View allAll Photos Tagged intervalometer
On my way home from shooting another location, I noticed that the flood lights at this rather isolated granary were all off. I quickly stopped hoping to get a few shots before the morning light. This was quite difficult as there is a chain link fence all around. I put my camera on the tripod and carefully put the lens through the small space between the gates in the fence (leaning the tripod up against them; I was very lucky it was a calm, windless night). I took a sequence of shots with my remote trigger (intervalometer) and packed it up and went home.
Shot with my Fuji X-T2 and Samyang 12mm f/2.0 @ f/2.0, ISO 3200, 3800K WB; (5) 15 second shots + (1) dark frame, stacked in Sequator with final edits in Photoshop using a few plugins and actions.
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Prints available: james-clinich.pixels.com/featured/twilight-at-the-granary...
This is the blended startrail from that windy night up Dunnideer, After a lot of hours deciding what images to use in the stack. I ended up using about a third of my images for this blend. This was due to the amount of very minor movements that the wind caused. Staying close to this landmark I'm sure I will revisit on a calm night to shoot a longer startrail.
Memorable things that happened doing this set;
The wind got so intense I had to hold the tripod......for quite a while
The Connection cable for my intervalometer had a broken wire so I splinted it straight using a kebab skewer and insulation tape to a position where it worked for that hour.
I slipped on ice descending the hill and landed on my tail bone sliding down the ice narrowly missing gorse bushes. Came to rest with my headtorch beaming into the sky and to the sound of my tripod sliding further down the hill.
.......all worth it in the end :-)
From a high ridge on Sevenmile Mesa near Fisher Towers in Utah, the Milky Way seemed to balance on a sandstone spire. The view straight up was fairly clear, but strands of smoke were already apparent on the horizon. The plan was to use this ridge for shots of the Perseid Meteor Shower the following nights, but the sky was choked with smoke by dawn (my two previous posts), so I packed up to seek clearer air in the mountains of Colorado.
Mars is the bright light to the left of the Milky Way, Saturn appears as if it were in the Milky Way (between a light and dark portion of the galaxy) and Pluto is between them. The meteor trail just above the horizon on the left is unrelated to the Perseid Meteor shower--just good fortune. Thirteen photos were stacked with Starry Landscape Stacker, and the composite was then joined with a long exposure photo of the landscape and the meteor trail using layer masks in Photoshop.
As the intervalometer accumulated the star shots a pack of coyotes serenaded me.
The tree with its own micro island was easily spotted from the road so we parked in the next nearest carpark.
The lake level was low allowing us to get close to the tree on boggy ground. I can imagine waders would be needed if there were more rain the week before.
I waited patiently for the wind to drop to have calm water to catch a little tree reflection.
I had a lovely morning on Dartmoor at Mel Tor watching the first sunrise of September. I never expected to see this wonderful rainbow stretching over Dart valley towards Sharp Tor on the right.
What a great way to start the day!
Nikon d5500
11mm
100 x 30 seconds
ISO 200
f3.5
Processed in startrails.exe
Bluff Knoll is south west WA's tallest peak at 1100m. It's about the only place that has fairly regular snowfalls in the entire state. This was taken though in the middle of summer earlier this year during the first of January's two Super Moons, called the Full Wolf Moon. I'd almost forgotten about this image as it didn't quite turn out how I liked (I stupidly set the intervalometer incorrectly) and I contemplated whether to upload it at all. I drove 4 hours to this spot so I may as well get something out of it! ;-)
In summer this beauty spot would be crowded with families and even naughty campers on the other side of the river. But on a very chilly frosty winters dawn it’s peaceful and even more beautiful especially with clear skies and stunning light.
What caught my eye as I wandered around Bellever woods was the hazy golden light upstream and long shadows across the frosty grass. I composed the shot with the sun peeking through the tree creating a small starburst.
Please view large to see the full winters scene.
Milky way rising above valley at Ranau, Sabah.
The only passable shot from the various tries on 16-04-2018 - weather just wasn't right.
We "pacak" our tripods in the compound of Nagaya Homestay, so this shot was literally taken right at our doorstep. Those of you who wish to shoot milkyway in comfort, check out this 6 rooms homestay.
You can setup your tripod, run your intervalometer and then just plonk back on the queen-sized bed. All the compound lights can be turned off, and there's also campground for tent-pitching (as a props or for real, up to you) as well as good sized open hall for small class. And if you wish, they will also cater for your group!
a6000 | samyang 12mm
25s | f/2 | iso4000
© kamrul.arifin.mansor - all rights reserved
Referred to as Bode's Nebula, it is however, a spiral galaxy located close to the Big Dipper or Plough asterism in Ursa Major. It has a close companion galaxy M82 the Cigar galaxy, so close together, they are often imaged as a pair.
Lying about 12 million light years from Earth and about 90,000 light years across. Binoculars will pick up M81 as a faint fuzzy patch of light under reasonable sky conditions.
First discovered by a German astronomer by the name of Johann Elert Bode in 1774, hence Bode's Nebula. At the time no one had any clue it was a whole other galaxy.
Johann Elert Bode is the person responsible for all the butt jokes we astronomers have to endure. He's the person that gave the planet Uranus it's name. After William Herschel discovered Uranus, he originally named it Georgium Sidus (George's star), has it was first thought by Herschel to be a star or comet.
Right, now for the usual boring techie bit for those still reading or interested:
Skywatcher quattro 8" S & f4 aplanatic coma corrector
Skywatcher EQ6-R pro mount guided with an Altair 50mm & GPcam setup
Canon 450D astro modded with Astronomik CLS CCD EOS APS-C clip filter. Neewer Intervalometer used to control the exposures.
Only got six useable 6 minute exposures before the clouds rolled over at the end of the night.
Stacked with calibration frames and all processing done with StarTools.
I was one of the lucky ones capturing the ‘Steath Sunset’ on 24/06/19. The rain had set in for the evening so we decided to chill out and eat in a restaurant rather than grab a snack and rush for a sunset.
It was still wet outside after our meal as we were driving back to the accommodation but we noticed a hint of pink in the sky. With only 15 minutes until sunset we headed for the pink poppy fields en route watching the sky gradually changing colour every minute. It started to glow with a display of graduated shades of yellow, orange, magenta and blue . We pulled in by the field and like a mad-man I leapt out of the car in excitement, put my camera gear together in quicktime and headed for the field. OMG it was gorgeous. With it still spitting with rain I managed a few photos before the vibrant colours faded quickly into beautiful pastel tones then back to grey again. I never expected that!
Once again I set up my camera's intervalometer and walked away. Approximately 260 (30 second) exposures.
Merging the star-trail exposure with the lighter foreground exposure is not coming easy to me. I'm masking out the sky using Lumenzia but I think I am missing a step. I would like to bring some green in the tops of those trees. I'll figure it out.
These are fun.
The visual rotation that takes place every night under the stars, from the beautiful star colours to the odd meteor, star trails are easy for anyone with a camera, tripod and intervalometer. Captured September 20th 2020 at one of my favorite dark sky locations, a little smoke form the fires out west, a little haze and a touch of frosty dew. 6 hrs of uninterrupted trails.
Sony A6000
Sigma 10-20 @ f4
754x30" exposures
Stacked in StarStax
Processed in Photoshop.
Update: This image is featured on NASA Astronomy Picture of the Day at apod.nasa.gov/apod/ap200922.html
The two major contributors to the Sun's apparent motion in the sky throughout the year are (a) Earth orbits the Sun while tilted on its axis of rotation and (b) Earth's orbit around the Sun is elliptical (not circular). These factors mean that the position (azimuth) where the Sun sets on the horizon changes slightly from day to day. In the northern hemisphere, the sunset azimuth moves northward from the first day of winter until the first day of summer, then returns southward until the first day of winter. The change in azimuth is most perceptible around the equinoxes (about Mar 21 and Sep 21) and least perceptible around the solstices (about Jun 21 and Dec 21). The farther north or south from Earth's equator, the greater the total change in the sunset azimuth. Here in Edmonton, Alberta at latitude 53.5 N, the change in sunset azimuth in the six months between solstices is quite large, some 84 degrees, from 229.4 (SW) to 313.5 (NW).
A very good place in Edmonton to see sunset along a familiar horizon is Rowland Park Lookout, west of McNally High School, on the bank of the North Saskatchewan River valley. From there, one can see a very wide swath of the horizon, with a skyline from Saskatchewan Drive in the southwest, to the downtown towers directly west, and the apartment buildings on Jasper Avenue in the northeast. To illustrate the sweep of the sunset azimuth, I photographed sunset as near as possible to the 21st of each month from Dec 2019 to Jun 2020, at a fixed location near one of the park benches.
This composite image is the final result of blending seven sunset sequences across three sunset foreground images representing winter, spring and early summer. The image shows several effects on the sunset azimuth due to Earth's axial tilt and elliptical orbit: azimuth change across six months (perihelion to aphelion), azimuth change from month to month, and changes in angle and curvature of the sunset arcs.
All images were taken with a Canon Rebel T3i camera at a focal length of 10 mm, sitting on a Manfrotto tripod, powered by a 12 volt battery buck-converted to the camera's 8.4 volts and activated by a Neewer intervalometer. The solar images, filtered with a Baader solar filter, are spaced 5 minutes apart. The foreground images were taken just after sunset on three of the same dates as the solar images (2019 12 26, 2020 04 18, 2020 05 23).
Here's the essential data from the 7 shoots. Each shoot was planned to start when the Sun was at about 24 degrees altitude and end shortly after sunset.
Date, Sunset time, Az, Chg az, Az Delta 21st Num Delta days
2019 12 26, 16:18, 229.6, +0.2
2020 01 22, 16:56, 236.9, 7.3 +0.4 27 27
2020 02 19, 17:51, 252.1, 15.2 -1.3 55 28
2020 03 20, 19:48, 271.7, 19.6 -0.7 85 30
2020 04 18, 20:41, 290.4, 18.7 -1.8 114 29
2020 05 23, 21:41, 308.2, 17.8 +0.8 149 35
2020 06 20, 22:06, 313.5, 5.3 0.0 177 28
Image Acquisition
Camera: Canon Rebel T3i
Lens: Canon EF-S 10-18mm, at f/11, 10mm FL
Filter: Baader Solar
Mount: Manfrotto tripod with geared head
Power: 12v battery buck-converted camera 8.4v
Timer: Neewer intervalometer
Interval: 10 seconds. Even though I wanted 5 minute spacing for the solar images in the final composite, I shot every 10 seconds as insurance against passing clouds and for flexibility in selecting the lowest altitude solar image above the horizon which varies from flat to sprinkled with buildings of various heights.
Time on site acquiring images: About 17 hours
Image Processing
Processed with GIMP and Paint Shop Pro.
Time processing images: About 34 hours (2 hrs per sunset sequence, plus 20 hours on the final image).
Acknowledgements
Alister Ling built the buck converter for me so I could run the camera for several hours - the camera's battery just wouldn't cut it during the colder months. Although I ultimately didn't use the techniques, Alister helped me explore using Hugin to create panoramas and seamlessly blend skies, and a luminance, flat field divide technique in GIMP. Thank you Alister!
Footnote
For comparison, see my Sunrise Azimuth Sweep image from 2017.
I remember standing on the beach at first light a few metres from my car looking out at the dark cloudy sky. But you can never predict the weather so I didn’t expect this rising sun to break through the clouds and cast a spectacular beam of light under the legs of the pier and across the water to the beach.
#pier #seascape #Leefilters #landscapephotography #paigntonbeach #sunrise
I made the effort yesterday to try a sunrise shoot on Dartmoor even though it was blustery and grey. The unexpected happened with the sun finding its way through the thick low cloud. I turned around and saw this scene so frantically bumbled around trying to fit the pesky 105mm Lee Landscape CP filter and missed a rainbow but was happy with this scene. Gorgeous golden light contrasting with dark grey skies for a moment only
Devoke Water (pronounced ‘Duvvock is a hidden away mountain lake (tarn) on Birker Fell and is one of the most remote fishing lakes.
‘Seat How’ makes a fantastic backdrop to the boathouse.
The light in late afternoon was dramatically fantastic.
We’ve had some gorgeous winter weather recently particularly the mornings. I ventured out onto Dartmoor for a short frosty walk across Whitchurch Common from Merrivale car Park beneath Cox Tor. The dawn colours came much early than I expected so had to stride out to get to Windy Cross in time to catch this beautiful scene.
FOV Approx 0.7x0.4 Degrees
Canon 60D 15x30sec stacked on the comet @ISO 1600.
Celestron C11 at f6.3.
Tracked on a Skywatcher AZ-EQ6 mount with no guiding.
Polar aligned : Polar Scope.
Filter : None.
Acquisition : Intervalometer.
Imaged from suburbia.
Processed in APP and finished off in LR.
2023 October 17 at 12:15UT
At about 319,839,000 kilometers from Earth.
Set up Intervalometer and let it run for 10 minutes until the storm caught me and had to retreat to car. This strike scared me pretty good. Happy to get one good shot from the whole session. Also created a timelapse with the shots from this session in my feed also. Thanks for checking it out!
After a long drive from Plymouth we arrived at the Lakes midday for the first location which was more of a recce for the following sunrise shoot. It was my first time in the Lake District so was very excited. I tried my 2nd sharpest 24-70mm f4 lens on my trusty 5D mkii.
July, its that time of the year when this wonderful field of Lavender situated near Frome is at its best and ready for harvesting. The family owners have to work hard all year, weeding, cutting the rows and extracting the oil. This field has been there for many years so the rows of plants aren’t so straight but it’s still a spectacular sight. We emailed the owner to ask for permission to photograph their field for a sunset and a sunrise and promised to put a fiver each in the donation box at the farm. The sun didn’t come out for us but still enjoyed capturing the dark sky which seemed to bring out the deep rich Lavender colour of the flowers.
The poor man's pixelStick.
Press {L} for the best viewing display.
#Aberdeen
Click the link to see how I set up the shot..
www.flickr.com/photos/dazza1040/16547003503/in/photostream/
Canon 6d
Canon 17-40mm @ 17mm, Iso 640, f7.1, Exposure 1/160.
At this etting I get no ambient light.
Canon 580exII @ 1/2 power, zoom @ 24mm
Trigger YN 622c.
Magic Lantern Intervalometer...{LOVE IT}...........
Set for auto mirror lock up with 2 second timer.
Take a pic every 10 seconds.
I press go and the camera flips the mirror up and waits 2 seconds and takes a pic.
It then waits 10 seconds and repeats until I stop it.
This then lets me walk about with my speed light...
In the video I am triggering the flash for the demonstration.
Then open all images as layers in photoshop and create my own unique light.....
Click the link for the final Image....
www.flickr.com/photos/dazza1040/17136036736/
I hope this shows appreciation for the work that goes into my images.
The War Memorial and Cowdray Hall is the City of Aberdeen's memorial to the fallen of both World Wars. Designed by Dr. A. Marshall Mackenzie and Son. The lion sculpture was designed by William MacMillan, A.R.A. It was sculpted in Kemnay granite by lead mason James Philip, assisted by George Cooper.
Another amazing location between Shapwick and Sturminster Marshall. It’s quiet with no crowds but the through traffic over the bridge can get busy.
White Mill belongs to the National Trust but always check the opening times.
This is reputedly the oldest bridge in the whole of Dorset, dating from the twelfth century. Walk along the banks of the river Stour and enjoy the birdlife. I sat and watched a pair of Reed Warblers in the reeds next to the bridge and hundreds of swans congregated in the field. Also in the roadside hedge were Cetti’s warblers.
I waded into the middle of the river to photograph the circular reflections of the arches and that impressive dark moody sky.
I was stood on the quayside with the rising river level an inch below the top of my wellies and still 45 minutes before high tide.
The plan was to photograph the reflections of the old 1863 unused crane when it was submerged under the highest Autumn morning tide. The image suited a 16x9 crop with selective desaturation.
I have been wanting to capture one of these for a long time. So much fun to plan and shoot.
Several little things went wrong last night....
-forgot my tripod (luckily I had a gorillapod with me)
-Pluto Trigger was not charged (wanted to use that for intervalometer).
-Once I set up the in camera interval shoot settings....I realized that it wasn't set up properly...."wasting" an hour of shooting time.
But....it was still a great time.
This is 100 images taken at...
ISO 320
f/2.8
30 second shutter
Nikon D750
Rokinon 14mm f/2.8
Those 100 images were stacked and blended in Photoshop...cloning out a few airplanes along the way.
The foreground was taken with the same settings except I stopped down to f/5.6. It was lit with my head lamp for about half of the exposure time.
The foreground was then blended with the sky stack using luminosity masking.
I will be doing lots more of these. So great to be outside and seeing the night sky!
This was my 1st attempt of photographing the lake. The water level can change and the dead trees can be more submerged on a different day. I watched the direction and speed of the clouds as they passed over, waiting for a stormy dark sky. The tripod legs were firmly pushed deep into the mud as I stood in my wellies. The slow shutter speed I chose gave the effect of blurring and blending the clouds which reflected nicely on the water.
The scene almost looks haunting.
Hey… I'm back! I know it's been a while since my last work. The last couple of months have been a whirlwind of training and hiking in preparation to climb the Mountaineer's Route on Mount Whitney, the tallest mountain in the continental United States at 14,508 ft. (4511.65 m). Well, that was a hard-earned and worthwhile success.
Now it's back to photography, and to start things off, I drove the 3.5 hours back up to Whitney Portal road and the Alabama Hills. We'd driven right by this place on our way to and from Whitney, and it reminded me of how much I loved the area. I arrived around 4pm, and spent the afternoon scouting compositions around the hills, driving my poor car up and down all the nasty washboard dirt roads there!
By nightfall, I was filthy, freezing, and sore. (I hadn't really had time to recover from that climb yet and still had sunburn and some exposure damage.) To be honest, all I wanted to do was drive home and get a hot shower and go to sleep. But I decided to stick it out for the night. I only rested in 70 minute naps all night, trekking back out across the desert to my camera to restart the intervalometer and composition between exposures. I'm glad I stayed!
This exposure contains a total of 71 minutes of exposure time. There are 14 x 5 minute exposures on the intervalometer for the star trails (to at least partially mitigate sensor overheat issues), followed by two light paintings with my LED headlamp at 30 seconds each. The first 30 second exposure was with a white LED, and the second was with a red one.
Then I blended the 14 star trail exposures in post to reunite them, eliminating the satellite & jet trails in the process, and then merged in the two light paintings on top at around half opacity each to create a more pleasing middle orange tone than either the bright red or bright white could provide. I hope you enjoy the result!
Long Exposure giving the water a very interesting look, especially how the colour of the water blends
Aysgarth Falls is an impressive stretch of the River Ure in mid Wensleydale. The Ure passes over 3 ‘ledges’ and certainly, when I took the walk after a period of heavy rain, Aysgarth Falls looks mighty impressive and very powerful. Powerful water is great to look at, almost mesmeric, and I believe this is the best place in the Yorkshire Dales to enjoy this. Viewing platforms are ok but I enjoy getting as close to the water as possible and there is a stretch of rock below the lower falls where anyone can sit right on the water’s edge.
The strange column of rocks resembling a person stands proudly
looking towards misty Gripdon Down. The sun had risen behind me casting warm soft light through the mist over Bowermans Nose.
Traditional stooks made up of 4 to 6 binds of sheaves cleverly stacked to dry out quickly and keep the moisture out for harvesting.
These particular stooks will be gathered up manually by well organised hard working Polish teams ready for the threshing operation which separates the straw from the grains. It’s generally used for animal food, bedding and sometimes roof thatching.
This was a first for me seeing the Devonshire stooks.
Fantastic contrasty conditions between the warm tones of the hay and the dramatic graphite grey skies.
A faint rainbow arched over the field for seconds only.
A random decision to go for a late afternoon walk from Watendlath carpark in gloomy conditions seemed a good idea. We followed a footpath over the packhorse bridge, through a mwah mwah gate, passed the tiny fishing tarn and up a steep rough crumbly track. My heart was pumping but was sure to pace myself as we headed up as high as we could determined to find a high vantage point. There was no decent light but what a fantastic view to take in.
I was surprised to find these clumps of orange tussock grass that looked quite oriental.
Starting to panick a little with the diminishing light we headed down carefully and followed our steps arriving back at the car in the dark. I thought to myself ‘My dogs are barking’ but we did trek across rough terrain for a couple of hours!
This endeavour was only something I dreamed about a few years ago.
A fairly hard hike up tp this glacier, here around 2500m altitude, up the glacial valley from La Fouly, Switzerland.
I couldn't carry all my camera gear on this hike, so, only a lightweight tripod, one lens and no filters. When I reached this spot, I wanted to portray the slow movement of the glacial ice with a long exposure of the clouds but with no filters this was impossible. I framed up the shot and set an intervalometer so the camera would take a shot every 5 seconds for about 10 minutes. I left it be and I ended up with 103 individual images with I then blended, end result is equivalant to a few minutes exposure.
Technical Details:
Nikon D810 | Nikon 24-70mm f/2.8 | 103 shots at 1/60 f/11 ISO 64 @ 24mm | Manfrotto BeFree Carbon Fibre tripod
You can follow my work :
I used an intervalometer to capture a photo every second during the launch. At this point Orion had just risen its own length in just over 3 seconds, and with 2.5 million pounds of thrust, it was accelerating fast!
The River Arts District consists of a vast array of artists and working studios in 22 former industrial and historical buildings spread out along a one mile stretch of the French Broad River. This eclectic area is an exciting exploration of arts, food and exercise. Plan on spending a day or more visiting artists working in their studios, grabbing a bite of local cuisine or a brew and taking time to find art that’s perfect for your world.
More than 200 artists work in paint, pencil, pottery, metal, fiber, glass, wax, paper and more. As unique and individual as their art, so too are their schedules. There are no official “Open Hours” for the River Arts District, but at any given time throughout the year, you will find a plethora of open studios and galleries. If you are coming to see someone in particular, your best bet is to check in with them before your visit. Do it here, online via our search feature, or check the Studio Guide.
Image created from multiple exposures blended together in Photoshop layers using the "Lighten" blend mode. All exposures were taken with a single Einstein strobe with a 22" beauty dish attached to a boom arm. Send me a FlickrMail message, and I'll be more than happy to send you some information on mostly how I photograph this style and what equipment I use.
The River Arts District consists of a vast array of artists and working studios in 22 former industrial and historical buildings spread out along a one mile stretch of the French Broad River. This eclectic area is an exciting exploration of arts, food and exercise. Plan on spending a day or more visiting artists working in their studios, grabbing a bite of local cuisine or a brew and taking time to find art that’s perfect for your world.
More than 200 artists work in paint, pencil, pottery, metal, fiber, glass, wax, paper and more. As unique and individual as their art, so too are their schedules. There are no official “Open Hours” for the River Arts District, but at any given time throughout the year, you will find a plethora of open studios and galleries. If you are coming to see someone in particular, your best bet is to check in with them before your visit. Do it here, online via our search feature, or check the Studio Guide.
Image created from multiple exposures blended together in Photoshop layers using the "Lighten" blend mode. All exposures were taken with a single Einstein strobe with a 22" beauty dish attached to a boom arm. Send me a FlickrMail message, and I'll be more than happy to send you some information on mostly how I photograph this style and what equipment I use.
The plan was to catch a rainbow looking out to sea from a beach!
On arrival at 06.15 it was dark and quite breezy with low cloud in the east obscuring the sun at first. An hour later the dunes and fence lit up beautifully. I wasn’t completely happy with a part rainbow because I imagined a full bow over Thurlestone rock. I set up in another spot and waited about another hour.
The skies turned dark grey and stormy out to sea and the sun had gone in behind me. The wind spookily picked up, the hail pelted down so I covered up QuickTime . The force of the random gale literally blew me backwards and my tripod off the ground. It lasted for several minutes so I decided that was it for me. Extremely soaked and so cold from the high speed hail I gave up and headed back to the car for a hot flask of tea to warm up. I never got my full rainbow over the sea this time!
It’s a shame the old weathered jetty on the east side of the lake at Barrow Bay has been replaced with this fresh timber one. It was en route to another location so worth a visit to try a long exposure image which seems to suit it.
For this simple classic composition I preferred gapping between each post and also water between the end of the jetty and land in the distance. The camera had to be positioned parallel to ground level using a wide angle lens to prevent distortion and leaning of the uprights
This is currently my desktop background - it looks great large.
I've started playing with CHDK, the Canon Hacker's Development Kit, after reading this Wired article:
howto.wired.com/wiki/Supercharge_Your_Camera_with_Open-So...
I'm using a Canon SD1000, a nice little point-and-shoot, and the CHDK alternate firmware plus some long-exposure & intervalometer scripts seem like they will yield some great results for long-exposure time lapses and other things. I have yet to try any super-fast shutter shots, but may do that too.
This is a view looking down Forest Ave in Ypsilanti.
This image is © Jean Day and can not be used in any way without my permission!
I had the chance to scout around a bit before nightfall to decide where I wanted to shoot star trails in this mystical place. I liked this spot because of the one tall hoodoo almost like a conductor in an amphitheater that curved around it. I began my exposures just as the moon crested the hoodoos on the right and did just a bit of light painting on the center tower that would otherwise stay in shadow.
130 shots
ISO 400
f2.8
30 seconds each
And yes, I should get an intervalometer! Have a great weekend and thanks as always for stopping by!
#56 in Explore ~ May 18, 2012
© Jean Day ~ Please see my profile page for prints and licensing.
The walk or should I say scramble across Sheeps Tor in the dark was longer than I thought to this spectacular north westerly viewpoint. I know a better place to park now!
I was hopeful and wanted to see mist over Burrator at first light but that wasn’t going to happen.The conditions were cold and windy in the shade but I decided to hang around for 2 hours until the sun finally rose high enough to light up the hills. Firstly, I appreciated the warmth on my back and then the gorgeous Autumn colours that came to life in the sun.
Wonderful mossy velvety green tree limbs on a misty morning on Dartmoor. One of them resembling an elbow! Stay safe, keep bumping! 😉
I was forced to exposure for only 30 seconds because I left my intervalometer home. This 100x30s processed image (Pixinsight and PS CS 6.0) @ iso 1600-29 exp, 2200-21 exp, and 3200-50 exp, Nikkor 180mm ED f/2.8 @ f/2.8, Nikon d7100 was taken during the evening of 8 Oct 18 from Vail, Arizona. Moonless clear skies with excellent transparency resulted in a sharp crisp image. Using AstroTrac x320 unguided mount.
I was quite surprised that this limited exposure and wide open f-stop could produce such a nice rendering of this deep sky object.
Compare to my 7.5 hour integrated time version: www.flickr.com/photos/79387036@N07/29683280310/in/album-7....
A second attempt at a star trail.
This picture was the result of 80 15 second exposure shots which I then combined using a bit of free software called StarStaX. This time I had the camera pointing at the North star is so I got a circular effect
The south east facing distinctive rocks were certainly worth visiting especially with good sized waves crashing in. The strong cross wind blew the 2 metre high splashes sideways preventing them from soaking me and enabling a long exposure shot. I would definitely recommend visiting this location with your camera if you’re exploring the Jurassic coast.
Michael Naimark
See Banff, 1993-94
zoetrope, cabinet, mixed media
See Banff! is an interactive installation based on an Edison kinetoscope, an early form of moving images. On top of the cabinet is a stereoscopic hood for viewing short sequences filmed by Michael Naimark with Gilles Tassé around Banff and rural Alberta in 1993. A hand crank on the side of the cabinet allows the viewer to “roll” the short films forwards or backwards. Next to the viewer is a lever to select one of 14 silent views.
The Edison kinetoscope was introduced to the public in April 1894, and “movies” such as "The Wrestling Dog," "The Boxing Cats," and one about a sneeze were immediate successes. Less than two years later, however, on December 28, 1895, Louis and Auguste Lumiére projected films onto a screen for a paying audience of 33 people. The new medium of the kinetoscope had been replaced by the next new medium of the projected film, although arguably both constitute types of cinema.
Technically the See Banff! films were recorded with two stop-frame 16mm film cameras mounted on a "super jogger" baby carriage. Stereoscopic recording was either triggered by an intervalometer (for timelapse) or by an encoder on one of the carriage wheels (for dollys and moviemaps). Naimark and Tassé made over 100 sequences with this rig. Aesthetically, Naimark relates,
“On the one hand, the sites in the Banff area are monumental in their grace and beauty. Some are sacred. On the other hand, watching the tourists at these sites told a different story. Busses and busses pulled in and out of parking lots seemingly in the middle of nowhere. Tourists would get out - cameras in hand - for twenty minutes, then back on the busses off to another site. Gilles and I agreed that the strength of the footage would lie in counterpointing these two conflicting messages.”
See Banff! was first developed during the Art and Virtual Environments programme here at the Banff Centre, a programme central to the founding of the Banff New Media Institute a year later. Of the 9 projects by 15 artists, in the medium of virtual reality, creating during that residency, only See Banff! has been selected for this exhibition due to its central connection with the place and its clear representation of repurposed formerly new media.
Naimark is a media artist and researcher with over 25 years of experience investigating "place representation." He has worked extensively with field cinematography, interactive systems, and immersive projection. He was instrumental in the founding of several world-renown research labs.
For its presentation here, the artist undertook a substantial upgrade of the programme powering See Banff!, replacing an old Apple IIci computer and large analog laserdisc player with a small compact Mac mini computer with integrated digital video card.
Collection of the Museum of the Moving Image, Astoria, NY
The image was made of twenty exposures showing the setting of the crescent moon on August 4, 2019. The colorful sky is likely the result of the Raikoke eruption producing an abundance of colorful sunsets. The images were taken with a Canon 80D and a Canon 17-40L lens. An intervalometer was used to take a photo every five minutes.
116 x 30sec exposures at ISO 100 f4.0 14mm. Stacked with Startrails.de
The building is Coed y Celyn Hall on the banks of the Conwy near Betws y Coed. We have been staying in a nice ground floor apartment in this building over Christmas. It was nice not having to stray far for a shoot! I set the intervalometer running and returned inside to watch tv. All I had to do was pop my head out of the door now and then to make sure it wasn't raining.
Stormy afternoon at the Olympiapark. View it large.
Fuji X30, built-in intervalometer, compiled using "VirtualDub".
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30 minutes of clouds in 30 seconds. Shot on iPhone 6s using @procamapp intervalometer to take a RAW photo every 1 second, then professed the frames in Lightroom and played back at 60fps. (In retrospect I should maybe have shot every two seconds, since my phone ran out of space right when there were some pretty interesting clouds going by.)
Located between Rosthwaite and Seatoller, now Old Mill Cottage on Coombestone Gill, Borrowdale, Cumbria.
The last day of our holiday in the Lakes and first time it rained with misty conditions. I was elated to find this hidden gem near Borrowdale after much research and studying Google earth.
I had almost memorised this area of the OS map but it was still strange that I seemed to know my way there. We diverted off a footpath, over a gate, through field, another gate, a slight descent and a tight squeeze through a gap between a stone wall and wire fence. It was only a guess that the isolated building I spotted on google earth was going to be the water mill.
The ‘beck’ was flowing well through the valley which is exactly what I was hoping for. The conditions were wonderful with the mist and low cloud beyond the mill on High Buck How. It needed the two of us to get a photo in the continuous rain so we took turns to hold a brolly while the other took photos. It was super slippery underfoot in our wellies and quite precarious clambering on the loose rocks and boulders, sometimes on all fours crab-like. The sound of the fast flowing stream drowned out our voices but it all added to the experience. The soft light seemed to absorb the autumnal tones particularly the vibrant mossy greens. A few fallen amber and auburn leaves were trapped in the pools adding more interest to this seasonal scene.
It was difficult to find much history about this intriguing old mill. It was used to grind corn in the valley for the locals. It is mentioned in a will in 1727 and the wheel probably dates from about 1800. There’s an old millstone being used as a step on the path at the front. At the rear of the building is the wheel where the stream is flowing between fabric textured mossy coated boulders.
“It was wonderful especially with excellent conditions to photograph proving it to be one of the Lakes finest secret locations in my opinion.”