View allAll Photos Tagged intervalometer
Wouldn’t it be absolutely magical to see glowing mushrooms in a dark forest. I think they would look a little like this!
Best Viewed Large…👍
I must admit this image took quite some effort to create!
Firstly finding these blooming things was difficult especially when there was barely enough space for a full size human to move about in the dense enchanted woodland.
Eventually after much faffing, fumbling and mumbling I set my camera looking up at theses fantastic looking shrooms growing at the base of a pine tree. The tripod legs were spread out and weaved into the broken off cluttered dead wood and vegetation. The only way to get the camera low enough for this composition was to invert the tripod centre column until it was millimetres from the damp ground.
So, there I was uncomfortably curled up amongst the mossy wet logs and labyrinth of prodding branches like an entangled elf person. I somehow managed to operate my upside down camera manually, without it moving at all, taking a series of shots. Oh, it started raining too so I wedged my partially opened brolly between the tree trunks over the whole set up. I had mocked up a crude outdoor photography studio in the depths of a forest. The plan was to take a set of dark underexposed photographs along with torch lit shots and combine them in post processing using photo-stacking and masking techniques.
Forethought is definitely essential when you have a vision of your intended result!
Later that day, after getting damp pine needles out of my clothes from rummaging in the undergrowth, I attempted to edit my images in Lightroom and Photoshop. It took well over an hour with it being more of a learning exercise but was very pleased with the final image.
🍄‘Glow-in the dark’ deadly poisonous Sickner mushrooms.🍄
Any comments appreciated. 😉
📍#woodlandtrust , Devon
📷 #Canon 5D mkiii
🔘 Canon EF 24-70mm f/4L IS USM
#mushroom #fungi #macro #forest #glowingmushrooms #autumn #magical #hiddenfolk #damppants
The tide and sea conditions have to be just right for the waves to cascade over this 3 meter high rock. Yes, it’s bigger than it looks in the image!
I was perched on the opposite side of a gully waiting for that moment to happen experimenting with different shutter speeds. The south westerly wind blew the sea spray towards me as the water spilled over the ledge. I always wrap the camera in polythene on days like this to avoid the salt damaging the camera. You can’t always catch the colourful sunset but this still makes a DraMatic SeaScape. I love trying to capture the OceanMotion.
Taken with Canon 5D mk2 at 16mm on 16-35mm f/4 lens and a 0.9 (3 stop) hard grad ND Lee filter.
This is another shot of the old grain elevator (same one that I posted yesterday), but for this version I wanted to give the feeling of just how small we are in the galaxy. I used my fisheye lens (corrected distortions in post) to capture as much of this scene as I could with the Milky Way towering above the structure. The light pollution on the right is from a small nearby (about 10 miles) city and on the left is from a farm.
Shot with a Fuji X-T2 and Samyang 8mm f/2.8 fisheye lens. (5) 15 second shots + (2) dark frames @ f/2.8, ISO 6400, 3800K WB. One LED panel used for LLL of the scene. Stacked in Sequator with final edits in Photoshop using a few Topaz plugins.
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The name certainly does not describe how stunningly beautiful these elusive butterflies are. The species spend most of their life in treetops where they feed on aphid honeydew. They are rarely seen at eye level, mainly when the female decides to lay eggs. After many hot gruelling days specifically searching for the Brown Hairstreak in Devonshire hedgerows I was lucky to see one for a few seconds. A first for me and I expect not the last now I’m hooked.
From a recent trip out to Pinnacles National Park, after what looked like a small easy hike... which turned out to be a 45 minute caving expedition, I reached the Bear Gulch Reservoir. With some time before sundown I was able to relax and take in the natural beauty of the area. Even though the Pinnacles are relatively close to me, I haven't spend much time visiting them before.
Once setting up the composition I wanted for this shot, I simply waited and slowly took some photos as the day set and became night. Once it was darker, I setup the intervalometer on my camera to record the amount of star trails I wanted. Final touches of this shot were done in Photoshop to blend the earlier light painted shots of the rocks with the star trails photos.
Looking east towards Eskdale including Dale Garth How, Blea Rig, Illgill Head, Kirk Fell, Great Gable, Scafell Pike in the distance.
It was an absolutely stunning evening with the setting sun behind me on the walk back from Devoke Water. An afternoon exploring the remote tarn with its old stone boathouse and stables was a day to remember in the Lakes
The arc of the setting moon is seen following Venus on the evening of April 20, 2018. The image was made of several 1.3 second exposures taken with a Canon T6s and a Canon 17-40 mm f/4L lens. (17mm, f/5.6, ISO 800, spaced 5 minutes apart)
On the last night of my first Lubec workshop of the year we were treated to a night of clear skies, with just a bit of clouds low on the horizon. With everyone doing pretty well, I was able to take out my camera for some shots. For fun, I waited until Jupiter (the bright orb on the right) was positioned above the pine tree below it before taking my star stacking shots. It actually started before Jupiter was over the tree, but by using Starry Landscape Stacker’s “Align With” feature, I was able to pick the image from the 10 where Jupiter was over the tree, and have the rest of the shots align with that one.
Nikon D850, Nikon 14-24mm f/2.8 lens @ 14mm, f/2.8. The sky is from 10 shots star stacked in Starry Landscape Stacker (macOS, you can use Sequator on Windows, or Photoshop but it doesn’t work as well), each shot at ISO 6400 for 9 seconds (usually I do 10 seconds but due to an intervalometer goof they were only 9 seconds). The foreground is a blend of 2 exposures, one without clouds covering Mars so I could get a nice reflection in the water. One foreground shot was at ISO 1600 for 8 minutes, and another was at ISO 1600 for 4 minutes. The star stacked sky and the two foreground shots were blended in Photoshop, and then creative effects were applied.
During the workshop a couple students mentioned to me that they really like Topaz DeNoise, a noise reduction tool available as a plug-in for Photoshop and Lightroom. I had used Nik Dfine in the past (haven’t used it much lately), and I use Lightroom/ACR’s noise reduction a lot, but I had yet to try Topaz DeNoise, but I’d heard of it for years. So I finally decided to give it a whirl. I also discovered that Topaz has a new noise reduction tool called AI Clear, which is only available in their Topaz Studio, which is also available as a Photoshop plug-in. DeNoise is your standard noise reduction tool with lots of controls, and AI Clear uses artificial intelligence to analyze the image and apply noise reduction with very few controls. I worked with DeNoise for quite a while to get something I liked, but with AI Clear I was able to get an amazing looking result quite quickly. However, there seems to be an issue with AI Clear, the preview inside Topaz Studio looks great, but when I go back to Photoshop the result has over-sharpened noise that I didn’t see in the AI Clear preview in Studio. I’ve contacted Topaz about this issue, they suggested using Studio stand-alone (outside of Photoshop) but that had the same issue, so I’m awaiting more information from Topaz. In the end, I used a combination of 4 different noise reduction layers. One layer was with AI Clear, the over-sharpened noise issue is only in the sky but the foreground looks great, so I used the foreground from AI Clear. Then I used DeNoise with 3 different results, one for the water and sky, and 2 more passes for more aggressive noise reduction of the cloudy area of the sky and around Mars. I masked in the results from the 4 noise reduction layers to use only the parts I wanted.
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The atmospheric smaller Jökulsárlón Glacier Lagoon.
Typical low Icelandic clouds cover the snowy mountains and yet the light always seems to find its way through. Simply wonderful atmospheric conditions to experience.
DPS Monday club outing to my favorite cycle path & grafitti wall.
The camera was clamped to the end of my landpaddle and set on the intervalometer to take a shot every 5 seconds
Explored at #82 on 9 Aug 2014
Bonjour à tous
un peu de temps pour la photo ce week end et admirer les étoiles filantes.
Superposition ici d'une trentaine de photos (triées parmi 400 au total) pour obtenir ce résultat.
Dans ce cas un simple trépied et un intervalomètre, avec Andromède présente dans le cadre à droite de la cime de l'arbre :)
Merci de m'avoir llu en espérant que vous allez tous bien et que vos vacances ont été reposantes.
Hello everyone
a little time for the photo this weekend and admire the shooting stars.
Superposition here of about thirty photos (sorted among 400 in total) to obtain this result.
In this case a simple tripod and an intervalometer, with Andromeda present in the frame to the right of the treetop :)
Thank you for having me hoping that you are all well and that your holidays have been relaxing.
Built by the British and US troops in WW2 and situated at Hvítanes, Hvalfjörður (Whale Fjord), the biggest in southwest Iceland and 30 km long surrounded by volcanic mountains. It was named after the large number of whales seen there by the original settlers and now has a controversial history of whaling. During World War II the fjord’s deep anchorages made it one of the most important bases in the North Atlantic. When British and American naval vessels were stationed here it provided a port and safe haven for supply ships travelling between Europe and North America.
‘I remember this being one of our first stops during the Iceland adventures which wasn’t easy to find. The image has been converted to have a sepia tone which suited the subject.
I found out about this place through a fellow photographer's work. It became kind of an obsession of mine because of its dilapidated bridge located by the sea. Soon after, I visited this place on my bicycle and I fell in love with it because one, the location and the placement of the bridge were every photographer's wet dream and two, this place just had too much potential. So I set the date to the next new moon which was on the morning of the 23rd, but as the day came close weather forecast said that the morning of the 23rd would be cloudy with chances of rains and same for the 22nd, 24th and 25th which only gave me a slim window of opportunity on the morning of the 21st. So, on the night of the 20th, I took the last commuter rail to Rockport, got down at Beverly farms, walked in the center of the dark streets clutching to my cell phone lamp as if it were the light of Earendil, suddenly starting to see the point of believing in a higher power, and finally trespassing onto the private beach. I was greeted with the majestic view of the Milky way. After ticking an item off my bucket list by clicking the Milky Way I finally got to work to make this shot. I had a similar composition in my mind to shoot with the bridge, the star trail and the sunrise. I set the intervalometer to take 250 pictures before the moon rise, of which 180 I used to make the star trail below. When sun started to rise, it started to fill the sky with multitudes of colours, I took a few different shots to have more options.
After spending about 6-7 hours processing the data, here’s my final result.
This was my most ambitious composition and certainly amongst the most adventurous one. This is my best picture yet. I hope you all like it.. As always comments appreciated :)
Gear used : D7000, Tokina 11-20mm f2.8, Zomei 10 – stop ND filter, Benro BH-0 tripod.
Software used : Adobe Lightroom, Photoshop, Google’s Nik Collection, StarStax, PhotoPills.
I was hoping for dark skies and planned to try a long exposure of the sky to get some star trails but I could not get my remote control intervalometer to work right.....I read the directions over and over and still no luck, I guess I should have figured it out before I left home. As you can see, even with all the light from the wharf and town, the sky is still nice and dark in this area.. (two shot vertorama) Shot was taken from just outside the room we were staying at so I planned to set up the camera and enjoy a lovely glass of wine and some TV while the camera worked away.
Rainbow weather on Dartmoor will always encourage me to make the effort to chase the light.
I have to admit wellies are not ideal clambering up rock stacks in pouring rain. It was a waiting game and getting soaked was all part of it until the sun broke through the grey skies. I was lucky to choose a good viewpoint when the ROYGBIV eventually formed.
There’s never much time to climb to another spot especially when’s it’s ‘Slippery when Wet’.
Last weekend, arriving at Combestone Tor at silly ‘o’ clock in the dark was too much like ‘Groundhog Day’ to me, or so it seemed. It was my 4th attempt at a morning shoot here, each time with grey skies and so blustery I struggled to open the car door. Always hopeful, I set up, checked out a few compositions then sheltered from the wind and waited.
The dark sky started showing signs of colour slowly and constantly changing as the sun burnt through behind me. Westerly beyond the tor was a fast moving incoming shower that looked menacing. Like a switch, the rock stacks became sun kissed in golden light and amazing colour patterns formed as the sleet and rain shower blew in. Seconds after I took this photograph a magnificent rainbow appeared but my camera and I was too drenched to take a shot. I ran to the sheltered hideaway I found earlier to dry off my gear as the multicoloured display passed over so rapidly and headed into the sun. I followed it and set up for my next shot!
I’ll remember this one for sure.
Tidal Barn
This was taken on a dark eerie night unsure whether the silent incoming tide was going to reach the barn. It’s was my first visit so a night shoot wasn’t the best conditions for the highest tide. I used the head torch to focus the camera on the barn then all lights off apart from gently light painting it during a long exposure shot.
Canon 5D mk2 and Samyang 14mm f/2 .8 - iso 1600 30 seconds.
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A quick practice shot on the night of December 12-13 while waiting for it to get dark enough to see Geminid meteors. I wnet back out to try again, and my results were much less successful. On December 12 I had my Canon intervalometer attached, so I could use that to trigger the shots. Tonight I went out in a hurry and didn't bring my camera bag, or my intervalometer.
A breeze draws shapes on top of the water as the Milky Way's core climbs the southeastern sky over Horse Island at Tuross Head, Australia. I created this time-lapse sequence from 410 individual images captured over 80 minutes in April 2021. While my camera clicked away at the behest of its intervalometer, I took in the beautiful darkness above and around me, the sounds of the nightlife in the trees, and enjoyed the solitude afforded me.
Each of the photos that makes up the video sequence was taken with my Canon EOS 6D Mk II camera, a Sigma 35mm f/1.4 Art lens @ f/2.2, using an exposure time of 10 seconds @ ISO 6400.
-Quote by Leonardo Da Vinci
Hello Flickr community! It has been a long time since I posted something, but I've been busy with plenty of exams and schoolworks and I couldn't even think about my hobby :( Well of course I thought about photography, every single day! But you know, time flies...
Here you have another shot from the last experiment I did some weeks ago, with water and my intervalometer. This photo has been shot the same way I did with the other one, one hand in the water, one holding the intervalometer, camera on tripod and little external light.
I loved the shapes I got with the water doing this so I did a lot of versions. I'll upload another one slightly different for you to see :-)
Jan 23, 2014. 3 degrees temperature.
Setup the ZEQ25 and Borg, no guider.
Polar aligned and took 30, one minute exposures of the Rosette. After 5 minutes, the intervalometer refused to work. Took it in the house and used it from inside with no problem.
Nikon D5100 w/Hutech HEUIB-II filter.
First image since Nov 2013. C'mon warmer nights.
Settings: 1/50 Sec at f/2.5 ISO 400 :: Sigma 30mm f/1.4
So, as I've mentioned lots before, I started photography and film-making in February of last year. When I started I had one aim and that was to get something I've made seen by people. Sort of vague but I managed it a few months later when I had my first short film that I co-directed shown at a local cinema in a short film competition. We didn't win but we did get some great praise, and for saying it was our first project ever, we were pleased.
Well, since that point, I've been setting more goals and I feel that these ten goals/aims/things sum up what I want from this year.
For the photo I used the remote audio trigger again on my 550D. I cannot recommend Magic Lantern enough to any of you that have a Canon camera and want more from it for FREE! I use Magic Lantern for everything from HDR bracketing, Timelapses with the built in intervalometer, and even filming with better ISO control and internal cropmarking.
The Total Solar Eclipse of April 8, 2024 was photographed over the Hotel Conneaut on the shores of Conneaut Lake south of Erie, PA. The partial phases were imaged with a Canon R6 Mark II and a Canon 24 mm f/1.8 lens. (ISO 200, f/10, 1/800 sec, NiSi 16.5 stop solar filter). Using an intervalometer, each image was taken 4 minutes apart.
Time lapse image sequence of the solar eclipse over ruins of Fort Churchill in the Nevada desert. All the images used were taken from the camera (with an intervalometer) in a fixed composition without any movement of the camera or tampering of the suns position relative the landscape. The eclipse related sun images were captured with a solar filter. They were then stacked together and blended in photoshop to create a single image as shown here. Just after the maximum eclipse, clouds moved in and obscured the view of the sun for the second half. But it ended up resulting in a nice sunset that I was able to incorporate in the final set of exposures after removing the solar filter.
The morning suns starburst peeks over the headland illuminating the famous Jurassic coast. High up on the cliff edge looking down at ‘Stair Hole’ was a perfect vantage point to start the day
Headed out to Nauset Light in Eastham, Massachusetts late last night since the skies were clear and it's Milky Way season in the northern hemisphere. This was something of an experiment—it was fairly bright because of a waxing gibbous moon, and I had to push ISO pretty high to capture the light beam of the lighthouse and still have any hope of getting the Milky Way in the scene, but low enough that the light from the moon didn't blow out the landscape.
This was shot with my Nikon D750 with a Tokina 17-35mm wide angle lens @ 17mm. To get the effect of multiple beams coming off of the lighthouse, I shot five 1-second shots taken at 2 second intervals using the built-in intervalometer on my D750. I was shooting at ƒ/4, ISO6400. I had roughly timed the full sweep of the light at about 10 seconds, and things seemed to work out—each image was one second of the light sweep, separated by one second "gaps". These were color-tuned, stacked in Photoshop, and blended using the linear add transfer mode against a black background, with each layer at about 60% opacity (any more and the brightest spots would clip.) This is similar to how I would have tried to catch this in-camera (multiple exposures on a single frame, using the same timing) and also reinforced the light of the stars and the Milky Way. I also brought out a bit more sky detail with some other adjustments (clarity, dehazing, and some contrast tweaks) in Lightroom Classic. I also used Lightroom to adjust the overall exposure to where I wanted it (the stacking had brightened up the overall image some.) Finally, to help dial the noise from the higher ISO sensitivity back down I took the result into Nik Dfine, which helped reduce the luminance noise.
I'm quite pleased with the results of the experiment.
“Right, let’s go to Godrevy lighthouse but we have to stop off at a Callington first.” After that I check the Sat Nav and time had flown so ended up on wonderful Whitsand Bay to catch a sunset.
The tide was perfect to reveal “The remains of the Chancellor wreck”.
The golden light lit up the rusty old boiler beautifully just before the sun dropped behind a low thin band of cloud.
Sometimes to get the shot that you want, you have to have patience, and this may mean waiting months (or more) to get exactly what you want.
I came across this wonderful old abandoned grain elevator earlier this summer on my travels to another (potential) location and knew that I'd have to come back later to photograph it when the stars would be in alignment with my vision.
Shot with a Fuji X-H1 and Samyang 12mm f/2.0; (5) 15 second shots + (2) dark frames @ f/2.0, ISO 3200, 3800K WB. A single LED panel was used for LLL. Stacked in Sequator with final edits in Photoshop using a few Topaz plugins.
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Manual: www.ioptron.com/v/Manuals/3322_SkyTrackerPro_Manual.pdf
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Stacking Software
Deep Sky Stacker (PC): deepskystacker.free.fr/english/index.html
Sequator (PC): sites.google.com/site/sequatorglobal/download
Registax (PC): www.astronomie.be/registax/
Starry Landscape Stacker (Mac): itunes.apple.com/us/app/starry-landscape-stacker/id550326...
pixinsight (mac): pixinsight.com/
Nebulosity (mac): www.stark-labs.com/nebulosity.html
I shot this with my new A7Rm4. I forgot the camera has a built in time lapse function and shot this with an external intervalometer.
Apesar de muitos meios de comunicação divulgarem fotos assim como chuva de meteoros na verdade trata-se de uma fotografia de longa exposição registrando o movimento do nosso planeta Terra.
A câmera fotográfica estava fixada ao tripé e enquanto a Terra gira as estrelas no céu vão criando rastros no sensor da câmera.
Essa é uma visão do norte na região de Munhoz - Minas Gerais - Brasil. Olhando para o norte o céu parece se movimentar da direita para a esquerda. Foi utilizado um efeito "Comet" no software StarStaX 0.71 que dá a sensação de que as estrelas estão caindo.
Dados técnicos:
Câmera Canon 7D
Lente Rokinon 24mm F1.4
Abertura: F/3.2
Distância focal: 24mm
ISO 1600
Tempo de exposição: 37 fotos de 60s
Intervalômetro
Tripé fixo
Softwares:
StarStaX 0.71
Adobe Lightroom CC 2015
Adobe Photoshop CS5
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Although many media release photos as meteor shower this is in fact a picture in long exposure photograph recording the movement of our planet Earth.
The camera was attached to the fixed tripod and as the Earth rotates the stars in the sky create traces on the camera sensor.
This is a view of the north in the region of Munhoz - Minas Gerais - Brazil. Looking north, the sky seems to move from right to left. A "Comet" effect was used in StarStaX 0.71 software that gives the feeling that the stars are falling.
Technical data:
Camera Canon 7D
Lens Rokinon 24mm F1.4
Aperture: F/3.2
Focal distance: 24mm
ISO 1600
Exposure time: 37 photos of 60s
Intervalometer
Fixed tripod
Softwares:
StarStaX 0.71
Adobe Lightroom CC 2015
Adobe Photoshop CS5
240 x 32 second exposures.
Camera shutter set on 'continuous', rather than use the intervalometer, in order to keep the gaps as short as possible.
The green and silvery ‘Treescape’ is at the southern end of this stunning little lake. Looking south east from Cragg Wood are the iconic row of pines overlooked by a striking backdrop of the 590m high Haystacks and the even higher Fleetwith Pike at 650m on the right. The mythical ‘Buttermere Serpent’ breaks the surface of the still waters as it swam silently by!
This was a particularly crazy morning of landscape photography driving through an extremely foggy Princetown before first light in almost zero visibility. My first quick stop was successful near Two Bridges photographing a foggy lane of trees then onto Bellever woods but there was no mist there. I headed back towards Yelverton in abysmal weather unable to see anything beyond the road. I stopped anyway and ‘kitted up’ to walk, or more likely scramble, upwards into the unknown. I had lost my bearings to be honest which is easy to do on Dartmoor in thick fog. Then sensibly changed my mind after walking a short while with visions of heading in the wrong direction and missing a tor. Back at the car I swiftly packed away my camera for the third time and drove to Merrivale but certainly wasn’t inspired. I soon realised I had dropped my favourite collapsible umbrella at the last stop so followed my tracks back through Princetown village. Luckily the Christmas present from my parents was still in the carpark on the wet ground between two cars. I bumped into a friend and enjoyed a brief ‘catch up’ always watching the weather conditions in anticipation. The mist cleared briefly so headed to the top of Sharpitor with my gear in wonderful atmospheric mystical conditions for the rest of the morning. Stood on top of the tor I turned around and noticed a wave of mist from behind about to engulf me. I took this photograph as it passed by.
Some wonderful cloudage and side light with hundreds of gulls flock-feeding on fish in the shore break
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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.
Please have a look at my automotive photography album: www.flickr.com/photos/kenlane/albums/72157634353498642
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.
Image created from multiple exposures blended together in Photoshop using a single Einstein strobe with a 22" beauty dish.
Please have a look at my automotive photography album: www.flickr.com/photos/kenlane/albums/72157634353498642
Here is my first time-lapse that I shot in RAW on my iPhone 6s (well, first one worth posting). I set up my iPhone on a tripod and used the app ProCam4, which shoots in raw and has an intervalometer option, to capture the frames. Then I imported all the frames into Lightroom on my desktop, and did some batch processing there. Then, I exported the frames and used the free application Zeitraffer to stitch them together into a video - and here it is!
Why do this on an iPhone instead of another camera? Well, I actually also set up a time-lapse using my Sony camera right next to this one, and as far as video quality the results look good (just about the same as the iPhone, in this good lighting and once they’re both compressed to 1080p). The problem is that the Sony Playmemories Mobile Time-lapse App is limited to 999 frames! Even if you still have memory card space and battery life, it stops after 999 frames, which is very limiting for timelapses. I have sent Sony some feedback emails about this and they never responded - anyone know a better way to contact them? One tiny change would make their cameras amazing for timelapses. Oh wait, there’s one more change they should make - I can’t seem to run my Sony while its plugged into the wall or an external charger; it tries to go into data transfer mode. So, they are limited by battery life as well. With an iPhone, I can easily plug it into an external battery or into an extension cord to the wall, and then battery life is no longer a limiting factor.
Now my only problem is that I need my iPhone for other stuff, like, you know, as a phone. I did some googling to see if I could find a dedicated (ideally weather-proof) time-lapse camera that would shoot raw frames similar to the iPhone, but I didn’t find anything. Maybe soon it’ll be time to upgrade to a new iPhone and keep this one for timelapses… (I previously did that with my iPhone 5s, but it doesn’t shoot raw and now that I know how to process raw frames that’s a very frustrating limitation.)
A great location to catch the “SuperTide” on 12th March 2020.
After watching a beautiful sunrise at Watchet we drove to a residential area near the sand dunes at Burnham-on-Sea. Google Maps showed the navigational beacon quite close to where we parked but the tide was so high it had washed the dunes away making it difficult to get near. After several attempts weaving away through the gorse we decided to slide vertically 3 metres down onto wet sandy beach with the choppy waves blowing in. A hasty wellie trek to this viewpoint was required hugging the vertical corroded sand dunes avoiding the waves as the humongous tide was dropping. Although it was quite blowy the camera on the tripod stayed still for 30 seconds. The sea was a muddy brown so I preferred to desaturate it in photoshop just leaving the blue sky. I thought a square crop and selective vignetting made a more minimalistic stylish image.
I was forced to exposure for only 30 seconds because I left my intervalometer home. This 126x30s processed image (Pixinsight and PS CS 6.0) @ iso 1600, Nikkor 180mm ED f/2.8 @ f/2.8, Nikon d7100 was taken on the morning of 9 Oct 18 from Vail, Arizona. Moonless clear skies with excellent transparency resulted in a sharp crisp image. Using AstroTrac x320 unguided mount.
Compare to earlier work:
www.flickr.com/photos/79387036@N07/23630888071/in/album-7...
www.flickr.com/photos/79387036@N07/26461040123/in/album-7...
www.flickr.com/photos/79387036@N07/25891495460/in/album-7...
Image created from multiple exposures blended together in Photoshop using a single Einstein strobe with a 22" beauty dish.
Please have a look at my automotive photography album: www.flickr.com/photos/kenlane/albums/72157634353498642
A timelapse of the sunset on Christmas Day, looking up the coast from Point Dume in Malibu. Shot with iPhone 6s using Procam’s raw intervalometer mode, then processed the raw files in LR and made into a video using the app Zeitraffer on my Mac. Shot at 1frame every second and played back at 30fps. It came out surprisingly jerky (I hadn’t thought there was much wind but I guess there was), so I stabilized the video on my iPad using the app Deshake, which worked great.
This timelapse is also largely thanks to my parents, who not only drove me to Point Dume for sunset on Christmas Day but also offered to guard my iPhone on its tripod at this angle while I went to shoot further out on the point (another timelapse is coming later of the view from the end of the point out over the ocean, and of course I was also shooting stills).
Captured 26/01/2023 just before 3am
The bright red star to the far right is RR Ursae Minoris a 4.7 magnitude binary.
-Magnitude is used to measure the brightness of stellar objects, the higher the number, the fainter the object.
-A binary star belongs to a system of two stars that are gravitationally bound together and locked in orbit around each other.
Boring techie bit,
Skywatcher quattro 8" S & f4 aplanatic coma corrector
EQ6 R pro mount guided with an Altair 50mm & Altair GPcam
Canon 450D astro modded with Astronomik CLS CCD EOS APS-C clip filter. Neewer Intervalometer used to control the exposures.
104 exposures of 120 seconds each with the best 50% stacked together with calibration frames. 2 images were produced from the data. One stacking on the comet, one stacking on the stars. Separately processed then combined together.
Software used, PHd2, DeepSkyStacker, StarTools, Affinity Photo.