ASIWEEK #29/2025 Winner – Interview with Marzena Rogozińska

INTRODUCTION

My name is Marzena Rogozińska. I live in Bytom (Poland) and work as a psychologist and pedagogue at two schools. I would like to thank you for honoring my image of the Anteater Nebula in the constellation Corona Australis (NGC 6726) with the title ZWO Astronomy Picture of the Week #29/2025 and for the invitation to this interview. It is an honor and an important acknowledgment of the work I combine with my passion for astrophotography—especially dark, dusty regions of the sky and projects carried out under the darkest possible conditions. I love traveling and I’m interested in astrophotography of deep-sky objects, Milky Way landscapes, aurora, star trails, and solar and lunar eclipses.

I would like to invite you to view my work on social media:
Instagram: https://www.instagram.com/marzena_astrophotography/
Facebook: https://www.facebook.com/marzena.rogozinska.7/
AstroBin: https://www.astrobin.com/users/marzenarogo/

ZWO Astronomy Picture of the Week #29/2025

Anteater Nebula in the constellation Corona Australis (NGC 6726)

Object Description

The image shows the region of NGC 6726, known as the Anteater Nebula, located in the constellation Corona Australis. It is a complex area where reflection, dark, and emission nebulae coexist, forming a visually rich star-forming region. Located about 420 light-years from Earth, it is one of the nearest stellar nurseries in the Milky Way.

Framing and Composition Context

The framing was designed to emphasize the contrast between the bright areas of the reflection nebulae and the dark bands of interstellar dust. The field of view includes both NGC 6726 and the surrounding dust structures, maintaining a balance between scientific documentation and aesthetic presentation. The composition reflects the true proportions of brightness and structure without artificial color or contrast enhancement.

Image Capture Process

The image was taken during a dedicated astrophotography expedition to Namibia in May 2025, using a portable setup optimized for deep-sky imaging. Multiple exposures were captured over several nights to ensure consistent image quality under stable sky conditions (Bortle 1). Data acquisition was controlled remotely via ASIAIR Pro, allowing precise guiding and focus adjustments despite fluctuating nighttime temperatures.

Location and Observing Conditions

The image was taken in May 2025 at Hakos Astrofarma in Namibia, located on the Namibian savanna. This site, known for its exceptionally dark skies (Bortle 1), offers some of the best observing conditions in the southern hemisphere. These conditions allowed for the capture of subtle dust structures and objects not visible from the northern hemisphere.

Technical Details

• Date & Location: May 2025, Hakos Astrofarma, Namibia
• Telescope: Takahashi Epsilon 130D
• Camera: ZWO ASI 2600MC Pro
• Filter: UV/IR Cut
• Mount: ZWO AM5, controlled via ASIAIR Pro
• Integration Time: 5.5 hours RGB
• Software: PixInsight, Photoshop

YOUR ASTROPHOTOGRAPHY JOURNEY

Q1: What inspired you to become an astrophotographer, and how long have you been in the field?

I have been practicing astrophotography since 2020, although my interest in the night sky began much earlier—from sessions at the Silesian Planetarium to first naked-eye observations and initial attempts with a camera. The beginnings were simple: wide-field shots of the Milky Way and short exposures, but I quickly moved to working with a mount and telescope and to longer integrations. Over time, I consistently invested in more advanced equipment and methods (better tracking, autofocus automation, precise plate solving), which enabled me to undertake demanding projects: dark, dusty regions of the sky and extensive mosaic frames. From the start, I have focused on the integrity of the entire chain—from session planning and single-frame quality to careful calibration and processing that preserves the natural structure of the background.

Q2: Was there anyone or anything in particular that influenced you when you first started?

A strong impulse came from images by other astrophotographers that revealed details invisible to the naked eye—especially in regions rich in interstellar dust and reflection nebulae. This made me realize that with long integration and proper processing, one can bring out subtle structures and color gradients. From then on, I learned independently: analyzing the workflows of more experienced authors, testing acquisition techniques (dither, guiding, dark/bias/flat calibration), and exploring different processing approaches in specialized software. Gradually, I developed my own style based on a natural color palette, controlled noise reduction, and careful luminance stretching to retain delicate dust structures.

Q3: Can you share details about your current astrophotography setup? Do you have any photos of your gear?

I currently use a setup focused on high quality and repeatable results, with an emphasis on field mobility:

• Telescope: Takahashi Epsilon 130D (fast astrograph, excellent field correction and contrast for dusty objects)
• Camera: ZWO ASI2600MC Pro (low-noise, cooled OSC camera, large sensor, convenient calibration)
• Mount: ZWO AM5 (lightweight, mobile, precise tracking for long integrations)
• Control/automation: ASIAIR Pro (plate solving, sequences, dithering, guiding monitoring) + ZWO EAF (autofocus based on HFR, stable focus in changing conditions)
• Guiding: WO UniGuide 32 + ZWO ASI120MM
  
  This is complemented by independent power sources, dew heaters, and tidy cabling—key elements for long sessions far from infrastructure. Depending on the project, I use broadband filters (dusty targets) or narrowband/duo-band filters (emission nebulae). A typical workflow includes precise polar alignment, autofocus, short test series to verify star shape and histogram, followed by long integration with dithering.

CAPTURING THE NIGHT SKY

Q4: Where do you usually shoot your astrophotos?

I often travel hundreds of kilometers to the south of Poland with my portable setup. I live in Bytom, in the center of the Silesian agglomeration, where the sky is strongly affected by light pollution. Therefore, I usually choose mountainous areas with significantly better observing conditions and darker skies. These trips are a regular part of my process—they provide the right locations for each project and help optimize data quality.

Q5: Do you prefer the convenience of your backyard or do you travel to darker, more remote locations?

Due to strong light pollution in my city, I choose dark locations. I am particularly interested in dark nebulae and dust clouds, which require very dark, clean skies. I typically pack my entire setup with independent power into the car and set off after first analyzing light pollution maps and weather forecasts. This mobility allows me to make the most of each clear night and get as close as possible to ideal observing conditions.

Q6: Do you still remember your very first astrophotography experience?

Yes. I clearly remember my first intentional Milky Way photo taken in the mountains using a smartphone and a small tripod. When I saw the distinct outline of the galaxy on the screen, I knew it was the beginning of my astrophotography journey. I soon bought my first camera and lens, followed by an equatorial head and a telescope. From then on, I became increasingly focused on capturing the details of distant nebulae and galaxies.

Q7: What was it like to see your first captured image of the cosmos?

The first key wide-field frame for me was the North America Nebula in Cygnus. The result showed that it is possible to record extensive, complex structures from the surface of Earth with personal equipment. That experience determined the direction of my further development.

Q8: What do you enjoy the most about astrophotography, and what has it brought to your life? Has it changed you in any way?

Astrophotography combines science, technology, and image aesthetics. When planning trips, I consider the Moon’s phase, weather conditions, and the darkest locations. Working on projects teaches precision, patience, and consistency—the results largely depend on correct procedures during acquisition and processing. Since childhood I have been interested in astronomy, including sessions at the Silesian Planetarium; today I present my own work, including at local exhibitions.

CHALLENGES & ACHIEVEMENTS

Q9: Every astrophotographer faces challenges—whether it’s bad weather, technical difficulties, or processing frustrations.

Challenges involve weather, equipment, and data processing. Patience and a methodical approach are essential: changing location when the weather is unfavorable, analyzing root causes of issues and adjusting settings, and testing alternative techniques and software in processing. Systematically solving problems leads to greater repeatability of results.

Q10: How do you deal with setbacks, and what keeps you going?

I treat setbacks as an inherent part of improving my craft. I remain calm and draw conclusions from each session. I’m motivated by upcoming projects, new dark-sky locations in Europe and around the world, and feedback from the community—including distinctions that confirm the effectiveness of my working methods.

Q11: What would you say is your biggest achievement in astrophotography so far?

I consider my two Astronomy Picture of the Day (APOD) features among my most important achievements, as they represent recognition from the international astronomy community. I also value Top Pick awards on AstroBin, as well as publications of my images in Polish astronomy magazines and thematic calendars. The title ZWO Astronomy Picture of the Week #29/2025 is likewise an important distinction. Together, these acknowledgments confirm that established standards and consistency yield measurable results.

Q12: Do you have a favorite celestial target or region in the night sky?

Yes—I am particularly drawn to colorful, dusty nebulae. Recently, my favorite region has been around Rho Ophiuchi and the constellation Scorpius. These are visually rich areas—full of contrasts, intense colors, and dust structures. In Poland, Scorpius does not rise high, so I photograph these regions during trips to southern Europe, where they climb much higher above the horizon.

Q13: What draws you to it?

The Rho Ophiuchi/Scorpius region is one of the most diverse and photogenic parts of our galaxy. It contains colorful reflection nebulae and dark dust lanes that add remarkable depth. The characteristic combination of yellow–orange hues around Antares, the blue reflections of IC 4603, and extensive dust structures creates a striking composition. It is also an area of active star formation—dynamic, varied, and full of details to explore on many levels.
In May this year I photographed this region from the southern hemisphere in Namibia, where the Milky Way’s center passes near the zenith. Using my Takahashi Epsilon 130D with the ZWO ASI2600MC Pro, I was able to record a wide range of details, confirming the value of long integrations under very dark skies. Rho Ophiuchi and Scorpius remain not only a fascinating field of observation but also an excellent example of how diverse and dynamic our local part of the Milky Way can be.

FUTURE GOALS & ADVICE

Q14: Are there any exciting astrophotography projects or goals you’re currently working on or planning for the future?

I am currently collecting data for LBN 468 in Cepheus. This is a very faint, dusty object that requires many hours of integration and stable conditions, so I expect more long nights on this project—especially given the capricious autumn weather in Poland. In 7aralel,
I am selecting and processing many hours of data from several Namibia projects, which I plan to finalize and publish successively in the coming weeks.
Although my last trip to Namibia was only a few months ago, I am tentatively planning to return in about two years. The list of southern targets I want to capture at high resolution and with long integration remains extensive—and the quality of the skies there encourages more ambitious projects.

Q15: What advice would you give to beginners who are just starting in astrophotography?

This hobby requires patience and consistency, so it’s best to start simply: a camera with a wide-angle lens on a stable tripod or a light tracker, without immediately adding complex accessories. Each element of the process should be mastered step by step—polar alignment, focus, exposure, and basic frame calibration—to understand what truly improves data quality. Planning is crucial: Moon phase, cloud and wind forecasts, humidity, and light pollution maps; it’s better to shoot less often but in good conditions. On site, I monitor quality at the source—star shape, histogram, and tracking stability—because weak data are difficult to rescue in processing. I only upgrade equipment after fully utilizing the current setup. Finally, I rely on the community and keep work organized: a checklist, independent power, dew protection, and backups after each session. This ensures steady progress and a more predictable experience with every night

YOUR CONNECTION WITH ZWO

Q16: How did you first learn about ZWO, and what was your first ZWO product

About a year after starting my astrophotography journey, I decided to expand my setup and reached for ZWO products for the first time. These were: ASIAIR Pro, ZWO ASI294MC Pro camera, and ZWO ASI120MM guide camera. This was a significant qualitative leap—enabling more stable guiding, more convenient framing, and better session control.

Q17: What ZWO gear do you currently use, and what do you like most about it?

I currently work with the ZWO AM5 mount, ZWO ASI2600MC Pro camera, and ZWO EAF autofocus system, with the entire setup managed via ASIAIR Pro. I value the cohesion of the ecosystem above all: quick polar alignment, plate solving, dithering automation, exposure sequencing, and seamless meridian flip handling. In practice, this translates into higher data quality, better repeatability, and fewer manual tasks during the night.

Q18: Is there a ZWO product that made a significant difference in your astrophotography workflow? How did it improve your experience?

The biggest change came with ASIAIR Pro (I still use the second generation and plan to upgrade to the latest). It shifted me from manual supervision of each frame to full automation: precise framing via plate solving, quick resumptions after interruptions, real-time camera control, sequence planning, and guiding monitoring. Another key step was moving from a DSLR/mirrorless camera to the ZWO ASI2600MC Pro, which brought noticeably higher sensitivity, lower noise, and convenient data calibration. Combined with AM5 and EAF, I achieved a predictable, automated chain in which focus, guiding, exposures, and dithering work coherently—allowing me to focus on target selection and data quality.

Q19: What features or products would you love to see from ZWO in the future?

I would welcome a lightweight, mobile mount in the style of an “AM1”—compact, intended for trips with a photo tripod and wide-field Milky Way landscapes. Desired features: low weight, payload capacity for a camera and lens, simple operation, built-in power or convenient power management, and quick polar alignment.