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This is my very first Milky Way photo – and the beginning of an exciting journey.
It consists of a 3×2 mosaic built from two sets of exposures. You’ll find the full technical data below.
One mosaic was tracked to keep the stars sharp and round during long exposures, and to capture fine detail in the galactic core. The second mosaic was untracked, focused solely on the landscape, to avoid any motion blur in the foreground. Both panoramas were then carefully aligned and merged.
To edit the Milky Way separately from the stars, I used StarNet, a neural network that removes stars from the image. This allowed me to create two additional layers: one for the bright nebula regions and one for the dark dust lanes. Each layer was processed individually to bring out depth, contrast, and atmosphere – otherwise, the stars would get damaged during editing.
This kind of post-processing is highly complex and time-consuming.
In the final step, everything was brought back together: the sky, the landscape, the stars, the bright core regions, and the dark dust structures of the Milky Way. Color tones and brightness needed to harmonize perfectly – otherwise, the image would feel disjointed and fall apart visually.
The photo was taken under Bortle Class 4 skies (www.lightpollutionmap.info) – far from ideal for astrophotography. In a densely populated country like Germany, it takes a great deal of planning, patience, and precision to reach this level of quality. I wanted to see what was technically possible here – and gain experience for what lies ahead.
And now, I'm counting down the days until summer: three weeks with a camper van in the Dolomites, chasing the stars. At 2,500 meters elevation, under some of the clearest skies in Europe, the Milky Way doesn’t just arch overhead – it feels like it flows through you. I can’t wait to experience what's possible there in terms of image quality.
Thanks to tracking, I was able to shoot at a moderate ISO 400 with long single exposures of 3 minutes and 20 seconds. Compared to stacking 20 to 50 high-ISO frames, this technique offers several advantages: less noise, more depth, and finer detail. Without tracking, stars would start trailing after just 6 to 8 seconds.
⚙️ Technical Data:
📷 Camera: Sony Alpha 7R V
🔭 Lens: Sony FE 14mm F1.8 GM
🗻 Mount: Benro Cyanbird Carbon Tripod + Benro Polaris Astro Tracker
➕ Panorama: 3×2 mosaic (tracked for sky, untracked for foreground), with approx. 65% overlap for maximum image quality
✂️ Stitched in: PTGui
🔍 Focal Length: 14mm
🌌 Aperture: f/2
🌙 ISO: 400
⏱️ Exposure per frame: 3 minutes 20 seconds
🕒 Total exposure time: approx. 40 minutes (12 frames total)
Too much light pollution where I live (and in most of Belgium) to get a picture of the Milky Way. So, I thought I'd draw it. First attempt.
The Long Road to My Photo at the Tre Cime di Lavaredo
Now comes a long story about how this photo came to be.
One and a half years ago, the idea was born. When I once again happened to see this extraordinary landscape – the Tre Cime di Lavaredo – in a documentary about the Dolomites, I was spellbound. Since my passion has always been night photography, it quickly became clear: this was the place where I wanted to capture the Milky Way. Although I had been doing deep-sky photography for more than ten years, I had never photographed the Milky Way itself. This would mark the beginning of a new passion.
At such a breathtaking location, I didn’t want to simply “take a picture” – my goal was far more ambitious: to create one of the finest Milky Way photographs to be found anywhere in the world. Admittedly, not a modest ambition… but once you stand before this scenery, you instantly understand why someone suddenly feels the urge to reach for the stars.
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Planning and Technology
So the planning began. I needed a highly precise yet mobile and lightweight star tracker. It quickly became clear: with stacking and only 8-second exposures – meaning without tracking – combined with extremely high ISO values, I would never reach the image quality I was aiming for.
So I practiced again and again with the tracker under the light-polluted skies of my hometown: how does it react to wind? What happens with high humidity, thin clouds, or turbulence in the upper atmosphere? Every small disturbance worsens the “seeing,” and it takes a lot of experience to master these pitfalls.
Even calibrating the tracker has to be extremely precise. I measure my tripod digitally in steps of 0.1 degrees to ensure it is perfectly level – the more exact, the longer you can track. Of course, there are superb mounts available, but they are anything but portable. You don’t carry a 20-kilogram block in your backpack up to 2,600 meters on a night hike, together with all the other gear.
And then, of course, you need the brightest and sharpest lenses available. At night, every fraction of a stop counts – daylight photography is far more forgiving.
In general: the less artificial light, the clearer and more majestic the Milky Way appears. For deep-sky astrophotography, there are special filters that block man-made light pollution (for example, from cities). But the Milky Way is something entirely different: it shines across the full spectrum – from deep red to violet-blue. No filter trick works here. Any filter would also block starlight. In other words: the only “trick” is no trick at all – you simply need the darkest, most pristine skies possible.
In Europe, you can only find such conditions in a handful of places: the Dolomites, Großglockner, or La Palma (Canary Islands) – the best you can get by European standards. There are a few more, but the weather there is so unpredictable that your chances of success are even lower. The ideal is high altitude with dry, crystal-clear air.
If you want to go even further, travel to Namibia. There you’ll experience one of the most spectacular night skies anywhere: no weather problems, almost every night is perfect. The catch? Malaria. Which means daily prophylaxis with all its side effects. There’s always something, isn’t there?
If you want to get a sense yourself: on lightpollutionmap.info you can view worldwide light pollution interactively. Just one glance shows how rare truly dark places on our planet have become.
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Milky Way Time Window
In Europe, the Milky Way can only be photographed between April and the end of August during new moon. But especially in June and July, the nights are too short and too bright – it never gets completely dark at our latitude. Effectively, there are only about three months, with a small time window of just a few days around each new moon. If the weather doesn’t cooperate, you wait until the next month.
In summer, you can look towards the center of our galaxy and see the striking dust and nebula bands. In winter, however, you’re looking “outward” into the universe – without those spectacular structures. The season is extremely short, and the chance of a cloudless sky in the Dolomites is less than 30%. The weather often remains stable for only 3–4 hours before changing – a true lottery.
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Tre Cime: A Dream Location with Obstacles
Even during the day, at around 2,500 meters, it is breathtakingly beautiful – wherever you look, a picture-book landscape opens up. And then, right before you, the Tre Cime rise: massive rock walls soaring almost 500 meters straight up, touching the 3,000-meter mark.
But getting there is no longer so simple: you need a reservation and a ticket. Your license plate is checked already down in the valley.
The tickets are strictly limited. For our campervan, 12 hours cost €60. But the probability of stable, cloud-free weather up there is less than 30% – with just one ticket, my project would have been impossible. So I booked 6 time slots of 12 hours each, back-to-back.
Not so easy: the tickets have to connect seamlessly, with only a handful of vehicles allowed per hour. If one slot ends at, say, 4 p.m. and the next one is fully booked, you’re simply out of luck. Getting even one slot is difficult – arranging six in a row is almost impossible. And at the barrier in the valley, there is zero tolerance: even a second late at exit, and the fine is guaranteed.
For the booking itself, you get just five minutes – starting the moment you open the system, not with your final click. From finding matching slots to entering credit card details, personal data, and vehicle info, the countdown runs relentlessly. Everything that could be complicated, is complicated – as if the Dolomites didn’t already present enough natural challenges.
And as if that weren’t enough, you can only buy six tickets per month – now reduced to five.
Going up spontaneously? Forget it. Even if a slot were free, you must book digitally at least 24 hours in advance. On site or the same day? Impossible, not allowed. If you think you can just go with the weather – no chance. Here, bureaucracy rules over nature.
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Arrival and First Setbacks
One and a half years later, the time finally came. Before the drive up, we prepared our campervan: fridge filled, toilet emptied, all batteries charged – for camera, smartphone, star tracker, heating bands against dew, and countless lamps. We were ready to last three days and nights up there.
But even if you arrive early at the barrier full of anticipation, you won’t be let in – the gates only open at the exact booked time. Then it was up in second gear, carefully winding through the serpentines. Now and then the front wheels slipped on the wet asphalt – a clear sign of just how steep it was. A motorhome weighing over four tons and 7.5 meters long is no off-roader. But at the top, on one of the highest campsites in Europe, everything was set.
Only problem: the fridge decided that at 2,500 meters it was no longer its job – even though we had filled it to the brim beforehand. Absorption fridges in RVs simply don’t work reliably on gas at this altitude. Another hard-learned lesson. Result: half of our food ended up in the trash.
The first two days: rain, wind, dense fog, temperatures around 4°C. Thanks to the heater in the camper, at least the cold was bearable – but photographically, a frustration. On the last day, though, everything changed: sunshine, clear views, amazing mood. Could it finally work out?
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The Night of the Shoot
The hike with a backpack weighing over 12 kilos was tougher than expected – the thin air made itself felt.
That night, countless shots were taken. Many tracked 6-minute exposures of the Milky Way, which I later stacked to further improve the signal-to-noise ratio – a trick to achieve more quality than the sensor alone could deliver. I also captured the landscape separately – since with tracked stars, the foreground would blur.
And here came the next challenge: Milky Way photos require new moon and absolute darkness. Landscapes, however, look flat and monochromatic under such conditions, whereas full moon would provide plastic light. The solution: capture the landscape during blue hour or light it deliberately.
For that, I had a special lamp built – custom-made down to the last detail. I even chose the exact LED type myself, tailored precisely to my requirements for color temperature and light quality. 99% of ordinary flashlights are useless for high-quality photography: the light is usually far too cold, or the CRI index (color rendering) is too poor.
My lamp also has a zoom: the beam can be focused extremely tightly – up to 1.5 kilometers – or spread wide and soft, depending on what’s needed for light painting.
And the surprising part: from manufacturers like Convoy Flashlight in China, you can get such customized lamps for under €30. In Germany, such a service would hardly exist – and if it did, the price would make you swallow hard.
So I created exposures of up to 15 minutes while painting the rocks with light. Sometimes the right side turned out better, sometimes the left. A single perfect shot is impossible.
And then there are the famous headlamp trails – little light streaks from hikers that often give an image that extra something. The problem: at night, hardly anyone is up there. And if they are, it’s guaranteed not at the exact moment you’d need them in frame. Paradoxical, isn’t it? You want them desperately – but almost never get them when you need them. So the only option is to collect separate exposures whenever someone happens to pass.
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The Puzzle
By the end of the night, I had about 30 shots in the bag – and darkness gave way to morning. Among them: long exposures with light painting, shots with headlamp trails, many tracked Milky Way frames, and landscapes from blue hour to deep night.
That was my raw material, my toolkit. Later I selected the best elements and merged them into a single image – like a painter who first collects sketches and then fuses them into a finished work of art.
This is the supreme discipline of photography: absolutely no fake, but impossible to achieve in a single exposure. Each frame had to be carefully developed – matching white balance and color temperatures, adjusting brightness and contrast, reducing noise, enhancing details. Sometimes the foreground stone looked better illuminated on the left, sometimes on the right. Everything had to be precisely assembled, layer by layer.
In the end, the Photoshop file grew to over a hundred layers and more than 60 gigabytes. Every little adjustment had to be carefully considered, since each change affected the entire image. The greatest challenge: blending all these different exposures into a seamless whole, without visible transitions, without an artificial impression.
To outsiders, the finished photo may look obvious – as if you had simply stood there and captured that exact moment. In reality, it meant days of work, hours of meticulous corrections, and an enormous amount of patience and technical precision.
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Conclusion
Moments like these stay with you for a lifetime. Not just the photo itself, but the entire journey: the long preparation, the struggles, the setbacks, and finally, the success.
It’s also important to me to show with such texts that photography is not just a click. It’s an adventure – a battle with nature, technology, and yourself. Again and again, I try to surpass my previous limits. Each step makes it harder – but when it works, the moments of joy are unforgettable.
And for those who know me – of course, the next ideas are already in preparation.
Enjoy the view!
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Making of – did you know?
With night photography something curious happens: when viewed in daylight or against a bright background, the deepest shadows often “stick together,” making the landscape look darker than it really is.
The trick is not to leave black at absolute zero, but to raise it ever so slightly – the sweet spot is around 2–3 out of 255 brightness levels. This way, fine structures remain visible even in bright surroundings.
It’s the same little secret used by film and streaming studios to keep images stable across every kind of screen.
As you can see – nothing here is left to chance.
Scientific Sweet Spot for Night Photos
To balance depth and readability across all devices, researchers and industry standards recommend placing the darkest tones in a narrow “sweet spot.” My photo was fine-tuned exactly to these values:
Percentile (how many pixels are darker)Recommended rangeScientific midpointMy photo
5% darkest pixels2–3 / 255~2.5 / 2553
25% darkest pixels6–10 / 255~8 / 2558
Median (50% of all pixels)12–20 / 255~16 / 25515–16
How to read this:
The percentile tells you what fraction of pixels are darker than a certain brightness.
Example: “5% darkest pixels = 3” means the very darkest areas are not pitch black, but lifted just enough to remain visible.
The goal: sit right at the scientific midpoint, so the photo works equally well on OLED at night and on laptops or phones in bright daylight.
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🔧 Technical Information
📷 Camera: Sony Alpha 7R V
🔭 Lens: Sony FE 14 mm f/1.8 GM
🗻 Mount: Benro Cyanbird Carbon Tripod + Benro Polaris Astro Tracker
🌌 Sky: stack of 10 tracked exposures
️ Foreground: composite of 20 exposures (blue hour, light painting, headlamp trails, deep night phases)
⏱️ Exposure time per frame:
– Sky: ISO 320, f/1.8, 6 minutes each
– Foreground: ISO 100, f/2.8, from a few minutes (blue hour) up to 20 minutes
🕒 Total exposure time: approx. 6 hours combined
📍 Location: Tre Cime di Lavaredo (Drei Zinnen, 2,999 m), Dolomites, Italy
Part of this effort was to see whether I could actually shoot this with the Edge HD 925 from my light polluted backyard. However, I am also lecturing about supernovae this week. Nice of this massive star to oblige with a core collapse at a convenient time -- about 140 million years ago.
The inset in the red frame in the lower right corner is a close up of active barred spiral galaxy NGC 3367. The galaxy is shown in its position in the sky near the center at the bottom of the image. There has been a lot of study done on this galaxy (see arxiv.org:1104.3622, for example). The other galaxy easily viewed in this field (toward the upper right corner) is NGC 3377 - an elliptical galaxy.
The middle of this imaging run was at 2022-04-09 0652 UT. This image is from a stack of 32 3 min exposures at f/2.3 with a Hyperstar lens and Atik 314L+ color CCD with Baader light pollution filter. Preprocessing was done in Nebulosity; stacking and initial processing in PixInsight; final touches in Photoshop.
According to lightpollutionmap.info, I am in a Bortle 8-9 zone. Thus, this was a challenge to get at all.
It is always good to be back. Spent couple of days in self isolation on Plavno lake - wonderful place in the Berezinsky biosphere reserve with almost no light pollution www.lightpollutionmap.info/#zoom=10.236666666666668&l....
Taken bunch of night shots with Sony A6300 and Sigma 16mm F1.4 on a lucky day with clear skies and a new moon
Too lazy to edit. Straight out of the camera jpgs shot with vivid style.
It is always good to be back. Spent couple of days in self isolation on Plavno lake - wonderful place in the Berezinsky biosphere reserve with almost no light pollution www.lightpollutionmap.info/#zoom=10.236666666666668&l....
Taken bunch of night shots with Sony A6300 and Sigma 16mm F1.4 on a lucky day with clear skies and a new moon
Too lazy to edit. Straight out of the camera jpgs shot with vivid style.
Uşak / Ulubey Kanyonları civarı. Blaundus antik kenti girişi, gece uzun pozlama.
● AstroFotoğraf için en gerekli şey ışık kirliliğinin olmadığı bir bölge bulabilmek, bunun yanında bulutsuz ve Ay'sız bir gökyüzü olmalı. ( lightpollutionmap.info sitesinden bulunduğunuz bölgenin ışık kirliliğine bakabilirsiniz) Bütün bunları bir arada bulmuşken Uşak Ulubey'de bulunan Blaundus Antik Kentinin girişine kadar geldim, fakat o kadar zifiri karanlıktı ki antik kentin içinde yürümek imkansızdı, ben de antik kentin girişinde doğrudan gökyüzünü pozladım.
It is always good to be back. Spent couple of days in self isolation on Plavno lake - wonderful place in the Berezinsky biosphere reserve with almost no light pollution www.lightpollutionmap.info/#zoom=10.236666666666668&l....
Taken bunch of night shots with Sony A6300 and Sigma 16mm F1.4 on a lucky day with clear skies and a new moon
Too lazy to edit. Straight out of the camera jpgs shot with vivid style.
As the titles say... this is my first try at milky way photography. Yesterday I read up on the subject and by chance the weather was almost perfect for a first try, so I took my chance.
Sadly it's not high season for milky way photography at my location. The galactic centre rose only 8° above the horizon, further obstructed by a mountain/hill and forest.
The camera (EOS 80D) and especially the lens (18-135mm IS USM 18mm/f3.5) are not very excellent for astrophotography, so there's quite an amount of noise I couldn't get rid of in Lightroom.
Thanks to lightpollutionmap.info I could declare the darkest spot in my region. I got into the car at 00:20am and arrived at 00:50am. After shooting for approximately 80 minutes I got really cold. I should really consider bringing gloves and buying a headlamp for the next time, as you can imagine it was pretty hard to see anything, and even harder to control the camera under these circumstances and with cold hands.
After all, I am quite happy with the results. Here's some additional info:
Approx Location: 47°08' N, 08°40' E
Date: 06th of May 2016, 01:00 am (GMT +1)
Altitude Above Sea Level: 1088 m / 3670 ft
Night Sky Radiance: 0.23 *10^-9 W / cm^2 * sr (according to lightpollutionmap.info)
Temperature: ~2.5° C / 36.5° F
Air Pressure: 895 hPa
A weekend away was my first visit to Schokland. I had looked it up on a Dark-sky map but ended up a little disappointed with the amount of light pollution. As the landscape itself is very flat, with the odd line of trees, I decided to use the trees outlining the property we staid at for foreground interest
Without a place to leave the camera and go back in, I decided not to do star trails in the near freezing temperatures.
Canon EOS 5D Mark IV
Samyang 14mmt/3.1
20s
ISO1600
Flash (off, did not fire)
It is always good to be back. Spent couple of days in self isolation on Plavno lake - wonderful place in the Berezinsky biosphere reserve with almost no light pollution www.lightpollutionmap.info/#zoom=10.236666666666668&l....
Taken bunch of night shots with Sony A6300 and Sigma 16mm F1.4 on a lucky day with clear skies and a new moon
Too lazy to edit. Straight out of the camera jpgs shot with vivid style.
The start of a new month on a lunar calendar gives great opportunity to photograph the milky-way I was told by Imanuel and I signed up for his workshop.
After a night in the dark desert, the workshop also included an editing session.
In this case I straightened the perspective in Lightroom as the most visible change besides bringing up contrast and dealing with some colour casting over the horizon.
Canon EOS 5D Mark IV
Samyang 14mm T3.1
20s
ISO3200
Flash (off, did not fire)
My first attempt.
Used www.lightpollutionmap.info/ and darksitefinder.com/maps/world.html to find a spot close by with less light pollution. Used Starwalk2 app (free version) to locate the belt in the sky.
Most of the places in the general area we went to ended up being private property, so eventually had to stop on the side of a road (no car passed us by for the hour we were there for) and start taking these pictures. I wanted a better foreground than this, but will do for this first time.
I took 5 shots shots at the end, each a minute apart and it was so cool to see the milky way move with respect to our reference frame i.e. the earth, over a 5 minute window. A time lapse video of several of those shots over a 3 - 4 hour duration would look awesome!
Squid are deep-see animals. They live in dark and really deep and cold water of oceans. Because of darkness they learned how to use bioluminestece as a language. They comunicate each others this way. When they see some artificial light in night, they move there and die in hunters net. Tons of them. They use .
en.wikipedia.org/wiki/Bioluminescence
biolum.eemb.ucsb.edu/organism/squid.html
This picture presents llightpollution in near South Korea and Japan. You can check it by yourself on www.lightpollutionmap.info
As far you know, they eats a lot of see food in this region of Asia.
Each of all those (bigger or smaller) light source is a ship. When pouchers ship reach its fishery, they turn on its huge light instalation. Thats how they lure tons of squid closer to surface of ocean. This way they can easly and constantly provide illegal eploit of this life source.
All of those lightpoints are pouczers' ship or fish farms (check montly LP in previous years.
Most popular squid:
Illex argentinus, commonly known as the Argentine shortfin squid, is a species of squid in the family Ommastrephidae. It is one of the most commercially fished species of squid, with 511,087 tons harvested in 2002, or 23.3% of the entire squid harvest.
Noone really knows how big is problem of ocean poaching.
Example squid pouching (Atlantic Ocean): www.desdemonadespair.net/2013/11/image-of-day-satellite-v...
Lack od fishery moves hunters milions miles form China to Argentina: www.ryot.org/argentinas-coast-guard-catches-chinese-trawl...
NASA work in progress: earthobservatory.nasa.gov/Features/Malvinas/?src=features...
It is always good to be back. Spent couple of days in self isolation on Plavno lake - wonderful place in the Berezinsky biosphere reserve with almost no light pollution www.lightpollutionmap.info/#zoom=10.236666666666668&l....
Taken bunch of night shots with Sony A6300 and Sigma 16mm F1.4 on a lucky day with clear skies and a new moon
Too lazy to edit. Straight out of the camera jpgs shot with vivid style.
Squid are deep-see animals. They live in dark and really deep and cold water of oceans. Because of darkness they learned how to use bioluminestece as a language. They comunicate each others this way. When they see some artificial light in night, they move there and die in hunters net. Tons of them. They use .
en.wikipedia.org/wiki/Bioluminescence
biolum.eemb.ucsb.edu/organism/squid.html
This picture presents llightpollution in near South Korea and Japan. You can check it by yourself on www.lightpollutionmap.info
As far you know, they eats a lot of see food in this region of Asia.
Each of all those (bigger or smaller) light source is a ship. When pouchers ship reach its fishery, they turn on its huge light instalation. Thats how they lure tons of squid closer to surface of ocean. This way they can easly and constantly provide illegal eploit of this life source.
All of those lightpoints are pouczers' ship or fish farms (check montly LP in previous years.
Most popular squid:
Illex argentinus, commonly known as the Argentine shortfin squid, is a species of squid in the family Ommastrephidae. It is one of the most commercially fished species of squid, with 511,087 tons harvested in 2002, or 23.3% of the entire squid harvest.
Noone really knows how big is problem of ocean poaching.
Example squid pouching (Atlantic Ocean): www.desdemonadespair.net/2013/11/image-of-day-satellite-v...
Lack od fishery moves hunters milions miles form China to Argentina: www.ryot.org/argentinas-coast-guard-catches-chinese-trawl...
NASA work in progress: earthobservatory.nasa.gov/Features/Malvinas/?src=features...
Example of fishing boat: earthobservatory.nasa.gov/Features/Malvinas/images/squid_...
It is always good to be back. Spent couple of days in self isolation on Plavno lake - wonderful place in the Berezinsky biosphere reserve with almost no light pollution www.lightpollutionmap.info/#zoom=10.236666666666668&l....
Taken bunch of night shots with Sony A6300 and Sigma 16mm F1.4 on a lucky day with clear skies and a new moon
Too lazy to edit. Straight out of the camera jpgs shot with vivid style.
It is always good to be back. Spent couple of days in self isolation on Plavno lake - wonderful place in the Berezinsky biosphere reserve with almost no light pollution www.lightpollutionmap.info/#zoom=10.236666666666668&l....
Taken bunch of night shots with Sony A6300 and Sigma 16mm F1.4 on a lucky day with clear skies and a new moon
Too lazy to edit. Straight out of the camera jpgs shot with vivid style.
It is always good to be back. Spent couple of days in self isolation on Plavno lake - wonderful place in the Berezinsky biosphere reserve with almost no light pollution www.lightpollutionmap.info/#zoom=10.236666666666668&l....
Taken bunch of night shots with Sony A6300 and Sigma 16mm F1.4 on a lucky day with clear skies and a new moon
Too lazy to edit. Straight out of the camera jpgs shot with vivid style.
It is always good to be back. Spent couple of days in self isolation on Plavno lake - wonderful place in the Berezinsky biosphere reserve with almost no light pollution www.lightpollutionmap.info/#zoom=10.236666666666668&l....
Taken bunch of night shots with Sony A6300 and Sigma 16mm F1.4 on a lucky day with clear skies and a new moon
Too lazy to edit. Straight out of the camera jpgs shot with vivid style.
It is always good to be back. Spent couple of days in self isolation on Plavno lake - wonderful place in the Berezinsky biosphere reserve with almost no light pollution www.lightpollutionmap.info/#zoom=10.236666666666668&l....
Taken bunch of night shots with Sony A6300 and Sigma 16mm F1.4 on a lucky day with clear skies and a new moon
Too lazy to edit. Straight out of the camera jpgs shot with vivid style.
Tämä onkin varmasti hyvä paikka repos- ja tähtikuvaukseen. Löytyy kota makkaranpaistoa varten ja lämmitystolppa autolle. Valosaastettakaan ei pitäisi liiemmin olla, ainakaan jos on tähän uskominen.
My garden, left side of the picture is north
Because of the COVID-19 my current observation place is my garden.
Unfortunately the light pollution is very strong as you can see, two street lamps and a third one, not visible at the picture.
From now the next deep sky pictures will be taken from my garden.
With a perhaps not professional combination of filters, but it works.
Hutech IDAS LPS-D1 Nebula Filter
Then the filter wheel with:
L - R - G - B - Ha - OIII - SII FILTER
The next picture M97 is the first deep sky picture taken from my garden.
Stay safe and healthy !
Link Light Pollution
ENLACE
www.lightpollutionmap.info/#zoom=14&lat=5276496&l...
Imprescindible para planificar tus tomas nocturnas
We love our electric lights. In fact, if you want to get a good sense of the population density of any first-world city, just wait for the sun to go down. 8.7 million people inhabit Greater London, and as this image from January of 2017 clearly illustrates, they all own at least one high-intensity light bulb.
Star gazing in these conditions can be frustrating or even impossible, thanks to a phenomenon known as skyglow. Light scattered by the atmosphere above our cities serves as a perpetual night light. Sleep deprivation induced by this relentless exposure has become a significant public health problem in many urban areas.
A grassroots effort known as the dark-sky movement works to raise awareness of, if not shed new light on, the impact of light pollution on people and wildlife.
More about light pollution: www.lightpollutionmap.info/#zoom=4&lat=5759860&lo...
Middle School Activities: nasawavelength.org/resource/nw-000-000-002-249/
High School Activities: nasawavelength.org/resource/nw-000-000-001-914/
Sony y el fotógrafo Jesús M. García Flores ofrecen una serie de consejos para capturar en todo su esplendor estas ’lágrimas de San Lorenzo’
Si hay algo que nos acompaña cada verano, además del calor y las ganas de vacaciones, son las Perseidas.
#consejosdefotografia #fotografia #fotografianocturna #fotografiarmeteoro #fotografiarpaisajes #fotografiarperseidas #JesusMGarciaFlores #LagrimasdeSanLorenzo #LightPollutionMap #meteorito #meteoros #objetivofotografico #perseidas #Photopills #Photoshop #Sequator #Sony #tipsdefotografia #trípode #trucosdefotografia #Windy
casaactual.com/como-fotografiar-perseidas-apps-que-te-ayu...
The Summer Triangle is a striking constellation of stars in the Milky Way. It consists of the three fixed stars Deneb in the constellation ‘Swan’ (top left in the image), Vega in the constellation ‘Lyra’ (top right in the image) and Altair in the constellation ‘Eagle’ (bottom in the image).
The light pollution is caused by the settlements on the Tleldsund to the west of the PoV, which separates the Norwegian mainland from the offshore islands. www.lightpollutionmap