? In the case of the Centre for British Photography – which feels like it arrived out of nowhere – rather a lot. The venerable Royal Photographic Society, in Bristol, already describes itself as the UK’s leading photography organisation. London is home to the respected Photographer’s Gallery, as well as Autograph (formerly the Association of Black Photographers). The V&A – home to a collection of 800,000 photographs – perhaps has better claim than any to such a title.

The Centre for British Photography, Jermyn Street in St James (Photo: The Centre for British Photography)

© Provided by The i
The Centre for British Photography, Jermyn Street in St James (Photo: The Centre for British Photography)

Rather smaller lettering on the front door identifies this as the home of the Hyman Collection, built up by the art dealer James Hyman and his wife Claire, which has focused largely on British photography since 2010. The centre will be both a public showcase for the ­collection and a platform for ­visiting exhibitions.

Why opt for the hubristic name rather than simply calling it the “Hyman Foundation for British Photography”? Is this an institution with a long-term plan, or an opportunistic pop-up making good use of an empty commercial property?

What is the relationship between the centre and Hyman’s dealership, which sells works by Dafydd Jones, Anna Fox, Heather Agyepong, Bill Brandt and other photographers represented in his collection?

Perhaps these questions are outmoded – in the era of Hauser & Wirth Somerset (the rural British outpost of a commercial gallery that reads much like a well-funded public institution), the lines between public institutions and commercial interests in the art world are now blurred.

For punters and snappers alike, the more important takeaway from this is that London has a new free-to-enter photography gallery – an important new platform for a medium that has long considered itself an overlooked junior sibling in the art landscape.

The Centre for British Photography is now open to the public


Helen Jeanette Grinnell Obituary – The Detroit Free Press


Helen Jeanette Grinnell, 96, passed away at her Broomfield home on December 25th, 2022. Born October 18th, 1926 in New York, NY to parents Lola Marion Grinnell and Lloyd Garrison Grinnell, Helen graduated from University Ligget School (Grosse Pointe Woods, MI). Upon graduation, the school asked Helen to work with the athletic program. Her athleticism served her well throughout life, especially in golf. A competitive player for thirty years, Helen won the Women’s Club Championship at the Detroit Golf Club an astounding twelve times. She also succeeded for seventy years as a businesswoman and philanthropist. In her free time, Helen pursued her passion for nature photography. Helen was preceded in death by her brother, Albert Avery Grinnell (Ft, Lauderdale, FL), in 1988. Helen’s friends will hold a private ceremony to celebrate her life, and she will be entombed in her family’s mausoleum at Roseland Park Cemetery (Berkley, MI). A smart, private and generous woman, Helen will be remembered kindly and missed dearly. In honoring her altruistic spirit, please consider a memorial donation to your favorite charity.

Posted online on January 29, 2023

Published in The Detroit News, Detroit Free Press


The ‘green comet’ passes closest to Earth this week. Here’s the best time to see it in Australia


A 1-kilometre-wide comet will make its closest pass to Earth early on Thursday morning, February 2, giving Australians a small chance of catching a glimpse of what’s being referred to as the “green comet”.

Here’s what you need to know.

What is the ‘green comet’?

The green comet, or Comet C/2022 E3 (ZTF), was discovered by astronomers using the wide-field survey camera at the Zwicky Transient Facility in California in early March 2022.

The comet was closest to the Sun on January 12 and it will be the closest to Earth – 41.8 million km — on February 2.

Back in December, NASA said that, while the brightness of comets is notoriously unpredictable, C/2022 E3 (ZTF) could become only just visible to the eye in dark night skies at its closest point to earth.

According to The Planetary Society, the comet has a solar orbit of roughly 50,000 years, which means it hasn’t been seen in the night sky since Neanderthal times.

How can I see the ‘green comet’ in Australia?

It will be visible from Australia from February 5.

But the best times to see it will be between February 9-11.

However, while NASA has said the comet might be slightly visible to the naked eye, amateur star searchers should not expect a bright-green light show.

“It won’t be green to the naked eye, maybe with a substantial telescope, but it will mostly be through astrophotography,” UQ astrophysicist Dr Ben Pope told ABC News.

“Nearly everything in astronomy is basically white to the naked eye except, like, red giant stars and Mars appears a little red, Jupiter is quite noticeably yellow.”

Thanks to light pollution, even seeing the comet with the naked eye could be a problem, unless you’re in a very dark part of the country.

“Basically, they’re very faint, you get a lot of people who go outside and wait and wait, and say, ‘I didn’t see anything’, but that’s because you’re in the inner suburbs, even outer suburbs it’ll be hard,” Dr Pope said.

“It’s very hard to see unless you’re in a very dark space.”

Where C/2022 E3 (ZTF) will shine, is through astrophotography. Some US experts have already been able to capture its brilliant, green glow as it passed by the Northern Hemisphere earlier this month.

So keep your eyes peeled for some beautiful pictures in the days after the comet’s passing.

Why is the comet green?

Comets are made of a mixture of rocky materials, similar to what’s in the Earth’s mantle: dust and ices, not just water-ice but also components such as dry ice, methane, ammonia and carbon monoxide.

According to a report in the Proceedings of the National Academy of Sciences, the green glow from some comets comes from the breakdown of a reactive molecule called dicarbon (C2).

To prove their theory, researchers isolated the C2 molecule and blasted it with high-intensity light. What they found was that two light photons push the C2 molecule into an energy-rich, unstable configuration.

From there, the molecule decays and radiates a green light photon — just like what we see with some comets.


  • January 30, 2023: Originally, this story said the comet would make its closest pass to Earth on Monday night, January 30. This has been amended to February 2 at 4:54am AEDT.
  • January 30, 2023: Originally, this story said the comet would be visible in Australia from February 1 to 2. This has been amended to February 5. A line adding that the best time to see it will be February 9 to 11 has also been added.


Detour: The new photobook exploring the streets


A new photobook by Melbourne photographer Adrian Whear celebrates the zany, eclectic and beautiful world of Australia’s urban environments.

Captured over a six year period from 2017 to 2022, Detour features images captured primarily in Melbourne, but also Sydney, Canberra, Adelaide, Broome and even Dhaka, Bangladesh.

'Timeless' . Whear says the character in the image evokes thoughts of Perry Mason and the old noir detective shows.
‘Timeless’ . Whear says the character in the image evokes thoughts of Perry Mason and the old noir detective shows. “I love that the image was captured in 2018 but looks like it could have been taken early the previous century, a look back to a bygone Melbourne when Squizzy Taylor ruled the streets,” he says. Image: Adrian Whear/Supplied

“We live in a modern, vibrant city but Melbourne’s true soul still lies in its hidden alleys and lanes,” says Whear. 

The origins of the 92-page book began in Melbourne’s Covid 19 lockdowns in 2019.

“Initially I set about developing an audio visual presentation for the Bright Festival of Photography, looking at the covid experience through the lens of a street photographer,” he explains.

'Connections'. Image: Adrian Whear/Supplied
‘Connections’. Image: Adrian Whear/Supplied

From there, the 54-year old decided to use the presentation as a starting point to explore his ongoing street photography in a longer form.

The result is Detour, which has not only helped him re-discover his own country of Australia and home town of Melbourne, but is now in its third edition, having sold out each of the 50 copies in its first and second editions.  

Images in the self-published book were captured with a Canon 6D Mark II and a variety of lenses including 24-70 and 24-105mm zooms. 

'Sailing against the tide'. Image: Adrian Whear/Supplied
‘Sailing against the tide’. Image: Adrian Whear/Supplied

Whear says he looks for strong visual aesthetics with a storytelling component in his work. 

“I try to make art of the scenes and streets we frequently walk past and not give a second thought,” he says. 

Detour, the self-published book by photographer Adrian Whear. Image: Adrian Whear/Supplied
Detour, the self-published book by photographer Adrian Whear. Image: Adrian Whear/Supplied

You can purchase a copy of Detour direct from Adrian Whear via [email protected]. The book is $70. 

You can also see Whear’s AV presentation which went on to win a gold medal at the APS Autumn Nationals, below. 


Take a nature break for better health – The Oakland Press


Nature could be one of the keys to mental health — but what if you cannot hike or spend hours outdoors? Kristen Mastel grew up enjoying time outside, but she found that as an adult, that time decreased.

“As an academic librarian, I have similar responsibilities as faculty to publish, teach and service,” says Mastel, who works for the University of Minnesota. “However, I also am a caregiver, and I was burning the candle at both ends.”

Mastel knew that spending time in nature was a central part of who she was and essential to her well-being practice. “I began spending more time outdoors not only going for walks but just sitting to observe nature – to reconnect with nature, to reconnect with myself,” she says.

The goal is less stress

It has long been known by scientists that nature has a positive impact on the brain. Research has shown that the amygdala, the part of the brain that helps process stress, is activated more often in people who live in cities than those who live in rural areas.

But a new study at the Lise Meitner Group for Environmental Neuroscience found that nature directly touches on stress reduction. In the analysis, activity in the amygdala remained the same after participants took a one-hour walk on a busy city street, leading researchers to believe that urban exposure does not add to a person’s stress levels.


¿Qué es un cometa y cómo puedo verlo?


Hoy vamos a hablar sobre uno de los objetos celestes más apasionantes y maravillosos de nuestro sistema solar: los cometas.

¿Qué es un cometa? Un cometa es un cuerpo celeste, de un tamaño entre uno y varios kilómetros, compuesto principalmente de hielo, roca y polvo que orbita alrededor del Sol siguiendo habitualmente una órbita elíptica de gran excentricidad.

A diferencia de los asteroides los cometas desarrollan una pequeña atmósfera o coma que rodea su núcleo sólido. Algunos cometas extintos, que han perdido su atmósfera, pueden llegar a ser confundidos con asteroides aunque su naturaleza y origen es diferente.

En su órbita los cometas se encuentran la mayoría del tiempo en el sistema solar exterior pero a medida que el cometa se acerca al Sol el hielo se sublima (pasa de estado sólido a gaseoso sin pasar por estado líquido) y deja una cola de polvo que se extiende en dirección opuesta al Sol. También se suele producir una segunda cola de gas a medida que el viento solar alcanza la coma que rodea el núcleo del cometa e ioniza las partículas de ésta. Esa es la razón por la que los cometas son conocidos por sus colas impresionantes.

¿Qué es un cometa? El cometa Neowise con dos colas, una de polvo y otra iónica.
El cometa C/2020 F3 Neowise muestra la cola de polvo de color blanco-verdoso y la cola iónica azulada.

¿De dónde vienen los cometas?

Los cometas que hemos descubierto llegan principalmente desde dos regiones del Sistema Solar. Los cometas de largo periodo proceden habitualmente de la nube de Oort, que está entre 50.000 y 100.000 unidades astronómicas del Sol mientras que los cometas de corto periodo suelen proceder del cinturón de Kuiper, que está un poco más allá de la órbita de Neptuno. No obstante, al adentrarse en la zona interior del sistema solar la órbita de los cometas puede verse modificada por la gravedad de los grandes planetas como Júpiter o Saturno.

¿Cómo se pone nombre a los cometas?

Seguramente te habrá llamado la atención que los cometas tienen unos nombres bastante peculiares compuestos por letras y números. Todo tiene su explicación y este tipo de nomenclatura nos da algo de información del cometa.

En primer lugar se indica el tipo de cometa con una letra. Los cometas periódicos son los que se ha observado su paso por el perihelio (punto de la órbita más cercano al Sol) al menos dos veces o bien tienen un periodo orbital de menos de 200 años. El nombre de estos cometas empieza siempre por P mientras que los no periódicos empiezan por C. Si un cometa se cree destruido o extinto comenzará por D mientras que los que empiezan por X son los que todavía no se conoce su naturaleza. Recientemente se ha añadido la letra I para identificar a los cometas de naturaleza interestelar.


Después de la letra se indica el año de descubrimiento y tras éste encontraremos una letra y un dígito. La letra indica la quincena del año en que fue descubierto. Así un cometa que empiece por A habrá sido descubierto en la primera quincena, B en la segunda y así sucesivamente. El número indica el orden de descubrimiento en esa quincena.

Así, por ejemplo el cometa C/2022 E3 es un cometa no periódico, descubierto en la primera quincena de marzo de 2022 y fue el tercer cometa descubierto esa quincena.

Tras esta nomenclatura ya se bautiza el cometa con el nombre del descubridor o del observatorio o survey desde el que fue descubierto. El C/2022 E3 fue descubierto por el survey ZTF y por eso se añaden estas siglas al nombre.

¿Cómo ver un cometa?

Aunque los cometas son difíciles de predecir con precisión, hay algunos que son visibles a simple vista desde la Tierra cada cierto tiempo. Si tienes suerte, puedes ver uno con tus propios ojos.

Para encontrar un cometa te puedes ayudar de un programa o planetario digital como Stellarium o Cartes du Ciel para PC o aplicaciones como SkySafari para Android que tienen una opción para mostrar cometas. También puedes consultar la página heavens-above en la sección de cometas visibles.

Para observar un cometa, lo mejor es usar prismáticos o un telescopio pequeño si éste es muy brillante. Con prismáticos, podrás apreciar una pequeña bolita difusa de color grisáceo, parecido a un cúmulo globular. Con un telescopio podrás ver detalles más sutiles como la diferencia entre el núcleo y la coma o estructuras en la cola.

Algunas apps y programas de ordenador te muestran la posición de los cometas visibles.
Algunas apps y programas de ordenador te muestran la posición de los cometas visibles.

La mayoría de los cometas no son muy brillantes porque no pasan muy cerca de la Tierra y entonces solo los apreciamos como pequeñas nebulosas a través del telescopio. De hecho el catálogo Messier se creó para no confundir estos objetos de cielo profundo con cometas.

Es importante tener en cuenta que los cometas son objetos celestes muy débiles, por lo que es mejor observarlos en un lugar oscuro lejos de la luz de la ciudad. También es importante esperar a que el cielo esté despejado, sin Luna y tener paciencia, ya que puede tomar un tiempo encontrarlo. ¡Los cometas no se ven brillantes y fugaces en el cielo ni presentan movimientos rápidos! Si has visto algo así seguramente se trate de un meteoro o estrella fugaz, no de un cometa.

Los cometas son una maravillosa oportunidad para explorar el universo y ver algo increíblemente especial con nuestros propios ojos. Con un poco de paciencia y un equipo adecuado, cualquier aficionado puede tener la oportunidad de ver un cometa y experimentar la emoción de observar algo nuevo y emocionante en el cielo nocturno.


Stock Photography Market 2023 Research Report Analysis by TOP Competitors, Demand and Size Share Estimation by 2028, Market Divergence


The MarketWatch News Department was not involved in the creation of this content.

Jan 28, 2023 (The Expresswire) —
Stock Photography Market Report offers an Complete view about the cutthroat scene of the Stock Photography market and incorporates a profound picture of execution by a portion of the key global players finishing on the lookout. Besides, the report offers a full data about the position, extent of development, and possibilities of new members or players on the viewpoint.

● Stocksy United
● Adobe Stock
● 123RF
● Dreamstime
● Zenfolio
● Imagedb
● Getty Images
● Shutterstock
● Veer
● Thinkstock
● iStock
● Smugmug
● Pixpa
● Photos of India
● Pixabay

And More….

{Moving Compound annual growth rate (CAGR) In terms of Revenue in Million}

Get a Sample Copy of the Stock Photography Market Report 2022:

Brief description about Stock Photography Market Growth 2029:

Stock Photography Marketsize, segment (mainly coveringMajorType (, Free, Paid, ,),End Users (, Scientific Research, Books, Newspapers, Website Building, Advertising, Other,), and regions), recent status, development trendsa and competitor landscape. Furthermore, the 101 pages report provides detailed cost analysis, supply chain.

Technological innovation and advancement will further optimize the performance of the product, making it more widely used in downstream end users. Also, Consumer behaviour analysis and market dynamics (drivers, restraints, opportunities) provides crucial information for knowing the Stock Photography market.

To Know How Covid-19 Pandemic and Russia Ukraine War Will Impact This Market- REQUEST SAMPLE

Stock Photography Market – Competitive and Segmentation Analysis:

As well as providing an overview of successful marketing strategies, market contributions, and recent developments of leading companies, the report also offers a dashboard overview of leading companies’ past and present performance. Several methodologies and analyses are used in the research report to provide in-depth and accurate information about the Stock Photography Market.

The current market dossier provides market growth potential, opportunities, drivers, industry-specific challenges and risks market share along with the growth rate of the global Stock Photography market. The report also covers monetary and exchange fluctuations, import-export trade, and global market

Based on types, the Stock Photography market from 2017 to 2029is primarily split into:

● Free ● Paid ● ●

Based on applications, the Same Day Delivery market from 2017 to 2029 covers:

● Scientific Research ● Books, Newspapers ● Website Building ● Advertising ● Other ●

Get a Sample Copy of the Stock Photography Market Report 2022:

Key highlights of the report

● Stock Photography market share appraisals for the country and regional level segments ● Combative landscape planning the significant customary trends ● Stock Photography Market tendencies that involve product and technological analysis, drivers and constraints, PORTER’s five forces analysis ● Premeditated advice in essential business segments based on the market estimations ● Intentional guidance for new entrants ● Stock Photography market prophesies all hinted segments, sub-segments, and regional market

Reasons for Buying this Report

● This report provides pin-point analysis for changing competitive dynamics ● It provides a forward looking perspective on different factors driving or restraining market growth ● It provides a six-year forecast assessed on the basis of how the market is predicted to grow ● It helps in understanding the key product segments and their future ● It provides pin point analysis of changing competition dynamics and keeps you ahead of competitors

Top countries data covered in this report:

● North America (U.S., Canada, Mexico) ● Europe (U.K., France, Germany, Spain, Italy, Central and Eastern Europe, CIS) ● Asia Pacific (China, Japan, South Korea, ASEAN, India, Rest of Asia Pacific) ● Latin America (Brazil, Rest of L.A.) ● Middle East and Africa (Turkey, GCC, Rest of Middle East)

Inquire more and share questions if any before the purchase on this report at-

Major Points from Table of Contents:

Global Stock Photography Market Research Report 2022- 2029, by Manufacturers, Regions, Types and Applications

1 Introduction

1.1 Objective of the Study

1.2 Definition of the Market

1.3 Market Scope

1.3.1 Market Segment by Type, Application and Marketing Channel

1.3.2 Major Regions Covered (North America, Europe, Asia Pacific, Mid East and Africa)

1.4 Years Considered for the Study (2015- 2029)

1.5 Currency Considered (U.S. Dollar)

1.6 Stakeholders

2 Key Findings of the Study

3 Market Dynamics

3.1 Driving Factors for this Market

3.2 Factors Challenging the Market

3.3 Opportunities of the Global Restaurant Online Ordering System Market (Regions, Growing/Emerging Downstream Market Analysis)

3.4 Technological and Market Developments in the Restaurant Online Ordering System Market

3.5 Industry News by Region

3.6 Regulatory Scenario by Region/Country

3.7 Market Investment Scenario Strategic Recommendations Analysis

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4 Value Chain of the Stock Photography Market

4.1 Value Chain Status

4.2 Upstream Raw Material Analysis

4.3 Midstream Major Company Analysis (by Manufacturing Base, by Product Type)

4.4 Distributors/Traders

4.5 Downstream Major Customer Analysis (by Region)

5 Global Stock Photography Market-Segmentation by Type

6 Global Stock Photography System Market-Segmentation by Application

7 Global Stock Photography Market-Segmentation by Marketing Channel

7.1 Traditional Marketing Channel (Offline)

7.2 Online Channel

8 Competitive Intelligence Company Profiles

9 Global Stock Photography Market-Segmentation by Geography

9.1 North America

9.2 Europe

9.3 Asia-Pacific

9.4 Latin America

9.5 Middle East and Africa

Get a Sample PDF of report –

10 Future Forecast of the Global Stock Photography Market from 2022-2029

10.1 Future Forecast of the Global Stock Photography Market from 2022- 2029Segment by Region

10.2 Global Stock Photography Production and Growth Rate Forecast by Type (2022-2029)

10.3 Global Stock Photography Consumption and Growth Rate Forecast by Application (2022- 2029)

11 Appendix

11.1 Methodology

12.2 Research Data Source


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