View allAll Photos Tagged sequator
View from Rawhead looking over Cheshire countryside towards Wrexham
28x 8 second exposures stacked in Sequator for noise reduction and edited in LR to make the constellation stand out a little more
Here on the South Plains of West Texas there are many of these old abandoned farm houses in varying states of decay. They happen to be one of my favorite subjects to shoot under the night sky and I've spent a lot of time tracking them down. Unfortunately, as flat as it is around here, lights on the horizon can been seen forever away. In most cases I prefer a cloudless night and a sky full of stars, but in this case, I think the wispy clouds add to the eeriness of the scene.
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. One LED panel used for LLL. Stacked in Sequator with final edits in Photoshop using a few Topaz plugins. (Shot April 9, 2019; finally catching up with editing.)
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This is from a private workshop that I was teaching the other night on the coast of Maine. I’ve tried verticals here before but this is the first one I’m really happy with. It’s probably hard to see on social media, but the smudgy blob thing in the upper left part of the sky is the Andromeda Galaxy, the closest neighbor galaxy to our own Milky Way. You can see it with the naked eye on a clear dark night. Fun fact, we are on a collision course with Andromeda, in a mere 4 billion years from now the two galaxies will become one. Leading up to that time, Andromeda will be absolutely huge in our night sky as it approaches. I only wish I could be alive to see that!
Nikon D5 with NIKKOR 14-24mm f/2.8 lens @ 14mm. The sky is star stacked for pinpoint stars and low noise, made up of 14 shots at ISO 6400 for 10 seconds each (14 because I didn’t have my intervalometer out and was just firing away one by one manually while talking to my workshop student, so I only sort of counted). I always want at least 10 shots for the sky for star stacking. The sky shots were star stacked with Starry Landscape Stacker (Mac app, but you can do it in Sequator on Windows). The foreground is from a single ISO 1600 shot at f/4 and 4 minutes. This lighthouse blinks twice about every 8 seconds, which means it’s easy to get detail in the sky, if it was a constantly on light it would be a very different story!
Visit my website to learn more about my photos and video tutorials: www.adamwoodworth.com
Leo Triplet
First time using guiding. Overall went well. Also first time using APT (AstroPhotography Tool imaging software). Also first time using SharpCap for polar alignment. That was super easy.
Not the best night, but was really trying out my new toys more than anything and Leo is heading west for the summer.
31 X120 seconds ISO 800
9 darks
no flats
Nikon D5300
AT65mm Quadruplet APO
OLD CG5 with Onstep and belt drives
Stacked in Sequator
Processed in Pixinsight
finishing touches in PS
Shot by camera Pentax K-70 with lens Pentax HD 55-300 mm F/4.0-5.8, in Astrotracer mode.
10 shots of 20 sec at f/5.8, 300 mm, ISO 2500, and 2 noise shots, stacked in Sequator.
Some wonderful clear dark skies along the Sussex Coast near the Cuckmere Haven. The imaged was stacked from 30 shots in Sequator with a 4min foreground exposure
Milky Way over the abandoned cottage in the fields I posted a few weeks ago. We're at the peak of the Perseids season, so I was lucky to see some too and even capture one during that night.
Can you spot the single meteor hitting the Milky Way? 😊
Some technical information for those interested in the making-of: Blend of two images (in PS):
- Foreground: 7mm, f/2.8, 125s, ISO 800.
- Sky: stack of 4 tracked images, 8mm, f/2.0, 120s, ISO 200.
For tracking I used MSM Nomad star tracker, for stacking the Windows free software Sequator.
40 picture tracked with Omegon Minitracker LX3 // 1min exposure per picture // Stacked with Sequator // Edit in LR/PS // no brush no radialmask // 5 darks
Sony Alpha 7iii // Tamron 17-28 at 17mm 2.8 // ISO 6400
Last night I was out looking for meteor pics, but I ended up photographing the Milky Way over our mountain cabin home.
14 shots 28mm, 10 sec, ISO 6400, F3.2 processed with Sequator star stacking software, then some photoshop tweaks.
I've been seeing this cat here for years. I can't believe that it has avoided the coyotes for so long.
This site requires a permit to photograph, perhaps because there is a working airport on the other side of this historic hangar. Liability insurance and a signed agreement are required.
We'll be returning to shoot historic Central Nevada after accessing Bodie, in our second June workshop June 10-15.
Shot whit Canon EOS 6D and Rokinon SP 14 MM f/2.8. 17 shots stacked whit Sequator and Adobe Lightroom
Première photo de voie lactée pour moi. Ainsi que premier test de d'assemblage et de traitement d'astrophoto.
Assemblage de 20 photos + 3 dark
Pré traitement Lightroom, assemblage Sequator, post traitement Photoshop.
Canon 50D + irix 15mm f2.5
trépied + rotule Manfrotto
20 photos 13s 2500 iso
The stunning stainless steel sun dial at Roadford Lake, West Devon was a wonderful dark location for capturing my first Milky Way Core of the year.
Sky stack of 8x images processed in Sequator. Samyang 14mm 10 sec @ f2.8 ISO6400
Foreground 30secs @ f4 ISO 3200.
Altough my telescope is not suitable for DeepSky due to its very dark aperture (Maksutov-Cassegrain), I did attempt to use the Skymax 102 on M42 (Orion Nebula) . :)
Despite its specifications, I'm proud to show you my most detailed picture I've ever taken of the nebula. :D
Gear:
- Canon 200D (stock)
- Sky-watcher Skymax 102
- Star Adventurer Pro
- Orion 50mm Deluxe Guide Scope
- ZWO ASI 120MC-S (Guidecam)
Software:
- PHD2 (guiding and Polar Alignment)
- Sequator
- Photoshop 2020
EXIF: 60s, f/12.74, ISO-1600, 1300mm FL
Stack of 50 Lights, 30 Darks and 30 Flats
Compilation annuelle de time lapses (2022-2023).
Musique : Tiphaine Sson
Reprise du morceau The Enchantment de Sheila Chandra
On Wednesday night I recieved a message from my mate Danny asking if I fancied a 200 mile mission to a location I've never been before, Bamburgh, Northumberland. Without a second thought I told the missus (I asked her really 😂) and started getting all my gear together.
I arrived there around 10:30pm a few hours before Danny, the skies were cloudy but due to clear up and there was a possible chance of Lady Aurora making an appearance (which sadly didn't happen). I found my compassion next to another photographer Nick, who was already set up and waiting for the clouds to break.
The clouds disappeared after a short time and the sky was beautiful and clear.
I was really hoping to catch the Milkyway Core as it was rising but unfortunately it was rising behind Bamburgh Castle and the light pollution was just too bad.
This is a 35 image stack and pano of the MilkyWay arching over Bamburgh lighthouse.
Nikon D3300
Tokina 116 AT-X Pro F2.8 DX II
12mm / 25 sec / F2.8 / ISO 3200
Stacked in Sequator
Post processing and merged in Lightroom.
Nikon D5300
Nikkor 55-200mm (200mm)
EXIF: f/5.6 ISO2540
137x8s (18.3min)
23xdarks
Stacked/Apilado: Sequator
Edited/Editado: Lightroom
Sant Mateu de Bages, Catalunya, España
Basically a simple single image taken around midnight using a 14mm AF Samyang lens on a Canon R6 @15s f2.8 ISO3200. OK It were 5 images stacked with Sequator, Stars separated using Starnet++, the starless part processed using Cameraraw, merged with PS. Just a simple image...
Long Mynd milky way
Magical night at the bog pools by Pole Cottage. I tried this image 2 years ago, but was never satisfied with it. The weather forecast had come together...clear skies and calm windless night to get those star reflections.
Nikon D750 / Tokina 16-28mm
ISO 6400 / 20 sec / f/2.8 / starglow filter
9 panels / 2 rows / 4 images each panel
stacked in sequator / stitched in PTGui
edited in Ps and Lr
The sunflower field is lit up from porch lights on farm houses across the street. Jupiter is the big bright object in the sky just to the right of the Milky Way. Saturn is the brightest object just to the left of the Milky Way but it’s hard to point out, look for three “stars” in a diagonal and Saturn is the bottom right of the diagonal.
Nikon Z 7, FTZ lens adapter with NIKKOR 14-24mm f/2.8 lens, all shots at 14mm. Like most of my Milky Way images this is a result from star stacking and focus stacking.
The sky is from 20 images at ISO 6400 and f/4. I normally would use f/2.8 for the sky but there was a lot of light pollution here making the sky pretty bright, so I used f/4 to tighten up the stars in the corners a bit and still was able to capture plenty of light. The 20 exposures were stacked in Starry Landscape Stacker (macOS only) for low noise. You can also use Sequator to do this on Windows.
The foreground is from 3 exposures all at f/4, ISO 1600, 4 minutes, and all taken at different focus distances and then focus stacked with manual blending in Photoshop to get the entire field in focus. I tried Photoshop’s auto-blend but it didn’t do so well for this image — it sometimes gets confused when there’s noise and ends up thinking the noisy parts of an image are sharp and in focus. You could stop down to, say, f/8 and get good depth of field but then you’re waiting 16 minutes to capture the same amount of light. But in that 16 minutes a car could come along and ruin the shot. So I prefer to stack more shorter exposures with less risk of losing a shot to a car.
After star stacking and focus stacking, the sky and foreground are blended manually in Photoshop, which in this case was a simple matter of a gradient mask. Sometimes it’s way more complex, and I teach blending techniques in my Exposure Blending for Landscape Astrophotography video tutorial.
I used the the GradientXterminator plug-in for Photoshop to remove some really ugly color casts and gradients from the sky. This is one of my favorite plug-ins for deep space photography and it works with wide angle sky images as well, you just have to force it to use only the sky in it’s calculations and not include the foreground.
For additional noise reduction once in Photoshop, I used the Space Noise Reduction action in the Astronomy Tools action set for Photoshop just on the sky, and I also used both Nik Dfine and Topaz DeNoise AI on most of the image. I tend to use them sparingly to just get down the harsh noise. Topaz DeNoise AI is quite amazing in what it can do, and as a software engineer its artificial intelligence (machine learning) really interests me so I just enjoy testing it out, but it does have a tendency to make things look plasticky or fake if you go too far, and it also sometimes creates detail from noise patterns — meaning if there’s some particularly bad noise with an odd texture it will sometimes confuse it for actual detail in the image and make that part of the noise worse, which is why I also use Nik Dfine for some areas of the image. But I don’t always use additional noise reduction, it just depends on the image. In some cases I will actually add a tiny bit of noise back with the Add Noise filter in Photoshop to balance out areas of the image that look too smooth compared to the rest of the image. It’s usually easier (and often looks better) to have a little bit of noise than to have the noise reduction cranked up so high that the image looks splotchy. I used that method here to add just a little bit of “noise” back to the bottom of the sky where it was looking too splotchy from noise reduction.
Visit my website to learn more about my photos and video tutorials: www.adamwoodworth.com
The Milky Way rising up above Lake Henshaw in San Diego's "Backcountry".
Sky 12 images stacked in Sequator
ISO 3200, 24mm, f/1.4, 13 seconds exposure
Blended with one blue hour image of the foreground
ISO 1000, 24mm, f/2.0, 15 seconds
Sometimes even the most simple descriptive titles sound like a Dr. Seuss poem.
This shot is from mid-February during the very early part of the “superbloom” that is taking over many of the desert areas out west. Bluebonnets are a type of lupine. Compared to the lupines we have here in Maine and New Hampshire they are quite a bit smaller, but just as beautiful when they cover an otherwise barren desert. This was my first time seeing flowers in the desert, and it was quite a sight.
The Milky Way didn’t really get up above the hill here until just after astronomical twilight started before sunrise, so the sky is very blue from the scattered sunlight (like daytime) since it was not full darkness.
Nikon Z 6 with FTZ adapter and NIKKOR 14-24mm f/2.8 lens @ 14mm. Blend of 12 total images. The sky is from 10 exposures at ISO 3200 @ f/2.8 and 10 seconds each, star stacked with Starry Landscape (Mac only) for pinpoint stars and low noise. On Windows you can use Sequator for star stacking with landscapes. Photoshop can do it but it’s a manual pain in the butt and doesn’t always work. The foreground is from 2 exposures, both at f/11 and 30 seconds, but one was at ISO 800 and the other was at ISO 100. I pulled in focus to get the very close bluebonnets in focus in one of the shots. The scene was getting bright quickly as the sun was approaching the horizon, and in the 6 minutes that passed between the foreground shots that I ended up using (I was taking another foreground shot in between and checking out previous shots, etc) there was enough light that I could do ISO 100 at 30 seconds instead of 800 at 30 seconds. I kept the foreground exposures to 30 seconds to minimize any movement in the flowers from the wind, but I was lucky and it was just about dead calm, which was almost eerie in a very dark place in the middle of nowhere without any noise other than my own movements.
Visit my website to learn more about my photos and video tutorials: www.adamwoodworth.com
NGC 2170 o también llamada Nebulosa Ángel, se encuentra situada en la constelación de Monoceros a 2,700 años luz de distancia.
Es una nebulosa de reflexión rodeada de corrientes de gas interestelar ionizado, causante del tono rojizo perceptible en la parte superior de la imagen, así como de nebulosas de absorción y estrellas calientes.
Para capturar esta imagen se utilizaron filtros LRGB y una exposición total de 1h 20min:
2x600 Luminance
2x600 Red
2x600 Green
2x600 Blue
Registrado y apilado con Siril, procesado no lineal con PS.
Las líneas verticales son rastros de satélites que no pude eliminar del todo.
Hace un poco más de un año que inicié en el mundo de la astrofotografía y el procesado de datos con Telescope Live, estoy muy, muy feliz. Le he perdido el miedo a los parámetros manuales de las cámaras fotográficas, aprendí a utilizar diferentes herramientas para procesado de astrofoto como DSS, Sequator, Siril, FITS Liberator, AutoStakkert, RegiStax, también los maravillosos PS y LR.
Aprendí a reconocer las condiciones meteorológicas adecuadas para lograr una buena astrofotografía, a ubicar las constelaciones en el cielo y diferenciar ciertas regiones. A tomar fotografías con un simple celular y reconocer algunos de los equipos más avanzados para este trabajo.
Y es que no solo se trata de saber ubicarse en el cielo y tener el mejor equipo para realizar una buena foto, también se debe entrenar la paciencia y la perseverancia.
Sin duda he obtenido muchas satisfacciones de esto, es la mejor distracción cuando “estoy mal”, he conocido gente genial y muy experta en este ámbito, algunos que me han dado consejos para mejorar en tomas y procesado y otras que se han convertido en buenos compañeros.
La astrofotografía me acerca cada vez más al cielo, que es lo que más, más me gusta en esta vida y lo que más quiero conocer. 🌌
Creek near Brenham, Texas star trail. Roughly 2 hours of 20 second exposures stacked using Sequator to form the trail. Photoshop used to stack 3 layers of foreground lighting
Approx. 22 minute star trail shot Monday night between 11:30 & Midnight (100 - 13 second shots). I had to edit out dozens of aeroplanes - probably all but a handful of the shots had multiple planes flying by. Beautiful evening! I took a similar shot 3 years ago in late August, different camera & lens. This shot is wider and shows more of the surroundings... also the star trail is about 10 minutes longer than the previous shot. The foreground is made of 45 images median stacked equaling about a 9 minute exposure.
- Nikon D850
- Tamron 15-30mm @ 15mm f 2.8
- Post done in Sequator, StarTrails.exe, Lightroom & Photoshop
Canon R8, Canon 50mm f1.8 @ f2.8, ISO 3200.
Tracked with Skywatcher Star Adventurer
3 panel panorama.
7 x 80s exposures per panel, stacked with Sequator, panorama combosed with Microsoft ICE and final image edited with PixinSight, Photoshop and Lightroom.
Location Kopparnäs, Inkoo, Finland.
Camera: Canon 6D
Lens: Tamron 150-600mm @ 273mm
Filter: ICE 82mm Light Pollution Reduction Filter
Tracker: iOptron SkyGuiderPro
Stacked: Sequator
Process: Camera Raw, Photoshop
Capture Time: 30 Minutes
About the location: This image is of an engine house for a Cornish pumping engine at Burrow Farm on Exmoor. It is the last remaining example of a 'Cornish' type engine house in Somerset. Burrow Farm Mine was one of a number of mines built in the Brendon Hills iron field, and first sunk about 1860. The engine house was probably built in 1880 and housed a rotary beam engine serving the dual purpose of pumping and winding. A short branch railway joined it to the West Somerset Mineral Railway. The engine house was only operational for a short time as the mine finally closed in 1883.
About the image: This is a blended image of separate photos taken of the foreground and sky using an astro modified Sony A7IV. The foreground photo was taken with a 24mm lens at f/4.0 ISO640 for 3'26". Two Z96 LED lights were used for illumination inside the engine house. 20 x 2' photos of the sky were taken with a 35mm lens at f/2.8 ISO800 mounted on an Ioptron Sky Guider Pro star tracker. The 20 sky photos were then stacked in Sequator to create a single image of the sky. The sky and foreground images were then blended in PS with final adjustments in LR and Topaz.
This was shot from Campobello Island, New Brunswick, looking back at the town of Lubec, Maine. The lighthouse in the foreground is Mulholland Point Light on Campobello. This was shot as the tide was going out, and the foreground is all seaweed.
I wasn’t sure if this shot would work, given all the lights from downtown Lubec, but it did! The lights weren’t enough to completely wash out the sky. It did require an extra darker shot for the town lights to blend those into the blown out lights of the star stacked image. The flares from the lighthouse and bridge lights are from the lens.
Nikon Z 7 with FTZ lens adapter and NIKKOR 14-24mm f/2.8 lens @ 14mm, f/2.8 for all shots.
Sky: Star stack of 20 exposures, each @ ISO 3200 and 8 seconds. Stacked with Starry Landscape Stacker for Mac, but you can do this with Sequator on Windows. The result is the best of both worlds — pinpoint stars and low noise.
I actually had to process the star stack twice. I wanted to preserve the lens flares going way up into the sky, but masking them out of the sky region in Starry Landscape Stacker meant that the stars around the flares disappeared. So I processed the stack one way like that to preserve the flares, and then processed it again but without masking out the flares which meant that the stars were preserved around the flares, but the flares were blurred and essentially disappeared due to the alignment of the sky. I then stacked both of those sky results in Photoshop and used the “Lighter Color” blending option to seamlessly blend them together, preserving both stars and flares for the final result.
Foreground: There was so much ambient light from the town lights that I was able to use the foreground from the star stacked result for some of the image, plus another exposure at ISO 400 for 2 minutes with the focus pulled in for better depth of field on the seaweed. I also used another shot at 10 seconds at ISO 400 for the town lights since they were blown out in the star stacked result at ISO 3200.
The resulting sky and all foreground shots were blended in Photoshop for low noise and depth of field.
Visit my website to learn more about my photos and video tutorials: www.adamwoodworth.com
Antoine de Saint-Exupery famously wrote "What's essential is invisible to the eye." I'd contend that with a camera lens, some luck, and someone you love around you... can sometimes catch at least a glimpse.
This was captured on the evening of July 11th from Blackrock Summit in #shenandoahnationalpark with my Canon 6D, 50mm budget lens and iOptron skyguider. My daughter and I camped out on the top of the rocky talus slope overnight and tried to take in the 360 degree views, shooting stars, satellites and even bats.
I'm so excited to finally get this shot that I've been envisioning for a while and look forward to getting a similar full family shot soon once Rylen is "outdoors-ready" 😆. I hope you enjoy!
Specs: Blended, stacked and merged.
Sky shot: 15x60 tracked shots, 50mm @F2.8 ISO800. Calibrated with 30 dark frames. No flats or bias. Stacked in sequator, processed in Startools, refined in lightroom, blended in Photoshop.
Foreground shot: 1x30" untracked 50mm @F2.8 ISO1600.
#milkywaychasers #milkyway #milkywaygalaxy #shenandoahnationalpark #nationalparks #darksky #astronomy #ayennicole #practicalastrophotography #highpointscientific #nightimages #night_shooterz #nightphotography #astrophotography #lookup #family #dadlife #daddydaughter #dad #canon #instadaily #universetoday #nightimages #sleepcanwait
“Algonquin Boardwalk” 🚶♂️✨💫
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Believe it or not this was my first night shooting at Algonquin Provincial Park. If you live in Ontario and have never been here on a clear moonless sky, you are definitely missing out on a treat !
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This is a stacked image of 8 frames captured on my Nikon D600 and 18-35 Nikkor lens. Settings were 18mm F3.5 30” ISO-6400.
Post-processed in Sequator, Lightroom, and Photoshop.
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What is that whitish strip that crosses the night sky? it turns out to be the galactic disk, the plane of the spiral galaxy that we inhabit: the Milky Way. In this capture made in the Cajon del Maipo we can appreciate brilliantly the nucleus of the Via Lactea, where Sagittarius A * is located, the supermassive black hole that dominates the island universe that we inhabit.
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¿Que es esa franja blanquecina que atraviesa el cielo nocturno? resulta ser el disco galactico, el plano de la galaxia espiral que habitamos: la Via Láctea. En esta captura realizada en el Cajon del Maipo podemos apreciar brillantemente el nucleo de la Via Lactea, donde se encuentra Sagitario A*, el agujero negro supermasivo que domina el universo isla que habitamos. La brillante estrella blanca que descansa sobre el disco de la Vía láctea es el gigante gaseoso Júpiter, la cual se encuentra en oposición, su mejor momento para observarse
Exif:
Sony A77
Lente 18-55mm
18mm, F3.5, iso 1600
40 x 60s.
Apilada con Sequator, Procesada con Adobe Lightroom y Photoshop
Comet C/2023 A3 (Tsuchinshan–ATLAS) as seen over the Pacific Ocean near Santa Cruz, California. This is a wide field view. This image was created from 30 4-second exposures, stacked using Sequator, and finished in Affinity Photo 2 (because Sequator blurred the foreground quite a lot). It was also taken during a super moon which is why the sky was so blue - and there was obviously still some leftover sunset color low in the horizon.
The brightest object in the sky is Venus at the lower left.
My assessment is that it was relatively easy to find in astro binoculars, but not readily visible to my eye. In fact, the haze and the moonlight made it nigh impossible to find without a camera or binoculars.
Most Rights Reserved**: 2024 Steven Christenson
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** No commercial use without licensing is
permitted.
The Milky Way during astronomical twilight in northern Maine, with those lovely blue tones.
Nikon Z 6 with NIKKOR Z 14-24mm f/2.8 S lens @ 14mm and f/2.8 for all shots.
Sky: Star stack of 23 exposures each at 10 seconds, ISO 6400.
Foreground: Single 4 minute shot at ISO 1600.
The raw files for the sky were stacked in Starry Landscape Stacker (Mac only, use Sequator on Windows) for spot stars and low noise. I did some basic edits on the resulting file in Lightroom Classic before blending it with the foreground exposure in Photoshop. The foreground exposure raw file was prepared in Capture One to workaround a fatal flaw in Lightroom Classic — the inability to disable lens distortion correction profiles that are embedded in the raw files of many mirrorless cameras. This flaw forces the distortion correction on your raw files no matter what you do in Lightroom Classic. A recent update to Lightroom Classic allows disabling of these profiles in new mirrorless cameras, but not for the raw files of my Z 6 or Z 7. The distortion correction is, of course, ultimately a warping of the image. Since the raw files for the sky were processed in Starry Landscape Stacker, which ignores such embedded profiles, the resulting sky image does not have the warping applied. So in order to easily align the sky result with the foreground exposure you have to somehow get around this stupid problem with Lightroom Classic. You can covert the foreground raw file to DNG, strip the embedded profile, and re-import to Lightroom, or just use a different raw editor for the foreground that doesn’t force embedded profiles. I’ve been using Capture One for this purpose for two reasons — disabling of the embedded profiles, plus Capture One’s “Single Pixel” slider for removing hot pixels is the best tool for easily removing most hot pixels in any raw editor I’ve tried. This means I often skip in-camera long exposure noise reduction and just let Capture One do the hot pixel reduction for me, and then I clean up what’s left manually or using Dust & Scratches in Photoshop. Note that if I was using single shots for the sky I would use Long Exposure Noise Reduction in that case, as it will be easier to remove hot pixels with a dark frame to separate hot pixels from the stars.
Visit my website to learn more about my photos and video tutorials: www.adamwoodworth.com
Star Trail - 255 13s 24mm f/3.5 ISO800 stacked using Sequator
Foreground - 6 10s 24mm f/8.0 ISO640 layed in Photoshop
Nikon d5500
50mm
ISO 4000
f/3.2
3 x 30 seconds
iOptron SkyTracker
Hoya Red Intensifier filter
Small 3 shot panorama of Orion setting towards the west. Taken at Boddington about 1.5 hours south east of Perth in Western Australia.
Orion (at the horizon), Pleiades, and Andromeda with some Perseid meteors. Composite image from about 30 minutes of shooting with an intervalometer. Peaked Mountain, Orland, Maine.
Base image is 8, 7-sec exposures stacked in Sequator with the meteors added back in Photoshop.
I saw it was going to be a clear night, so I took a ride to Phelps Lake since it was forecast to be cloudy for the next 2 weeks. I didn’t want to miss my chance for an April Milky Way. While my Z7 II was taking some tracked shots, I used my Z6 II to do a simple stacked shoot. 15 frames for the sky, and 15 light painted foreground frames (It is a long pier and I wanted to make sure I had what I needed. Stacked the sky in Sequator, blended the foreground in Photoshop. Combined the sky and foreground in Photoshop.
Camera: Nikon Z6 II
Lens: Nikkor Z 20mm f/1.8 S
Sky:
15 x (20mm @ f/2.5, 13 sec, ISO 4000)
Foreground
15 x (20mm @ f/5.6, 10 sec, ISO 800)
Comet 2023 A3 (Tsuchinshan-ATLAS) and Venus over Phillips Lake, Lucerne, Maine.
15, 3-second exposures processed in Lightroom, stacked in Sequator, and finished in Lightroom.
Milky Way rising over a pond in California. Stacked Milky Way with 40 x 15s and 10 dark frames. Stacked using Sequator, edited using Photoshop and star reduction with Starnet++
Shot of Milky Way from Aphrodite's Birthplace in Paphos Cyprus. The area is most known to locals as "Petra tou Romiou". The foreground is 2 minute exposure and sky is 22X180sec a total of 66 minutes exposure. ISO 400 F2.2. Stacked in Sequator, processed in Photoshop and Lightroom.
Taken in the Round Top, TX area on 15-Oct-24 around 8:35
Canon EOS-R w/EF 24-105mm f/4 lens, Processed in Sequator, Lightroom, and Photoshop
Comet and Sky
20 - 3.2 second, f/4, ISO2500 stacked in Sequator
Foreground Light Painting
5 - 10 second, f/5.6 ISO640 light from flashlight
Another from last Friday night in Mendocino county, here is the view looking southeast, with some aurora bands crossing the milky way. That is Miguel D, my photography partner, in the mid-ground, for scale, because space is big. Very big.
Lens is the DFA 25/4, just before it broke. This is a 7-frame blend using Sequator.
Hope you like it.
Jupiter, Saturn and the Milky Way over Phillips Lake, Dedham, Maine.
Similar composition to the one I posted last week, but this is my first attempt at exposure blending.
10, 2.5-sec exposures stacked in Sequator for the cabin lights and reflections. 10, 6-sec exposures stacked in Sequator for the sky and other parts of the lake. Blended in Photoshop and then finished in Topaz DeNoise AI and Lightroom.