The Wide Field and Planetary Camera 2 (WFPC2) is a baby grand piano sized camera built by the Jet Propulsion Laboratory and formerly installed on the Hubble Space Telescope. It was installed by servicing mission 1 (STS-61) in 1993, replacing the telescope's original Wide Field and Planetary Camera (WFPC). WFPC2 was used to image the Hubble Deep Field in 1995, the Hourglass Nebula and Egg Nebula in 1996, and the Hubble Deep Field South in 1998. During STS-125, WFPC2 was removed and replaced with the Wide Field Camera 3 as part of the mission's first spacewalk on May 14, 2009. After returning to Earth, the camera was displayed briefly at the Jet Propulsion Laboratory, then at the Denver Museum of Nature and Science before moving to its final home at the Smithsonian's National Air and Space Museum.
Read more about Wide Field And Planetary Camera 2: Design, Performance
Famous quotes containing the words wide, field, planetary and/or camera:
“The wide wonder of Broadway is disconsolate in the daytime; but gaudily glorious at night, with a milling crowd filling sidewalk and roadway, silent, going up, going down, between upstanding banks of brilliant lights, each building braided and embossed with glowing, many-coloured bulbs of man-rayed luminance. A glowing valley of the shadow of life. The strolling crowd went slowly by through the kinematically divine thoroughfare of New York.”
—Sean O’Casey (1884–1964)
“I learn immediately from any speaker how much he has already lived, through the poverty or the splendor of his speech. Life lies behind us as the quarry from whence we get tiles and copestones for the masonry of today. This is the way to learn grammar. Colleges and books only copy the language which the field and the work-yard made.”
—Ralph Waldo Emerson (1803–1882)
“We cannot cheat on DNA. We cannot get round photosynthesis. We cannot say I am not going to give a damn about phytoplankton. All these tiny mechanisms provide the preconditions of our planetary life. To say we do not care is to say in the most literal sense that “we choose death.””
—Barbara Ward (1914–1981)
“When van Gogh paints sunflowers, he reveals, or achieves, the vivid relation between himself, as man, and the sunflower, as sunflower, at that quick moment of time. His painting does not represent the sunflower itself. We shall never know what the sunflower itself is. And the camera will visualize the sunflower far more perfectly than van Gogh can.”
—D.H. (David Herbert)