View allAll Photos Tagged Sequator
Comet 2023 A3 (Tsuchinshan-ATLAS) and the Milky Way, Orland, Maine.
20, 6-second exposures processed in Lightroom, stacked in Sequator, and finished in Lightroom. Foreground is a 30-second exposure, with stacked sky and foreground blended by hand in Photoshop.
Después de mucho tiempo con ganas al fin pude salir dos noches a hacer via invernal. Dos salidas en solitario que fueron paliza, una noche al Salto del Gitano (la foto que veis) y la otra al castillo de Aunque os Pese al día siguiente (que ya revelaré).
En este caso la foto final me gusta mucho, aunque ha habido una seria pelea porque parece ser que ese 35mm 1.4 AF de Samyang que a todo el mundo le mete flares (IR Leak) con la cámara astromodificada (como algunas otras lentes de autoenfoque) en mi caso puede que, aunque no lo perciba como otros, también me afecte, por lo que fue necesario hacer un trabajo bastante arduo para salvar las zonas que al empezar a apretar detalles en pix insight se tornaban en zonas completas de manchurrón magenta.
✔️ CIELO Cámara A7S astro mod + Samyang 35mm 1.4 + Benro Polaris
🚨En total 90 fotos para el cielo con Benro Polaris. 9x5 (con dos por panel para apilar con darks) a 35mm , iso 1600 y f2.2
✔️ SUELO A7RIII + Sigma 14+24
🚨 Las tomas del suelo han sido pasadas por Pure Raw y luego montadas en Ptgui.
🚨 Cielo apilado panel por panel (45) en Sequator y luego montada pano en Ptgui y procesado completo en PS.
M-31 The Andromeda Galaxy.
I am pretty new to astrophotography and I think I actually did well on this photo.
It is 28 subs@4 minutes, so just under 2 hours. I used 6 darks, no bias or flats.
Canon EosR with SkyWatcher Evostar 72ED and GoTo tracking.
Processed in Sequator, Photoshop and finished in LightRoom.
I hope you enjoy this, and as always I am open to any suggestions, whether good or bad to help with my astrophotography journey.
20 Pictures stacked with Sequator, post edited with Darktable and Gimp. ISO 3200, Samyang 12 mm, 20 seconds.
Nikon d810a
85mm
ISO 3200 - 6400
f/3.2 - 2.8
Sky: Stack of 5 x 60 seconds & 9 x 30 seconds
Foreground: 5 x 30 seconds
iOptron SkyTracker
Hoya Starscape filter
This is a composition of a 14 stack shot of Orion and Barnard's Loop above an old wheat shed on a farm outside of York, 1.5 hours east of Perth in Western Australia.
I don't normally do composites this way, nor do I often do stacked, deep sky shots but I thought I'd add a foreground to this Orion stack I did recenlty, mainly to add interest. Both the sky and foreground were shot on the same night but at different locations though this scene does play out in reality with Orion rising above this shed in November & early December. For those with a keen eye, you can spot the Witch Head Nebula on the left corner of the sky, the first time I have captured this nebula in any of my Orion shots.
A Milky Way Selfie amongst the abandoned trains in Jucumba Hot Springs, California.
I don't usually do "Selfie's", but this one popped into my head while I was there so why not.
Blend of sky image
ISO 3200, f/1.8, 25 seconds x 11 shots stacked in Sequator
with foreground shot
ISO 1600, f/4, 30 seconds.
saturday 3 august 2019 from Huesca
Canon eos 600D modified and cooled, Baader bcf filter.
180x15s exposures + 58 darks, stacked on sequator
Kicking off "Milky Way season" 2020 with Miguel at Tioga Lake, CA. This is from early Monday morning.
That golden glow on the right horizon is light pollution from Fresno, 90 miles southwest. Far left is rising Venus. EXIF shows 9,684 ft elevation at this spot.
Lens is the DFA 25mm f/4 on the 645Z. This is a stacked median blend with composite exposure for the foreground, manually blended. I used 15, 8-sec star exposures at ISO 10,000 and a foreground exposure of 4 minutes, and fed them into Sequator for processing. The exposure is cranked because the only light on the mountain is coming from the stars. There is more than my usual amount of "movie magic" applied to this image, just sayin'.
Thanks Miguel for the outing! My son Parker also made his first photo trip with dad, so that was exciting. We spent much more time driving(social distancing in separate vehicles no less) than actually shooting, but it was well worth it! Though Dad loved it, Parker reports he will think twice before agreeing to any future journeys of this nature.
Hope you like this one!
Just a simple Milky Way looking down the middle of a back road.
This is a composition of 15 sky frames stacked in Sequator and 3 foreground frames with some light painting on the road stacked in Photoshop. The final image was a stack in Photoshop.
Camera: Nikon Z6
Lens: Nikkor Z 20mm f/1.8 S
Sky:
15 x (20mm @ f/2.2, 15 sec, ISO 6400)
Foreground:
3 x (20mm @ f/5.6, 10 sec, ISO 500)
I needed to take a break from the Tamarack Fire images. Here's one from our last workshop in Bodie... hope you can join us next year, after the wildfire smoke is gone! (We've cancelled our workshops for August and September due to the extreme drought and intensified fire season.)
Full disclosure: single shutter release activation, adjusted in Lightroom, no Photoshop, nothing was faked (like mirroring the sky into the puddle, or copying the sky or foreground from another time or sky captured in a different shot taken at a different focal length).
Sad that this disclosure seems necessary these days, given the high incidence of graphics arts creations being passed off as photographic images!
Comet NEOWISE by the Bodie church during one of our 2020 night photography workshops in Bodie State Historic Park.
Milky Way above the Sea of Japan and the lighthouse, on the morning of April 2, 2020, from Yuzhno-Morskoy, Primorsky Krai.
I photographed using my Canon EOS 60D camera. Stacked (in Sequator) 14 x 30 sec., ISO-2500, f/3.5, 18mm.
On the left (in the light from the city of Nakhodka): Jupiter, Saturn and Mars.
Say hello to Comet C/2022 E3 ZTR, the one with the catchy name. If you don't see it this time, you can catch it again in another 50,000 years.
It is believed diatomic carbon is present in the head of the comet. When excited by incoming solar radiation, it emits photons (packets of light) at wavelengths we see to be green. Cool!
I joined Miguel D last night for a 4hr drive to Point Arena to find the coldest, darkest spot we could, then shoot this baby, then drive back home. A good time was had by all.
Lens is the 645 A* 600mm f/5.6 with 1.4x teleconverter on the 645Z. ISO 16,000, 3sec, f/6.3. 44 images are stacked for mathematical noise reduction using Sequator.
Taken near Sisters, Oregon, on a mild, clear summer night. This picture showcases the dense core of the Milky Way. The "Dark Horse" nebula is prominent. The bright pink nebula at upper left is the Lagoon Nebula (M8).
This is a stack of 16 light frames calibrated with darks. No tracking. Stacked in Sequator.
6D mod | Sigma 50mm f/1.4 Art | f/2 | ISO 10000 | 8s
Ya got yer STARS, ya got yer GATE...
Beyond Mono Lake, almost to the Nevada border, there is a lovely and curious old stone corral near a place called River Spring.
We made our way here after the Lake Crowley hike, and still had a couple hours before the milky way got into position.
I used several light painting passes with my LED panel, to create this composite image of the gate, a stone wall, and the distant corral. In truth, it was completely dark on a moonless night, and rather windy.
The milky way was captured in a stack of 44, 13 sec images at ISO8000, processed using Sequator.
Because there were no cities to the immediate east nor south of us, there was a distinct lack of light pollution on the horizon, a real treat from this location. It is classified Bortle-1.
Lens is the DFA 35mm on the 645Z.
Quarantine boredom, comets, equipment collecting dust: all inspired my buddy Neal and I to venture out into the darkness and see what exactly could be photographed with only telephoto camera lenses (no telescopes) and a bit of specialized star tracking equipment. Much was learned in a short time about what works and what doesn't. Much will be done differently next time.
Here's our nearest neighbor, the Andromeda Galaxy (M31, NGC 224) along with satellite galaxies M32 (below) and M110 (above). Far from perfect but for a first attempt I'm happy.
Technical = D850, 500mm, ISO 16000, 45s, 5x light exposures, 4x dark exposures. Stacked in Sequator. Not cropped. Ideally, we would have had much more exposure time to bring out the fine details but the clouds took over before too long.
Quarantine certainly has been a challenge, especially for those of us who spend our free hours traveling. But best to make the most of it by learning new things. Otherwise the world (and the universe) might just pass you by.
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Light painted foreground and Milky Way images from just before the end of astronomical darkness, stacked, with meteors added back in where they appeared in the frame over the course of several hours.
Panorama, 12 vertical shots, 15 degrees overlap.
Shot with Nikon D750 and Tamron 15-30 mm, f/3.2, 15 sec, ISO5000
Stacked in Sequator, stitched in LR, postprocess in LR and PS
The closer house isn't named on the Bodie map.
We've tested a lot of lights and color temperatures over the years. This is a new light we tested in Bodie in 2021. We have to go with workflow that is proven for us over time, from capture through post-processing. But technologies do evolve, so it's good to do a reality check from time to time and adjust the workflow if warranted. In 2021 we did start to use some new shooting processes, new lighting. and new post-processing techniques to see if we could improve results. This particular lighting has some merits, but I'm still on the fence about whether I prefer it overall.
While it does reduce noise where the light strikes (there is a higher signal to noise ratio), it can produce a "light polluted" look; in those cases the lighting itself risks starting to distract from the subject and composition.
The Big Dipper and The Milky Way check out an aurora, looking north towards Polaris from Broadford Bay, Skye. As the aurora was so close to the horizon, and with no foreground opportunities along the shore at a very high tide, I decided to try my Samyang 14mm to capture the rare clear starry sky as well as the aurora - seven 10-second exposures were combined using Sequator for the stars. For the aurora, I used a 20 second exposure with the same lens, then combined it all in photoshop. The aurora was low, but at this point in the evening, it was bright enough to be able to see with the naked eye (though of course the camera is needed to get the brilliant colours).
Just published on the BBC news website, Scotland page, in the 'Your Pictures' feature for photos sent in from February 26 to March 5, 2021.
The other nice rusty car in Bodie, one most visitors never find. 1929 Ford Model A sport coupe?
This was captured on one of our three Bodie night access sessions in June 2021. One advantage of going for two nights in a row is that you can review your results then immediately go back and redo any that aren't quite perfect. I changed the lighting for this one, and it turned out a lot better.
We'll be back in the Park with a small group in June and July 2023. We're ending our Bodie night workshops early these days, since fire season often impacts night photography for much of August and September.
OK, it’s finally here, unfortunately there was a 13% Waning Crescent Moon also. I think it came out all right regardless. The weather for the next two weeks looks bad, so I figured I would photograph it while I had the chance. 15 shots stacked in Sequator. Class 4 Bortle.
Camera: Nikon Z6
Lens: Rokinon Z 14mm f/2.8 MF
15 x (14mm @ f/4, 10 sec, ISO 6400)
Cielo:
D810+Rokinon 14 f-2.4 XP ,sobre iOptron Skyguider pro
2X6X60seg a f-2.4
iso-1250
Apilado con Sequator 1.60 para obtener dos iomágenes de cielo
cosido de pano del cielo con PTgui V10.0.7
Suelo
D810+ Samyang 20 f-1.8 ED AS UMC
2X58 seg a f-4.0
iso-800
Cosido de pano terrestre con PTgui V10.0.7
Blending final con Photoshop v.21.0.3
Montgomery Castle in Powys, Mid Wales, lit by the rising Moon. 12x 20 second exposures stacked in Sequator for noise reduction
This shot is from almost 2 years ago at Swallowtail Lighthouse on Grand Manan Island, May of 2018. I’m glad I finally got around to editing it! The red object in the foreground is the old lantern room of the Great Duck Island Lighthouse, a nearby lighthouse that was replaced by a tower with a flashing light. The lantern room on the old lighthouse blocked the view of the new light in some directions, so the lantern room was removed and helicoptered to Swallowtail so it could be put on display.
Nikon D850 with NIKKOR 14-24mm f/2.8 lens @ 14mm. The sky is a star stack from 20 shots @ f/2.8, ISO 6400, 10 seconds each. Those exposures were then aligned and averaged in Starry Landscape Stacker (Mac only) for low noise and pinpoint stars. You can do the same with Sequator on Windows. The foreground is a separate exposure @ f/5.6, ISO 1600, for 4 minutes. I was able to use a higher f-stop for the foreground to get a larger depth of field and still keep the shutter speed to only 4 minutes because there was so much ambient light on the foreground. The star stacked sky and the foreground were blended in Photoshop to create a final image with low noise and having everything in good focus from the grass to the stars.
Visit my website to learn more about my photos and video tutorials: www.adamwoodworth.com
This photograph was taken late June from Winklmoosalm looking south (Austria). Challenge, as with all night sky photographs in europe, was the halo of the next city, even that it was approx. 80km away.
While I was out shooting the Perseid meteor shower I realized that I hadn't spent a lot of time with Lori's D800E at night. What better place to put it through its paces than under the super-dark skies of the Great Basin in Central Nevada?
I had an extra tripod with me, so I decided to shoot a time-lapse sequence with it, and see what I could pick up as far as meteors.
I did a few test shots on my Nikkor 20mm lens. Using a "400 Rule" I wouldn't want to go over 20 seconds of exposure. It was a smoky night, so the sensor clearly did better with as much light as I could give it at that relatively short shutter speed under these even-darker-than-normal conditions, so I used f/1.8.
This is three exposures sky-stacked, captured while I was setting up one of the other cameras.
Unfortunately the clouds moved in quickly, so none of the cameras got much time actually capturing meteors, but as time permits I can throw together a time-lapse video from the sequence of shots.
A year ago I shot the milky way for the first time and I've been dying to get another opportunity to shoot it again, but clouds always had other plans for me when the new moon came around. That was until a week and a half ago when I went camping to shoot some waterfalls in the area and finally got some clear skies on the day of the new moon.
At first when I set up my shot, I couldn't find anything to use as a foreground element, so I snapped a couple images of just the milky way reflecting on the lake but I found it to be lacking something and wasn't 100% happy with the images. As I was walking back to my tent, I found this piece of drift wood which completed the image perfectly.
Read the full story here: bit.ly/3isLdLI
PS. This is 13 pictures of 15 seconds stacked using Sequator which is showing up as a 195 seconds exposure.
Focus-stacked foreground illuminated by the glow from my cell phone. The sky was stacked using Sequator to try to obtain as much Milky Way detail that I could from our light-polluted skies here in New Jersey!
Whytecliff Park, West Vancouver, British Columbia, Canada. The smoke on the horizon was caused by forest fires.
20 sky images were stacked in Sequator, each was taken with Sigma 35mm f/1.4 Art, f1.4, 14s, iso-800. And then stacked in Photoshop with the forground image (f4, 74s, iso-800).
Copyright © AwesomeFoto Photography. All rights reserved. Please do not use it without my permission.
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An October night in Death Valley National Park.
October evenings tend to be warm in Death Valley, so I stacked 20 images to reduce noise.
This image has appeared in Flickr's Explore!
Highest position: 35 on Saturday, May 16, 2020
You can find the rest of my 330+ photos that have been selected for Explore via a search on Scout:
My 330+ Photos Selected for Explore. To find your own photos featured in Explore, substitute your screen name (or Flickr ID number) at that link.
Airglow over a Joshua tree forest in Central Nevada last week, captured while waiting for the Milky Way to rise.
When you see the subtle variations in green airglow in the night sky, is a rush to put the Milky Way in many compositions perhaps a little over-rated?
I had a superb night out up Mam Tor this evening under a beautifully bright moon. Zero wind which was a bonus and clear skies above.
I've watched hours of astro tutorials on YouTube but when I'm in the field all of the things I have learnt seem to have fallen out of my head. More so when I get home to process the images, blending exposures, focus stacking and noise reduction never seem to run smoothly.
Don't get me wrong I'm quite happy with this shot but I can't help thinking it could be better with a bit more pp practice. Plenty of time over winter to up my game.
Cheers to Chris for his awesome company and I hope you got the shot of the road to Edale you were after. Happy days.
The Comet C/2020 F3 (Neowise) over the temple of Valhall near Ratisbon, Bavaria.
To capture this image, I took one of the best available portrait lenses, the legendary Pentax
FA 77/1.8 limited to gain a good mix from exposure time, f-stop and viewing angle. Dramatic clouds rolled in from southwestern direction but did not hit the comet during the photo session, fortunately.
Pentax KP
Pentax FA 77/1.8 Limited
f/2.2
ISO1600
22x4sec stacked using sequator
The Milky Way on the coast of Maine in early August. Jupiter is the large bright object in the left-center, and Saturn is much smaller but visible to the right and down a bit from Jupiter.
Nikon Z 6 with NIKKOR Z 14-24mm f/2.8 lens @ 14mm and f/2.8 for all shots.
Sky: Star stack of 20 exposures at ISO 6400 and 10 seconds each, stacked in Starry Landscape Stacker (Mac) for pinpoint stars and low noise. On Windows you can use Sequator for the same process.
Foreground: Single shot at ISO 1600 and 10 minutes.
The resulting sky image after stacking and the foreground image were blended in Photoshop to create an image with detail from the foreground to the stars.
Visit my website to learn more about my photos and video tutorials: www.adamwoodworth.com
I did three photoshoots in two nights on three different locations this week - the weather was just wonderful for capturig stars. So this this is a composite of about 20 images (Sky) and 20 images (Foreground). All processed with Sequator, Gimp and Lightroom. I hope you like it :)
Special nocturnal composition made up of 6 shots. The first one, one minute long, with the tree illuminated. The next four shots, also one minute long, were taken without illuminating the tree. All these five shots were taken before the moon appeared in the sky. Afterwards, once the moon was visible, a last quick shot was taken to catch the moon without burning it. The processing followed was:
Step 1: basic processing of RAW shots with Darktable, saving them with Linear profile.
Step 2: Trail integration of shots #1 to #5 with Sequator. The output is a canvas with the sky with the trails, the illuminated tree, and the noise quite removed because of the blending of so many shots. There is no moon.
Step 3: Processing alone the shot with the moon with Darktable, being darkened the rest of the picture to create a fusion mask.
Step 4: Stacking (Max function) the step 2 output with the step 3 one. Now you get the trails, the illuminated tree, and the moon in good conditions
Step 5: With the integrated canvas was applied my typical post-processing with Darktable to achieve the final output.
It was a shame that the moon was not a Supermoon (I arrived one day late) and it is also true that I need an objective with a really higher zoom (which I don't have).
Enjoy it.
Another take of the Milky Way over Lake Phelps, this time from another location, Pettigrew State Park. 15 sky shots stacked in Sequator, 10 light painted foreground shots stacked in photoshop. The results were blended in Photoshop.
Camera: Nikon Z6
Lens: Nikkor Z 20mm f/1.8 S
Sky:
15 x (20mm @ f/2.8, 13 sec, ISO 6400)
Foreground:
10 x (20mm @ f/5.6, 5 sec, ISO 500)
It's just a shot to catch the Milky Way. It was a shame it was located over Sabiñanigo with its luminous contamination.
The shot was made following this process:
1st) For the fixed elements (tree and land) 14 shots were staked with the median function to achieve the Canvas1 with less noise. These shots were 25 seconds long with ISO of 5000. They were processed at a basic level with Darktable and stacked with a LUA plugin for Darktatable (in a Linux system).
2nd) For the stars, the Milky Way and the sky, the Sequator program was used (in a Windows system) to get the Canvas2. So 14 shots were star-aligned with these parameters:
> Composition: Freeze Ground
> Sky Region: Partial
> Auto Brightness: on
> High Dynamic Range: on
> Remove Dynamic Noises: on
> Remove Distors. Effects: auto (complex)
> Remove Light Pollution: deep-sky 00
> Enhance Star Light:50
> Color Space: Linear
3rd) Canvas1 and Canvas2 were staked with the MAX function, obtaining Canvas3 with the stars well aligned and less noise and the ground and tree with less noise (in Linux system).
4th) Finally the Canvas3 was processed with a Darktable (in Linux). One of the modules applied was the one called "composite" (new in Darktable version 4.8), to stack a shot with the tree illuminated partially.
More messing with images from the my new star tracker . 73 x shots stacked in sequator shot with 60D and my old ef 135mm f2.8 soft focus lens. Really struggling with processing these images , a big learning curve.
Looking north towards Bombay Beach from in the Salton Sea. The famous swing set in the foreground.
To create this photo, I trudged through about 100 feet of the lake where the bottom is mucky clay. Think if it being like mud mixed with glue. I lost a pair of rubber boots in the process.
I managed to keep my camera above water and then set it up on the tripod behind the swing. Next, I used an intervalometer to take a back-to-back 30 second shots for about two hours.
I have a few cuts on my feet and legs from the ordeal, but I think it was well worth it.
This is about 120 minutes total exposure time. Shot with a Canon EOS R and Canon RF 15-35mm lens on November 27, 2021. I used the Star Trails intervalometer function on a Pluto Trigger to automate the shooting. Post production worked involved masking out bright headlights from when cars drove up and down the beach a few times. I used Sequator to stack the images and then Photoshop to remove several light trails created by airplanes.
Bombay Beach is a census-designated place (CDP) in Imperial County, California, United States. It is located on the Salton Sea, 4 miles (6.4 km) west-southwest of Frink and is the lowest community in the United States, located 223 feet (68 m) below sea level.
The population declined for years and the buildings were rotting away, but by 2018, a number of people had moved into the settlement. An article in The Guardian stated that it was "enjoying a rebirth of sorts with an influx of artists, intellectuals and hipsters who have turned it into a bohemian playground". The Bombay Beach Biennale (pronounced like "be an ollie"), an annual art festival, is held here. The swing in the water is the creation of Chris "Ssippi" Wessman & Damon James Duke with the Bombay Bunny Club in an effort to get people into the water to realize that the water is fine... it's just really salty.
I discovered this location a few years ago and after checking on PlanIt! Pro, I determined that this would be a good location for capturing the Milky Way with these old trucks. There are a few of them placed on top of these stacked concrete culverts and more on the ground behind them. I've shot here a few times over the past few years (occasionally with some friends) and I've made a series out of my images; this is the first.
Shot with my Fuji X-H1 and Samyang 12mm f/2.0. (5) 15 second shots + (2) dark frames @ f/2.0, ISO 3200, 3800K WB. I used one LED panel for LLL. Stacked in Sequator with final edits in Photoshop using a few Topaz plugins.
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