I'm a big fan of Facebook and of Mark Zuckerberg. I'm also big on this philosophy: what we learn in one field can help us in another field. So, when I recently came across Mr. Zuckerberg's 2012 Founder's letter I immediately related – personally and photographically - to the five points he presents.Read More
Hello out there and welcome to another Shoot with Spike Saturday segment. Let’s jump right in!
As many nighttime shooters know, the Milky Way is not around to photograph for about another month or so (depending on where you are). And even then it can be hard to endure those extremely early morning hours. So today, I will introduce a new technique along with some quick editing procedures.
I will quickly walk you through my process from start to my finished piece. The image above is my final edit, but let’s take a look at how I got here. The first thing you should know is that there is a time of the month to do these shots. If your goal is to capture the most amount of stars in the sky, then shooting while the moon is in a new phase or well below the horizon works best. If you want to illuminate your foreground naturally, a 20-35% moon can work nicely. Similar to shooting the Milky Way, you will ideally want to be away from the light pollution. Using the North Star (Polaris) will yield the results you see here, with a pin point being the center mark. The farther away from the North Star that you shoot in the sky, the longer your streaks will be. In the southern hemisphere, you would use the Southern Cross constellation for a center point of rotation.
Once you find your location, aside from your camera, you will need a tripod and an intervalometer. Some camera bodies have this feature built in. To capture star trails, you need to either take one very long exposure or take several exposures and combine them in post processing. I prefer to shoot several 30-second exposures and merge them in post processing. This method allows me a few advantages such as dealing with airplane trails in an efficient way and not having to worry as much about movement in the frame while shooting. It’s much easier to deal with accidental movements and other surprises in a single 30-second frame (amongst many) instead of having a single hour exposure compromised.
Next up will be your settings for these 30-second exposures. For my finished piece up top, I used 202 images, all with the same camera settings. My aperture was wide open on my lens at f / 2.8 with 640 ISO. Typically, you will not go above 1000 ISO for star trail captures. As expected, all of these images should be shot on a tripod, and you should not move or disturb the camera while shooting. I would suggest shooting at least 15 minutes’ worth of photos, but the more images you shoot, the longer your trails will appear. Below is a single raw file, before I have done anything to it.
Although the stars can appear as small white specks, be sure not to blow the stars out on your exposure. If so, you could lose valuable data within your image, so keep an eye on your histogram. Every star out there has a temperature. If you are looking to show some color within your final piece, this will be an important note. You can bump up the vibrancy on the final piece and showcase the colors nicely.
Now that you have your images transferred to your computer, we need to get them all into Photoshop. For my particular workflow, I import into Lightroom, select the images I will use, and “Open all layers in Photoshop.” The only adjustment I will make before sending my stack of images to Photoshop will be white balance, which will be applied to all images I am exporting. Lens distortion and sharpening I will do at the end, after merging my layers. Once my images are neatly stacked inside of Photoshop (1 image = 1 layer), I select all images except the very bottom one and change my layer blend mode to “Lighten.” Instantly you will see your star trails! If you are not using Lightroom, you can use the script action within Photoshop to import as layers. This is found under the file menu.
The following screenshots below demonstrate my images as they leave Lightroom, and then I change my blend mode as the first step once all of my images are layered upon each other and then the results of the blend can be seen.
You may also see some planes flying through some of the frames of your shots. With this method, these are a breeze to manage. You can create a layer mask on the specific image that the lights/trails of the plane appear. This is achieved by using the icon at the bottom of your layers panel or up top using the layers menu. Then select the paint brush tool and use the color black to brush away the plane trails or lights that you do not want visible. Due to your blend mode setting, the trail will disappear and reveal the photos underneath that do not contain the planes. If you brush too much or need to modify a spot, using white has the opposite effect and will restore your current layer as you brush over again. Be careful not to brush over any stars themselves. Otherwise, you can create gaps in the trails, and it's usually a good thing to avoid these.
Make sure you are using the brush on the mask, and not the image itself. You can use this technique for any light source disturbing your scene such as headlights or headlamps too for example. While you have your many layers, only worry about cleaning up the distractions. Afterward, you will merge all layers into one and make your final adjustments.
For my final adjustments, I increased the contrast and lightened my foreground up some with a brush while in Photoshop as well. I boosted the vibrancy a small bit to bring some color into my sky, along with adding a slight vignette. If you opened your files as layers via Lightroom, you could save within Photoshop after merging and your updated new file will appear in the catalog there instantly after completing the save. Be aware that this entire method can push your computer to its limits, especially with dozens of images, but if you are willing to take the time the time to do so, the end results can be spectacular!
Lastly, I will encourage everyone to download some apps to help out and set your shot up. There are several free apps for moon phases that will also display rising and setting times. And then there are numerous apps for finding Polaris in the sky to plan your shots as well!
Thanks Rick for having me today! Happy shooting to all and to all a good night!
-Spike (Check out my site.)
When I met Rick Sammon a couple of months ago and showed him some of my pictures, he asked me what program I used to post process. I was a bit confused and ashamed of my answer as I know everybody is post processing with Lightroom or Photoshop and I don’t . . . yet.Read More
It's that time of year (already), time for me to repost my annual Thanksgiving message, which I've been posting for several years. If you have a comment on the topic of "We are a part of everyone we meet," please share it here with a Comment.
• • • • •
If you lost someone this year, or know someone who lost someone, you might find this well-known quote comforting: We are a part of everyone we meet.
Several years ago, late one December afternoon, my dad and I were sitting in his study. We were having a nice talk – and a nice time. I looked at him and thought: He looks so happy. The light is just right. I should take a picture - because it might be the last good picture I ever take of him. He was fading.
I thought about taking the picture for about 10 minutes, holding back some tears – thinking about what it would be like not to have him around, after having him around for 88 years - as my dad, and later on in life as the first-pass editor for most of my books. (He was a great editor.)
I finally asked him if I could take a shot. He said sure, with a smile and nod. He knew what I was thinking. I asked him to look out the window, and I took a single shot.
My dad, 91, died suddenly and peacefully and quickly on April 3, 2010. A few hours before, while I was on the other side of the country, I had a dream about him: He had pushed his walker aside and was standing up straight. I had not dreamed about him for at least 20 years. Hummm....
Sure, I am very sad. I get waves of tears. I will miss him more than he probably ever realized. He was my dad, a very big part of my life – in fact, half the reason for my life. :-)
Those of you who know me know I enjoy quotes. Here is my favorite: "We are a part of everyone we meet." Want proof? My dad, Robert M. Sammon, Sr., was a photographer, getting me started, along with my mother, in photography with his cameras and basement darkroom. But more important, he was a good dad - which I try to be. Everyday. I am very glad we met.
You might want to keep that quote in mind when you meet people. I sure do. You may have more of an impact on someone than you realize.
• • • • •
Here is what a reader of my blog wrote about this picture when it was first published:
- it's full of symbolic, emotional content
- looking into the distance, contemplating the edge (the end) is near, time (watch), space
- life is behind him, yet he is still connected to this world (watch again)
- going through the daily cycle (circular movement in his arms, leading to his aged face)
- growing older by the day
- drawing ever nearer to the edge of darkness
- still grounded to the earth by the cold metal of the walker
- walker keeps him in the photo and connects him to the photographer, his son, his future
- carry on, carry on my son
- but I am not long for this world
- long have I watched and guided you, but now I am content
- my gaze is directed elsewhere.
What's new? My 37th book: Evolution of an Image.
No doubt you need a good camera, good lenses and good accessories to make high-quality images. But what good is all that equipment if you can’t get the most out of it? That’s where photo education comes in – helping you understand how to use your gear and get the best in-camera image when it comes to exposure and composition.
Photo education is also important in understanding image processing, that is, what can and what cannot be done in Photoshop and Lightroom, as well as with plug-ins. What’s more, photo education lasts a lifetime and the knowledge gained is cumulative so you can keep getting better results.
I’m big on photo education, offering several different ways to learn photography and image processing.
Here’s a look at my educational endeavors.
Books – My book, Creative Visualization for Photographers, is about envisioning the end-result, that is, seeing in your mind’s eye what will be captured with your camera, and what are some of the image processing possibilities.
On-line Classes – I have 13 classes on KelbyOne. They cover speedlite photography, travel photography, composition, lighting and even going on safari. These classes offer great flexibility as they can be viewed and paced on an individual basis.
Photo Workshops – Photo workshops offer a wonderful way to learn about the complete digital imaging process while on location with like-minded photographers. You not only learn from me, but you learn from the other workshop participants. This type of intensive hands on learning can help photographers get to the next level. Click here to see my 2017 workshops, and click here to see my 2018 workshops.
Seminars – I think I give more seminars than any of my pro photographer friends. Why? I truly enjoy sharing photo information, illustrated with my photographs from around the world. I offer two-hour, half-day and all-days seminars. Here’s a list of where I’ll be presenting in the next few months. Attending a seminar is a proven way to inspire photographers to advance their image-making efforts.
Private Lessons – I live in Croton on Hudson, NY, which is about one-hour north of New York City. Shoot me an email if you are interested in setting up a one-on-one session in the New York area or a private on-location workshop.
Explore the light,