View allAll Photos Tagged Moonless
The arc of the Milky Way spans the Gates of the Valley in Yosemite National Park. El Capitan and Bridalveil Fall frame Yosemite Valley on a moonless night. The only illumination on the valley is from starlight and airglow.
I have done this particular shot twice before, but have never been satisfied with the results; primarily with the quality and detail in the foreground. This time, I returned with my Sony A7S to try to do it better. I like this version a lot more
Gory Details:
The Sky portion of this composite is a single-row panorama using higher ISO and shorter shutter duration to capture the stars as pinpoints rather than as streaks.
The foreground is a two-row panorama using a longer shutter duration to pull out detail from the foreground that is only lit by starlight and airglow.
Both panoramas were stitched using the new Merge function in Lightroom CC. I have to admit, I am very impressed with this added feature. The Milky Way portion was then composited with the foreground portion in Photoshop.
Milky Way: Sony A7S, Rokinon 24mm f/1.4 at f/2, 15s, ISO6400, 15 images combined into a pano (I overlap a LOT).
Foreground: Sony A7S, Rokinon 24mm f/1.4 at f/2, 120s, ISO3200, 30 images (2 rows) combined into a pano
Since it was a relatively warm night (60s), I noticed significant pixel color noise on the 2 minute foreground images. It cleaned up nicely with LENR, but I did not want to wait the extra 2 minutes per exposure that LENR takes. To be able to clean up the images in post processing, I took a couple of Dark Frames (same settings but with lens cap on) before I packed up and went home. In order to reduce the fixed color noise on each image, I subtracting the dark frames from each of the foreground exposures in Photoshop. Time consuming, but very worth it.
The toughest part of doing this image was taking foreground images with no car lights in them! Despite being after 1AM, it was difficult to get 2 minute exposures that didn’t have some car driving thru. Since sometimes the car would come by on Southside Drive and sometimes on Northside Drive, I was able to combine two “ruined” images into one image with no cars by blending in Photoshop.
Needless to say, between capture and post-processing, this has been one of my most difficult images.
www.youtube.com/watch?v=3ipUBRS75pw
Dark and moonless night
Has never felt so right
An empty mirror only shows what's left inside
Lost in the city street
Electric tapestry
The neon becons me beyond its ghostly light
No longer I pretend
The staircase I decend
Will lead me anywhere but my unscripted end
My heart and hands collide
The gun lays at my side
Too late to turn back
Only fates left to decide
Magnum bullets
Settling the score
Magnum bullets
Kicking down the door
Back up the stairs again
I am a different man
A broken mirror only shows as best it can
Running in shoes that shine
With blood that isn't mine
A stinging trophy
Of the battles I've survived
No longer I defend
The choices I pretend
Could make amends that heal the loss of precious time
My conscience paralyzed
Against the rising tide
Of haunting memories that drown a wasted life
Magnum bullets
Always wanting more
Magnum bullets
Closing every door
I arrived at the highway bridge over the Rio Grande a little after midnight and waited around until I was satisfied with the Milky Way being nice and vertical over the river, about another hour.
It was not a pleasant location to hang out in, despite the view. The shoulder on the bridge enabled me to be on it at all, but the highway traffic was going right behind me. Annoyingly, even after midnight there was a surprising number of big trucks coming down from Los Alamos. Some made an effort to change to the left lane when they saw my headlamp, but some didn't and it was a hair-raising experience having them barrel past me at high speeds just a few feet away.
On my way back off the bridge I became aware of all the big dents in the guard rail, so I was happy to get out of there....
Despite all that, it is a beautiful scene and the waning gibbous moon provided ample illumination of the landscape. The trade-off is a washed-out Milky Way though.
Last year I took this shot on a moonless night, but didn't like the outcome because the landscape was pitch black and therefore became very noisy in post processing when trying to brighten it.
Because of the traffic, I swore then never to come back in the pitch black of night. Now I vowed never to come back at all.
Made from 16 light frames with 16 dark frames by Starry Landscape Stacker 1.8.0. Algorithm: Mean Min Hor Noise
The summer Milky Way and galactic core region over the formations at Dinosaur Provincial Park, Alberta, July 9, 2021, on a warm moonless night.
This is a blend of 4 tracked exposures (2 to 3 minutes each) at f/2.8 for the sky and 3 untracked exposures (4 to 8 minutes) at f/5.6 for the foreground. An additional tracked exposure through a Kase/Alyn Wallace Starglow filter adds some subtle glows to the bright stars. Two of the sky exposures were shot through a Kase Natural Night filter as a test, but it didn't make a big difference over the unfiltered images.
All with the Canon Ra at ISO 1600 to 3200, and on the Star Adventurer 2i tracker, and with the Canon 15-35mm RF lens. No artificial lighting was employed here. Smoke from BC forest fires spoiled the transparency and contrast in the sky.
Now that the Wolf Moon has passed full there is a thin window at full dark that fortunately is also a time to capture Comet 2020 V2. With the dark sky the stars now pop as they should and makes for a nice scene. The line of stars of similar magnitude with diverse colors with the comet in the middle makes for a nice composition. This image was captured with iTelescope T2 and is 5 x 90 sec stacked with Astropixel Processor and finished with Photoshop.
Although Comet 2022 E3 gets most of the attention now this comet will be visible for months and has some nice future close conjunctions with deep sky objects making for scenic compositions.
IC 2118 (also known as Witch Head Nebula due to its shape) is an extremely faint reflection nebula believed to be an ancient supernova remnant or gas cloud illuminated by nearby supergiant star Rigel in the constellation of Orion.
Tech Specs:
Taken 25-26 Dec 22 between 9:18PM & 2:50AM, clear moonless skies, Bortle 4, Oracle, Arizona, temperature 48F, RH 78%, light winds.
Orion Sirius EQ Mount
Nikon d7100
Nikkor 180mm f/2.8 @ f/5,
ISO 3200 38x180s
ISO 6400 108x120s
PixInsight, Photoshop
Three good moonless nights gave me the opportunity to collect some significant time, albeit from the backyard, on this famous pair of galaxies
Lying within the Large Magellanic Cloud, a satellite galaxy to ours 158,000 light years away in the constellation of Doradus, this nebula complex presents a Ha and OIII rich tapestry of colourful nebulae and star clusters. Data was gathered over multiple nights in a moonless sky for a total of 17 hours of total exposure time.
This is a natural colour palette image (I.e. an LRGB image augmented with Ha and OIII narrow band data).
NGC 2011: is a Open Cluster
NGC 2014: is a HII emission nebula surrounding an open cluster of stars. Along with NGC 2020 it makes up what is called the Cosmic Reef.
NGC 2020: an Oxygen emission structure erupting from a single central Wolf-Rayet star. Along with NGC 2014 it makes up what is called the Cosmic Reef.
NGC 2021: is a Open Cluster
NGC 2029 / 2030 is a HII Ionized region and is listed as part of Lucke-Hodge stellar association 82, along with NGC 2032 and 2035. NOTE: The coordinates for NGC 2029 and NGC 2030 were reversed between Herschel's original Catalogue of Nebulae and Clusters of Stars and the New General Catalogue. Consequently, there is much confusion over what designation the object in this image should get. Depending on which source you look at, it could be either. Most images I've seen indicate 2030 as the correct catalogue number. However, I'm still confused.
NGC 2032: is an emission nebula and consists of NGC 2029, NGC 2035 and NGC 2040.
NGC 2035: is part of a complex of nebulae and stars, including NGC 2032 and NGC 2040. It consists of large bright gas clouds which are separated by dark dust clouds. NGC 2029, NGC 2032 and NGC 2035 are star-forming regions
NGC 2040: is a supernova remnant which contains an open cluster whose stars have a common origin and are drifting together through space. There are three different types of stellar associations defined by their stellar properties. NGC 2040 is an OB association, a grouping that usually contains 10–100 stars of type O and B — these are high-mass stars that have short but brilliant lives.
For an annotated version see:
Star trail, single exposure lasted 1 hour, taken of course in a moonless night.
I've been so many times above the clouds that I no longer even remember how many...
For me it has become a totally normal thing to see below me a lovely carpet of clouds.
Since the late evening this carpet of clouds was entirely shrouding the Valle Gesso, Natural Park of the Maritime Alps (Italy).
From my vantage point I saw that this valley was pointing slightly to the north, so I instantly knew that thanks to Earth's rotation through a very long exposure I would have got the trails of the stars converging right into the cloudscape! Almost like a logical continuation, an extension of it :-) With some distant light pollution coming from the valleys of Cuneo that would have provided a proper hint of light (light pollution is such a precious component in night photography, unfortunately too often misunderstood and underestimated by beginners).
And so it was, as evidenced by this photo.
It has been really fascinating to fix this interrelation between such elements so ethereal and peculiar (stars, light, clouds). A minimalist and silent dialogue... as I love to understand and live the mountain, in serene and peaceful solitude, admiring these bridges toward the otherworldly.
I am pretty sure: in silence there is the answer.
_____________________
©Roberto Bertero, All Rights Reserved. This image is not available for use on websites, blogs or other media without the explicit written permission of the photographer.
Made from 17 light frames (captured with a Canon camera) by Starry Landscape Stacker 1.6.2. Algorithm: Median
Had Etna's latest paroxysm occurred on a windy, moonless night, it might have passed into history as one of the less spectacular events of this type. Less violent, less complex, and less dramatic, the paroxysm on the early morning of 9 February 2012 (the 20th since the current series began in January 2011), occurred during the nearly full moon, with clear skies (after many days of poor visibility) and almost no wind. Plus, it continued until dawn. This is a winning recipe, and so all of us who work on Etna or just go for it for passion had the chance to enjoy yet another one of these marvellous events that I collectively call "The Greatest Show On Earth".
The ash and gas cloud that rose during this latest paroxysm rose a few kilometers into the sky and then spread out into a mushroom (or umbrella) cloud, slowly drifting southwestward. The snow-coverd mountain and its brightly incandescent lava flow and fountains is in the lower right corner of the image. This was taken in the hills just upslope from my home village Trecastagni
This is one so much better when Viewed Large on Black
So last night I trekked up Cameron Pass to enjoy the peak of this annual treat of an astronomical event and got away with some keepers, even with the moon! I can only imagine how bright this nice fireball meteor would have been under a moonless sky. I saw 69 Perseids total between 10 pm - 3:30 am MST.
If you missed em' last night, continue to look the next several nights as they will wind down now until around Aug. 24.
Shot Notes: Due to the moonlight and still wanting a night sky, I used ISO 1000 vs 1600 and went with 30 seconds at F/3.2. I also didn't directly point toward the radiant as I was trying to avoid the part of the sky incredibly lit up by the moon. I will have a stacked star trails version of this in the coming days.
From the distant lights of Farmington in the north, the Milky Way seems to rise into a graceful arch over the Bisti Badlands on a moonless night in New Mexico.
featured #39 in Explore 05 May 2017
Number seven of my ST project was taken last December on very windy and cold night at the one of the most iconic locations in Sussex, UK. I remember this night well and the long walk down from the parking spot but once by the Coastguard Cottages the wind eased a bit and conditions were much more pleasing. I’m waiting for the right weather and moonless night and should return here in the near future to grab rise of the galaxy.
Technically: 122x30s frames on my Canon 5DmII and manual 28mm Sigma lens at f/2.8 and ISO 3200.
Probably around eighty frames had to be rid of airplane trails a.k.a. ST destroyers and taking that I’m very busy at the moment it was challenging to find time and make it ready for today.
A small creek up in the alpine on Mt Sproatt on a clear moonless night in Whistler, Canada.
instagram: instagram.com/gosko
prints: gosko.photo
The Milkyway sets behind the Cathedral Peak mountain range in the Drakensberg on a cold winter's morning.
Canon 5D Mark III
24-70mm LII
20Sec exposure, ISO3200, F/2,8
Honestly, that's what it's called..!
Last weekend I took a trip up to Lake Clearwater - near the set for Rohan from the Lord of the Rings films. I know there's a lot of Christchurch photogrpahers who spend their time up here and I can totally understand why - the scenery is spectacular and the landscape opportunities are just superb. It being a nice moonless night I had to head out for some astro shots (which makes getting back up for dawn *really* tough sometimes!). This weekend, however, I had time for only one image before the clouds came in and it started to rain... still, it came out OK!
This is two rows of images, shot using my Sigma 20mm f/1.4 ART lens and a Nodal Ninja Pano head (Still my go-to rig - if it ain't broke, don't fix it...)
If you like my images then please click the 'fave' icon or leave a comment, I'm a sucker for the little stars...
For more of my stuff, please visit my website; www.jamesgibsonphotography.com/
Thanks for looking and happy shooting :)
Taken with Nikon d7100, Nikkor 180mm ED f/2, iso 2200, 20x60s, between 4:44AM and 5:03AM from Cheyenne, Wyoming under clear moonless skies with excellent transparency. Used P:ixInsight and Photoshop Cs 6.0.
The comet was near the star cluster M37.
After a string of 4 clear nights in late March, it's been a long time since we have had a stretch of clear moonless nights. So no astrophotography for me…
In the meantime, I had upgraded one of my astro cameras to a new camera known as the ZWO ASI2600MM-Pro. This is a mono camera based on a new generation of larger APS-C size sensors. It offers much higher resolution, a full 16-bits of dynamic range, outstanding noise characteristics, and a much deeper well capacity (which means I can overexpose bright areas of the image - stars - much more before I saturate the sensor). This was also a bigger and heavier camera and I needed to rework my rig to balance things out. I have been eager to test this out.
Recently I had that chance. Choosing Messier 63 - the Sunflower Galaxy as my target I took over 15 hours of exposures through Luminesce, Red, Green, Blue and Hydrogen-Alpha filters over the nights of May 13th, 14th, 15th, 16th, and 17th. I thought I had clear nights but it turns out that thin clouds passed through on EVERY night - enough cloud to mess-up my exposures but not enough to shut things down. I inspected every single frame and I ended up throwing out 5 HOURS of data due to "Cloud Pollution". I got to tell you - that HURTS.
So about our Target…
I have captured M63 before and I wanted to see what difference I could make with a new camera and a bit more experience under my belt. I am very pleased with the result of my first effort with this camera. Good detail, excellent color.
Located 29.3 Million Light Years away, this is what Wikipedia has to say about M63:
Messier 63 or M63, also known as NGC 5055 or the seldom-used Sunflower Galaxy,[6] is a spiral galaxy in the northern constellation of Canes Venatici with approximately 400 billion stars.[7] M63 was first discovered by the French astronomer Pierre Méchain, then later verified by his colleague Charles Messier on June 14, 1779.[6] The galaxy became listed as object 63 in the Messier Catalogue. In the mid-19th century, Anglo-Irish astronomer Lord Rosse identified spiral structures within the galaxy, making this one of the first galaxies in which such structure was identified.[8]
The shape or morphology of this galaxy has a classification of SAbc,[5] indicating a spiral form with no central bar feature (SA) and moderate to loosely wound arms (bc). There is a general lack of large-scale continuous spiral structure in visible light, so it is considered a flocculent galaxy. However, when observed in the near infrared, a symmetric, two-arm structure is seen. Each arm wraps 150° around the galaxy and extends out to 13,000 light-years (4,000 parsecs) from the nucleus.[9]
M63 is a weakly active galaxy with a LINER nucleus – short for 'low-ionization nuclear emission-line region'. This displays as an unresolved source at the galactic nucleus that is cloaked in a diffuse emission. The latter is extended along a position angle of 110° relative to the north celestial pole, and both soft X-rays and hydrogen (H-alpha) emission can be observed coming from along nearly the same direction.[10] The existence of a super massive black hole (SMBH) at the nucleus is uncertain; if it does exist, then the mass is estimated as (8.5±1.9)×108 M☉,[11] or around 850 million times the mass of the Sun.
Here is the detail around this image:
*Number of frames is after bad or questionable frames were culled.
71 x 90 seconds, bin 1x1 @ -15C, unity gain, ZWO Gen II L Filter
81 x 90 seconds, bin 1x1 @ -15C, 0 gain, ZWO Gen II R Filter
67 x 90 seconds, bin 1x1 @ -15C, unity gain, ZWO Gen II G Filter
79 x 90 seconds, bin 1x1 @ -15C, unity gain, ZWO Gen II B Filter
27 x 300 seconds, bin 1x1 @ -15C, unity gain, Astronomiks 6nm Ha Filter
Total of 9.7 hours
25 Darks at 300 seconds, bin 1x1, -15C, gain 0
50 Darks at 90 seconds, bin 1x1, -15C, gain 0
30 Dark Flats at Flat exposure times, bin 1x1, -15C, gain 0
30 R Flats
30 G Flats
30 B Flats
30 L Flats
30 Ha Flats
Capture Hardware:
Scope: Astrophysics 130mm Starfire F/8.35 APO refractor
Guide Scope: Televue 76mm Doublet
Camera: ZWO AS2600mm-pro with ZWO 7x36 Filter wheel with ZWO LRGB filter set,
and Astronomiks 6nm Narrowband filter set
Guide Camera: ZWO ASI290Mini
Focus Motor: Pegasus Astro Focus Cube 2
Camera Rotator: Pegasus Astro Falcon
Mount: Ioptron CEM60
Polar Alignment: Polemaster camera
Software:
Capture Software: PHD2 Guider, Sequence Generator Pro controller
Image Processing: Pixinsight, Photoshop - assisted by Coffee, extensive processing indecision and second guessing, editor regret and much swearing…..
Glacier Point, Yosemite National Park
Glacier Point on this moonless night, what an amazing place to watch the star show. This shot was 45 minutes after sunset and the stars already started to appear. The three lights are from Half Dome climbers probably hanging securely in their hammocks for the night.
Note to Self : Pre-focus your lenses if possible as is near impossible in the dark.
* * Thanks for Looking * *
~ Explore ~
Creepy?
Yes, indeed!
Another result from the night out shooting with Valorie and Jon. Thanks to Andrew for doing the finding on this location.
We ended up only being here at this house, for about an hour. Truth be told- we could have spent the entire night shooting at this place. So, you can guarantee, I'll be back! Valorie went to sleep in the Jeep with an upset stomach, so Jon and I walked through the grass trying to grasp the layout of the place in the moonless, pitch dark.
This is a stacked/layered composite of four different exposures. After each doing our own thing, Jon and I agreed on picking a similar POV and he manned the cameras while I went inside to set off the flashes.
Creepy this place is, yes. (say it like Yoda)
This was the first time I've taken anyone out shooting at night other than Valorie. It was alot of fun sharing techniques and watching Jon quickly pick up the nuances of night shooting, and also have someone to talk to! Valorie is such a good sport coming along with me on these shoots, but rightfully so, she's usually asleep by 1am-ish (I can't imagine why...) But Jon really enjoyed the time out and stayed up clicking away till 4am when we called it quits.
This is my first time shooting at night with a lens faster than 2.8
Honestly, I've never thought to get a lens out here wide open to see what happens, I just figured the image would be too soft and lose the stars. But, turns out, it's possible. And yields stunning results.
The editing to this one is truer to form than the previous Stonehenge one. 540ez flashed multiple times inside. Focus is soft, I know :-/ that'll be a priority to fix next time.
Please go see Jon's take on Stonehenge, I love the composition he got from it!
Also, take a look at the picture Valorie posed and got!
Hi Res version: 500px.com/photo/102824465
Went to the Olympic National Park for the first time with a friend last week. And our first stop was Ruby Beach, arrived around sunset time and stayed for some night shot of course!
A single exposure shot of the milky way above the silhouette treeline. The moonless night make no illumination. A 6400 ISO was just enough to see a little of the dark details... It was an wonderful dark night!!
Hope you enjoy it like I did!
Thank you!
Website: www.bunleephotography.com
Art Prints: bun-lee.artistwebsites.com
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Night sky with green and red airglow, the Milky Way, Seven Sisters (M45), Andromeda Galaxy (M31) and Capella star are above; Hoodoos, caused by erosion over many millennia are bellow. This photo was done from my trip to Bryce Canyon in Sunset Point.
Constellations: Triangulum, Perseus, Camelopardalis. Part of the constellations: Pisces, Lynx, Auriga, Cassiopeia, Aries.
Bright starts: Capella, Ruchbah, Almach, Algol, Hamal, Mirach, Menkalinan, Mirfak.
The Airglow is visible in the true-dark sky of Bryce Canyon near horizon. Green and red colors of Airglow are common for the natural moonless sky. The luminous night sky airglow was just faintly visible by naked eye, its color captured only by a long exposure of camera.
Canon 60Da, EF16-35mm f/2.8L II USM, 30.0 sec; f/3.5; ISO 6400
Thank you all for your comments and faves!
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At Elk Island NP. I wanted to try and take some shots of Milky Way yesterday and we have decided to head to Elk Island for a sunset and wait for the sky to become dark enough to shoot the stars. It was bright for a long time and I was afraid there wasn't going to be anything interesting to shoot. However, sometime after midnight we have spotted first lights in the sky. From there on the show was becoming better and better and I was able to take very many pictures. A thick fog came in at some point giving the moonless night an eerie feeling, especially, when we could hear a bison moving around somewhere close by (mind you, sound carries in the fog, so it was really hard to tell how far the beast was and with very limited visibility it was a bit nerve racking to shoot). It was very humid and, with temperature dropping to about 10oC my lens was covering with dew constantly, forcing me to clean it after every shot. So much fun, though and such a surprise, since we haven't receive aurora notification until we were on our way home after 2AM.
Well hello there Milky Way! So kind of you to return to us! I'm always amazed at what you can see when you look up at the right time in the right place.
Looking over the clear sky reports, and recognizing that moonless nights are upon us, I decided that it was time to return to long point and try my hand at a photo I'd been contemplating for a while now. I've always loved night shooting, but with my main focus being the aurora as of late, I felt it time to look to the milky way as a compositional element once again. I tried to use a little bit of city light and a silhouette to create ambiance.
This photo was created by stitching 20 images together to create a high-detail image which was cropped down to this final view. The photo(s) were shot with a Canon 5D mark IV, and a Canon 50mm f/1.8 (yes, the good ol' nifty fifty/aka plastic fantastic/aka dollar for dollar one of the best value lenses you can buy). The images were stitched in two rows of 10 using PT Gui Pro, and edited in Camera Raw and Photoshop. The image isn't perfect, but boy do I like it... even if I did mess it up twice while shooting and nearly ran out of darkness to get the job done!
Finally processed my M31 the last new moon. I don't normally do much in RGB, but the consecutive moonless and dark nights were too much of an opportunity. The image is stacked up of around 6 hours of data.
RGB 30x180seconds per channel
HEQ6 Pro
ASIair
APM Lomo 80/480 @370mm
ZWO 1600mm pro
Realistically, this is one of most distant object you can see with your naked eye (at least in the northern hemisphere) at a little over 2 million light years away, so the light hitting my camera sensor left the galaxy when the first humans were starting to come into existence (Homo Ergaster).
What baffles me is that the light on the far side of the galaxy is some 200,000 years behind the light at the front of the galaxy, so my image is effectively skewed by time. The whole thing is moving towards us at a rate of arouns 60 miles per second.31 Andromeda Galaxy data
"Twin Peaks" was one of the quirkiest dramas ever to be shown on American TV. Directed by David Lynch, it ran from 1990-1991 and was the only program to put a dent in the ratings of NBC's hour of "Cheers/Seinfeld."
A murder mystery, in a small working class town in Washington State, the underlying themes of good and evil, part of the quirkiness was FBI Special Agent Dale Cooper's (Kyle Mcglaughin) obsession with Coffee... (:36)
www.youtube.com/watch?v=Uvs7pmISe8I
Agent Cooper liked his coffee "black as midnight on a moonless night" (:40)
www.youtube.com/watch?v=DJTf_ZRqgxo
I picked up this coffee mug where Twin Peaks was filmed in Snoqualmie, Washington. We stopped in the diner where "good pies go to die," and ordered Agent Cooper's favorite Cherry Pie.
After all these years, this mug reminds me of this great TV program with Angelo Badalamenti's surreal, haunting, and mysterious soundtrack.
"Laura's Theme" from Twin Peaks:
www.youtube.com/watch?v=woUt7wPe8Ow
I need to go back!
For Smile on Saturday
Theme: Mugs & Co.
It was a challenge to capture the —partly obscured by the gathering noctilucent clouds— Milky Way from Mt. Olympus, Greece on a chilly moonless night in late August 2022.
Another photographic challenge was to exclude several foreground elements from the frame for security reasons, because the foreground was a Hellenic Army Commandos’ camp. There was light pollution, too, from both the nearby and the faraway cities in the plains below.
Not less than 46 frames needed to be handpicked (out of the 420 exposures) and stacked for the final photograph: enjoy, please.
📷, Lens & Settings:
Canon EOS R5
Sigma 24mm F1.4 DG HSM | Art 015
ISO 3200 - f/1.8 - 8 sec × 46 light frames + 17 dark frames
Heron
How round was the moon when Ardea,
the great city, fell
beneath sword and flame?
And when the first heron,
belly whitened by the still-warm ashes,
shoulder marked with charcoal
from burning rafters as they fell,
took wing from among the dead and dying
in a blast of blooming embers,
how round was the moon?
If the moon was full, then she rose
sleek and strong against the smoke-hazed sky,
and the moon hung fat and red
upon the horizon as she landed
on a willow, by the river,
stropping her slender bill
in silhouette against the waters.
If the moon was new, then she rose
like arched and feathered sinew,
silvered in the haze of dying fires,
and the moon, high on her ecliptic
glanced thinly through open pinions,
‘til she landed, took her stand,
silent night sentinel.
But if the moon was dark, then she rose
with an anguished cry, crest bedraggled,
yellow eyes gleaming with terror,
and the moonless dark called her,
winged cadaver, dusty death-shriek,
hunger clenched and coiled for striking,
and fishes cringed as she flew by.
How round was the moon when Ardea,
the great city, fell
beneath sword and flame?
Source material: The legend of the heron arising from the smoking ruins of the city of Ardea is recounted in Ovid’s Metamorphoses, Book Fourteen, lines 573-581. In English folklore, the heron is said to wax and wane with the moon. See Yvonne Aburrow, Auguries and Omens: the Magical Lore of Birds, Capall Bann, Chieveley, 1994, pp. 102-105.
Poem by Giles Watson, 2002. Reading recorded 20th April, 2010.
Last night was the first clear Moonless night for a while, so I drove an hour Southwest of Brisbane and took some test shots of some of the larger deep sky objects to see how my 100mm macro lens performs for astrophotography.
The Andromeda Galaxy (M31) od the largest member of the Local Group of Galaxies. It is a spiral galaxy approximately 2.5 million light years from Earth. M31 has two large satellite galaxies that are visible in this image...M32 is just above and to the left of the galactic core, and M110 is below the core.
This image is 30 x 40 second exposures in a Star Adventurer Mini tracker, with the lens at f/4 and 3200 iso. Processed using DeepSkyStacker and Lightroom 5.
The Pleiades also known as the Seven Sisters and Messier 45, is an asterism of an open star cluster containing young B-type stars in the northwest of the constellation Taurus. The cluster is dominated by hot blue luminous stars that have formed within the last 100 million years.
After lot's of clouds, rain and storms in Spain, I am really happy to be able to image this open cluster and reflection nebula in two short nights. A very simple capture and edit to kick off imaging during some moonless skies.
115 x 300s exposures totalling 9 hours 30 minutes.
Full details and a full resolution image available at astrob.in/kz8q2q/0/
Fullspectrum mod first light! Well, technically, "second" light. The first attempt was an absolute shambles at the worst time ever!😟
Dropped the camera off for a fullspectrum mod two weeks ago and after picking it up, I was keen as mustard to test it out. So, I headed to the Pinnacles during a massive CME with auroras expected to light up the sky. Everything looked great on the LCD, but when I got home and chucked the SD card in the computer, the image file sizes were suspiciously too small. That’s when I realised... I’d been shooting in JPEGs! 😟
The guys who did the mod had changed the output image format, and I didn’t even think to check...after all, shooting in RAW format is something I had always taken from granted.
Moral of the story: always check ALL your settings after someone’s fiddled with your gear.
Anyway, this shot is from two mornings ago at Lake Moyanup. We had about an hour of moonless skies, so I dragged my partner out of bed and shot this 10-panel vertical panorama. I'm stoked with the amount of H-alpha data this camera pulls in after the mod, even with all the light pollution in that location (bortle class 4).
Sky
Nikon D5500 (fullspectrum)
Samyang 24mm f/1.4
Star Adventurer Pro 2i
Hoya UV/IR cut filter
6 x 60s, f/2.8
Ground (shot by @novakbarbora)
Nikon D5200
Samyang 24mm f/1.4
4 x 1.6s, f/8
I've always liked astrophotography and I've tried to produce some shots in the past but my gear just wasn't up to it and the results were disappointing. After some new purchases and upgrades I've decided it's time to try again. This is my first serious attempt and although I know I still have a lot to learn, at least I'm on the right track. This was taken at one of my favorite spots, Lake Gregory but the Moon was behind me and it tends to hide a lot of stars. Do yourself a favor and take a drive out of town on a clear moonless night, turn the car off and wait five minutes for your eyes to adjust... you WON"T be disappointed.
In this virtual tour around the bivouac Jacques Guiglia (2.437 m), Val Gesso, Natural Park of the Maritime Alps (Italy), obviously I could not miss a look to the south southwest, portraying the Great Rift of the Milky Way.
The possibility to see the Milky Way with the naked eye (although not so sharp and detailed as a camera does) is, to all intents, one of the most decisive reasons - if not the paramount reason - which pushes me to venture into the mountains on moonless nights.
In my opinion nothing in nature can match the view of the Milky Way.
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©Roberto Bertero, All Rights Reserved. This image is not available for use on websites, blogs or other media without the explicit written permission of the photographer.
Canon5d2+samyang14mm f2,8 iso3200 25s
Standing on the bank of the lake cooling down after bicycle ride through the forest with my headlight lamp being really low battery =)))) could barely see things on the road. Clear moonless mid-october night, faint airglow over the horizon and clear skies for the whole night long..... as much as i could wish except for maybe just a bit of moonlight to lit the landscape.
This has taken nearly a month to complete. but I finally managed the remaining data last night, which was a fantastic moonless crisp and clear night.
It was also my first opportunity to have a trial run with Sequence Generator Pro, which I have a trial license for, and I'm very impressed.
9 hours exposure time with Astrodon 3nm Ha & OIII captured with an Altair Astro 6" RC and Atik 460ex. Processing completed in Pixinsight and Adobe CS5.
Mt. Rainier and the Milky Way from Reflection Lakes.
I’ve been stoked to have a camera that can shoot 24 hours a day again. I started out 10 years ago with a Pentax K1000 which I loved shooting the stars with. In 2002 I bought a Canon G2, and I’ve had several other fixed lens digicams since then, but I have always missed the ability to shoot in the dark. My last camera, a Sony R1, could take 3 minute exposures. That was long enough to shoot under a full moon but it couldn’t take pictures on a moonless night. I’ve been really excited since I got my D5000 last year and I’ve been wanting to take a trip to shoot all night ever since. I had planned to finally make it happen Labor Day weekend but when I saw a crummy weather forecast on the Wednesday before, I decided to leave straight from work on Thursday and take Friday off. These pictures are all from that Thursday night.
One thing I’ve learned while taking these images is how distorted my Nikkor 10-24 lens is. I’m not sure how I feel about it
75 second exposure, f/4, ISO 3200
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click to activate the icon of slideshow: the small triangle inscribed in the small rectangle, at the top right, in the photostream;
or…. press L to enlarge;
clicca sulla piccola icona per attivare lo slideshow: sulla facciata principale del photostream, in alto a destra c'è un piccolo rettangolo (rappresenta il monitor) con dentro un piccolo triangolo nero;
oppure…. premi L per ingrandire l'immagine;
www.worldphoto.org/sony-world-photography-awards/winners-...
www.fotografidigitali.it/gallery/2726/opere-italiane-segn...
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My health company, every three months, for three days, sends me to cover a shortage of staff, in the Lipari hospital, (and so do my colleagues), in the little free time I have available, I dedicate myself to my photographic passion.
Lipari is the largest island of the Aeolian Islands (they are located north of Sicily, one hour by hydrofoil from Milazzo); Lipari, under the fascist dictatorship, was the seat of forced confinement for political opponents, it was considered "a Sicilian Alcatraz", among all the islands of confinement, Lipari was most likely the most liveable, both for its considerable size that favored the relations of the confined with the inhabitants, both because, to a greater extent than elsewhere, in Lipari, confined persons were allowed to live in private residences, together with their families or other companions. I found written: "Being on an island that belongs to another island means feeling doubly foreign, tied to the will of the gods and nature, where every certainty can be swept away by the waves of that sea that laps it in every intimate part, but it is a sensation that lasts for a few minutes, the Liparoti (the inhabitants of Lipari, ed) know it well (as all Sicilians know), the Greek concept of Xenia, hospitality, is inherent in them, a written rule, is a duty that provides sanctity and protection for the guest ".
Lipari has a long history as a place of detention. It is the island where the common criminals were initially confined, then with the law of November 6, 1926 (the twenty-year fascist period begins with the seizure of power by fascism and Mussolini, officially occurred on October 31, 1922), Lipari thus became the a place to isolate and confine opponents; the life of the confined began immediately after disembarkation, with lodging in the dormitories of the Castle, under the strict surveillance of the police and the fascist militia, every morning, the confined were subjected to the appeal and they received a daily pay of 10 lire; they could move freely in the town, without however exceeding the demarcation line that surrounded the inhabited center; walking was the main activity, the saddest and most melancholy ones pushed to the limit allowed, to see the ferries arrive from Milazzo, aware that the sea was guarded by motorboats armed with machine guns. A situation that will not prevent Nitti, Rosselli and Lussu from fleeing the island, on a moonless night, between 27 and 28 July 1929.
I made some photo-portraits of people I didn't know, I thank them very much for their sympathy and their availability; I tried to capture the essence of minimal photographic stories, collected walking along the streets of Lipari ... in search of fleeting moments ...I used a particular photographic technique for some photographs at the time of shooting, which in addition to capturing the surrounding space, also "inserted" a temporal dimension, with photos characterized by being moved because the exposure times were deliberately lengthened, they are confused -focused-imprecise-undecided ... the Anglo-Saxon term that encloses this photographic genre with a single word is "blur", these images were thus created during the shooting phase, and not as an effect created subsequently, in retrospect, in the post-production
La mia azienda sanitaria, ogni tre mesi, per tre giorni, mi manda a ricoprire una carenza di organico, nell’ospedale di Lipari, (e così anche i miei colleghi), nel poco tempo libero che mi resta a disposizione, mi dedico alla mia passione fotografica.
Lipari è l’isola più grande delle isole Eolie (si trovano a nord della Sicilia, ad un’ora di aliscafo da Milazzo); Lipari , sotto la dittatura fascista, fu sede di confino coatto per gli oppositori politici, essa era considerata “un’Alcatraz siciliana”, fra tutte le isole di confino, Lipari fu molto probabilmente quella più vivibile, sia per le sue notevoli dimensioni che favorivano i rapporti dei confinati con gli abitanti, sia perché, in misura maggiore che altrove, a Lipari veniva consentito ai confinati di abitare in residenze private, insieme ai propri familiari o ad altri compagni. Ho trovato scritto: “Trovarsi su un Isola che appartiene a un’altra Isola, vuol dire sentirsi doppiamente straniero, legato al volere degli dei e della natura, dove ogni certezza può essere spazzata via dalle onde di quel mare che la lambisce in ogni intima parte, ma è una sensazione che dura solo per qualche minuto, i Liparoti (gli abitanti di lipari, n.d.r.)lo sanno bene (come lo sanno tutti i siciliani), è connaturato in loro il concetto greco della Xenia, l'ospitalità, non è una norma scritta, è un atto dovuto che prevede sacralità e protezione per l’ospite”.
Lipari ha una lunga storia come luogo di detenzione. È l’isola dove all’inizio erano confinati i delinquenti comuni, poi con la legge del 6 novembre 1926 (il ventennio fascista inizia con la presa del potere del fascismo e di Mussolini, ufficialmente avvenuta il 31 ottobre 1922), Lipari divenne così il luogo dove isolare e confinare gli oppositori; la vita del confinato iniziava subito dopo lo sbarco, con l’alloggio nelle camerate del Castello, sotto la rigida sorveglianza della polizia e della milizia fascista, ogni mattina, i confinati erano sottoposti all’appello e alla consegna della "mazzetta", ossia la paga giornaliera di 10 lire; potevano circolare liberamente nel paese, senza però superare la linea di demarcazione che circondava il centro abitato; passeggiare era la principale attività, i più tristi e malinconici si spingevano fino al limite consentito per vedere arrivare i traghetti da Milazzo, consapevoli che il mare era sorvegliato da motoscafi armati di mitragliatrici. Situazione che non impedirà a Nitti, Rosselli e Lussu di fuggire dall’isola, in una notte senza luna, tra il 27 e il 28 luglio del 1929.
Ho realizzato dei foto-ritratti di persone che non conoscevo, le ringrazio veramente tanto per la loro simpatia e la loro disponibilità; ho cercato di cogliere al volo l’essenza di storie fotografiche minime, raccolte camminando per le strade di Lipari... alla ricerca di attimi fugaci s-fuggenti ...
Ho utilizzato per alcune fotografie una tecnica fotografica particolare al momento dello scatto, che oltre a catturare lo spazio circostante, ha "inserito" anche una dimensione temporale, con foto caratterizzate dall’essere mosse poiché volutamente sono stati allungati i tempi di esposizione, sono confuse-sfocate-imprecise-indecise...il termine anglosassone che racchiude con una sola parola questo genere fotografico è "blur", queste immagini sono state così realizzate in fase di scatto, e non come un effetto creato successivamente, a posteriori, in fase di post-produzione.
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Una giornata particolare – Sul terrazzo
Una giornata particolare 3 Love sequence
Una giornata particolare scena “il genio è maschio”
Film Dossier - "Una Giornata Particolare" - Intervento di Marcello Mastroianni (1983, RAI 1)
Una giornata particolare - L'inquilino del sesto piano è frocio!
Una giornata particolare – La rumba
Una Giornata Particolare addio Gabriele
Una giornata particolare - Il bacio
Una giornata particolare - Marcello Mastroianni e l'amante
A Special Day 1977 (Una Giornata Particolare) - theme (Third Reich anthem on piano)
Ettore Scola racconta il suo cinema
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