Silhouette By Wayne Pinkston Via Flickr: Website Instagram Facebook Nikon 810A, F 2.8, 30 Sec, 14 Mm,

Dreaming... by Wayne Pinkston Via Flickr: Valley of Dreams, in the Badlands of NW New Mexico. The hoodoos are mostly mudstone hoodoos, with a softer clay like base and a harder rocky cap. This was taken with a Nikon 14-24 mm lens at 15 mm, f 2.8, 25 sec., and ISO 12,800. This is a single exposure. Thanks for taking the time to look. Hope you enjoy! Big thanks to the wonderful Flickr family out there. Please join me at: Website Facebook Instagram Blog

Boot Arch by Wayne Pinkston Via Flickr: Website Instagram Facebook Boot Arch in the Alabama Hills of California. Nikon D810A Camera, 14-24 mm lens, 24 mm, f 2.8, 30 sec., ISO 10,000. Lighting with Low Level Lighting (LLL). For more info about this technique please see www.lowlevellighting.org For more images like this please take a look at Wayne Pinkston Photography . Thanks for all the kind support! Hope you enjoy! A big thank you to the wonderful Flickr family. It's a pleasure to post here. Cheers, Wayne

Questions and Answers

When to Photograph the Milky Way

Question: Hello Wayne, I love your photos...always... Can you please guide me how to find the Milky Way? How do you know when and where to see the Milky Way?

Answer: Hello, and thanks for asking. When you see the Milky Way (MW), and how well you see the MW depends on:

1) where you live, and 

2) the time of the year, and

3) the moon or lunar cycle ( a new moon is good, full moon is bad), and

4) and just how dark it is in your location.

It is most desirable to photograph the Galactic Core of the Milky Way. The MW Season is considered to be the months when the Galactic core is above the horizon. The Galactic Core is the widest and most colorful part of the galaxy.

In the Northern Hemisphere these are the good times for Milky Way photography in 2017, at a latitude of approximately 38 degrees north :

Feb. 23 to March 5       (a couple hours in the early a.m.)

March 23 to April 1       (a few hours in the early a.m.)

April 19 to 29

May 18 to 29

June 15-28

July 16 to 27

August 15 to 24

Sept 12 to 22                 (a few hours each night)

At these times the core of the MW is above the horizon and the moon is below the horizon for 2 hours or more. At the beginning and the end of the MW season the core of the MW may only be optimum for an hour or two. In the middle of the MW season, it may be optimum for 4-6 hours. The farther north you go, the shorter the MW season, and the farther south you go, the longer the MW season.  The best months in the northern hemisphere are April through August, and to a lesser degree March and September.   Some portion of the Milky Way, the “arms” of the galaxy, can be see during the new moons during the rest of the year but this portion is the less colorful and less photogenic part of the galaxy. Seeing the MW also depends on light pollution. You need a very dark place away from cities. You can look up places with very dark skies on the Internet, or you can use a smart phone app called "Dark Sky Finder". This will show you where the darkest places are located, and where the light pollution from cities is bad. I use other smart phone apps to plan shooting the MW as well. These include TPE, PhotoPills, and PlanIt. These help to show where the Milky is located in the sky and when it can be seen, and when the moon phase is best for viewing the Milky Way.

Hope the helps, Cheers, Wayne

Thoughts about Contrast

My background is the profession of Radiology. The making of radiographs, Magnetic Resonance scans (MRI), CAT scans, Ultrasounds, etc. share a great deal with the technology of digital photographs. All are digital images, and the issues of getting quality images and good signal to noise is very similar. More signal is good, more noise is bad. More sharpness is good. Sharpness is primarily due to spacial resolution and contrast resolution.  There is one area where the emphasis is different. In MRI scanning and CT scanning we emphasize two things to make good images, spacial resolution and contrast resolution (in radiology we commonly say soft tissue resolution). Both combine to create the perception of sharpness. The spacial resolution is important in Radiology, as long as you have enough, but the size of the pixels is vastly different. For years in CT scanning and MRI scanning we used a matrix of 512 X 512 pixels, as that was all the machine were capable of. It finally advanced to 1024 X 1024 pixels and is slowly moving upwards. This gives a ONE Megapixel image!!! It is less spacial resolution than the earliest Digital Cameras!  

So how could you see or diagnose anything at such low resolutions? Well, it turns out that contrast resolution, or the ability to get contrast differences between normal and abnormal tissues was at least as important, if not more important than spacial resolution. For years most of the research went into getting better soft tissue differentation (contrast resolution) rather than spacial resolution. It was more important. 

In photography we talk a lot more about sharpness, and we usually mean spacial resolution. There is little talk about contrast resolution. Well, contrast resolution does matter. Some lens have significantly more contrast than others, but it is sometimes hard to even find this data. The perception is that they are sharper lens.

How does contrast matter in Nightscapes? Well, the sky at night has tremendous contrast between the dark sky and bright stars. Also, the contrast in the sky is typically increased even further in processing. This creates the Perception of great sharpness. So does the sky need sharpening in post processing? I would argue that the answer is no. Sharpening often makes the stars look “crispy” and harsh. In addition increasing the sharpness in Photoshop or other programs increases the noise in the image. This degrades the image. If anything, it is better to do some noise reduction and decrease the noise and perhaps soften the sky. 

The darker foregrounds are completely different.They usually have more noise and very low contrast (except for the illuminated areas). I typically select the foreground and do generous noise reduction here, and then use the Unsharp Mask in Photoshop to Increase Local Contrast. This is a bit different than regular sharpening. If you use a very high radius of 50-60, and a low amount of 10-20 (threshold of 0), you will increase local contrast and increase the Perception of sharpness, without increasing the perception of noise.

Cheers, Wayne

2015

Questions and Answers

About lighting: Which lights and Equipment to take with you

Question: 

From the picture you posted recently, you already went to Bisti Badlands area.  My friends and I are going to go there in May and we start to prepare lights for night photography. From the links you sent to me while ago, we can see what lights you used for your night shooting. However, we tried it recently when we went to Death Valley and we were not sure how many lights we need and how to setup the lights. Would you mind to share your experience with us? Do you use stands, how tall do you normally use? I bought total four CI-160 lights with two tall stands and two low stands. Since we have a weight limit when we do backpacking, I'd like to know whether I need to bring all the stands or four is not enough.

Answer:  

Abouts lights of night photos - Remember, you are exposing for starlight, and you do not need much light. You only need to match the intensity of starlight. I have used the Chromo CI 160, the Neewer CN 160, and the F&V Z96, among others. I have these and use them, BUT most of the time they too bright even on the lowest setting, especially if you are close to the area of interest. So, to make them dimmer, I cover them or drape them with a white handkerchief or white napkin, cloth or paper. Both work, I use white cloth. Many times I fold it in two or double it up to dampen down the light even more. I always use the warming filter. I have found that there is some blue light leak around the edges of the filter. This looks bad if you have the light in an arch for example. You can get a combination of blue and yellow light. To fix this I tape around the edges with black gaffers tape. $4 on Amazon.

www.amazon.com/Adorama-Gaffer-Tape-Yards-Black/dp/B00370WU2G?ie=UTF8&psc=1&redirect=true&ref_=oh_aui_detailpage_o03_s00

I have found that smaller lights are very useful. I now carry two F&V Z 96 and two smaller lights that have 36 LEDs. They are smaller and lighter and very good. They are dimmable and come with a warming filter. $19.50 on Amazon:

www.amazon.com/Neewer-CN-LUX360-Dimmable-Camera-Camcorder/dp/B0098G9LHU?ie=UTF8&psc=1&redirect=true&ref_=oh_aui_detailpage_o06_s00

I tape the edges on this also. If you want to convert any blue LED to a warmer temperature light color you can make your own warming filter. I use Roscoe theatrical gel. It comes in various colors and you can mix and match to get the color you want. It comes in sheets of 20 X 24 inches, and costs about $6-8 on Amazon or B&H. Just cut out a piece and cove your light with it. Here are some that I use:

www.amazon.com/Rosco-Roscolux-Effects-Lighting-Filter/dp/B000N7Y9ZW?ie=UTF8&psc=1&redirect=true&ref_=oh_aui_detailpage_o05_s00

www.bhphotovideo.com/c/product/163130-REG/Rosco_102302042124_E_Colour_204_Full_CT.html

www.bhphotovideo.com/c/product/163132-REG/Rosco_102302052124_E_Colour_205_1_2_CT.html

For small areas I use use reflected light from a halogen xenon hand held spotlight. I reflect it off of sometime off to the side at 45-60 degrees. Halogen lights have a nice warm color. Reflecting the light diffuses the light, and if you can make the light come from the side, then you will create shadows and depth and a more 3D effect. If you shine the light on the foreground from the camera position the scene will look flat and less interesting. Get all of your lights off to the side somehow. This can be difficult in rough terrain, but at least try, This is the Li-ion halogen light I use. $24 on Amazon:

www.amazon.com/Performance-Tool-W2435-Li-Ion-Light/dp/B00EDE7X7W?ie=UTF8&psc=1&redirect=true&ref_=oh_aui_detailpage_o05_s00

It is rechargeable. On continuous use it only lasts about 12 minutes, but I only use it for about 6-8 seconds a photo, so it lasts for many photos. It usually lasts the whole night. Occasionally it runs out. Use a snoot on the light. This prevents side scatter and makes the light more controllable. A snoot is a dark tube around the barrel and source of the light. Examples:

www.google.com/search?q=snoot&client=safari&rls=en&source=lnms&tbm=isch&sa=X&ved=0ahUKEwj-8cOJk6DMAhWDWz4KHQzZDsQQ_AUIBygB&biw=1498&bih=1231

Just make your own. I have used empty cereal boxes, rolled up plastic dinner place mats, etc. It is better if the snoot is black or a neutral color. Some people like a more neutral light. 

If you want a neutral light you can use the Hi CR LED lights. It has a much more neutral light than a typical blue light LED. I use this one:

www.amazon.com/EagleTac-D25LC2-Clicky-Nichia-Flashlight/dp/B00IK9HID0?ie=UTF8&psc=1&redirect=true&ref_=oh_aui_detailpage_o08_s00

It is about $62 on Amazon. It is rechargeable, lasts a long the, and is incredibly bright. Also use a snoot. Other examples:

www.amazon.com/Bundle-Nitecore-Flashlight-Searchlight-EASTSHINE/dp/B017KHTJ98?ie=UTF8&keywords=LED%20hi%20CR%20LED&qid=1461256808&ref_=sr_1_2&sr=8-2

www.amazon.com/Tactical-Flashlight-EdisonBright-Lithium-Batteries/dp/B00AIBFZME?ie=UTF8&keywords=LED%20hi%20CR%20LED&qid=1461256808&ref_=sr_1_8&sr=8-8

These are also called CREE LEDs. 

www.amazon.com/Mikafen-Flashlight-Torch-Adjustable-Zoomable/dp/B0183JMQ9C/ref=sr_1_8?ie=UTF8&qid=1461257049&sr=8-8&keywords=CREE+LED

www.amazon.com/Rechargeable-Brightest-Flashlight-External-Waterproof/dp/B0166NXRCM/ref=sr_1_1?ie=UTF8&qid=1461257049&sr=8-1-spons&keywords=CREE+LED&psc=1

If I do not have to hike very far I use a 10 foot or 3 meter tripod stand for lighting. It is very light and it gets the lights well off the ground and creates less shadows from rocks and bushes on the ground. $57 USD on amazon.

https://www.amazon.com/gp/product/B004Q7B0WA/ref=oh_aui_detailpage_o02_s00?ie=UTF8&psc=1

I also use very small and lightweight tripods for lights. I carry 2. I use small cheap tripods for the lights. Here are some I use:

Cheap, light 50 inch tripod from Amazon,  $16 on Amazon:

www.amazon.com/AmazonBasics-50-Inch-Lightweight-Tripod-Bag/dp/B00XI87KV8?ie=UTF8&psc=1&redirect=true&ref_=oh_aui_detailpage_o04_s01

Here is a 42" tripod that works better in my opinion. It is a little more sturdy, and still pretty light and compact. $20 on Amazon:

www.amazon.com/Polaroid-Carrying-Digital-Cameras-Camcorders/dp/B004W4BAUO?ie=UTF8&psc=1&redirect=true&ref_=oh_aui_detailpage_o08_s00

These are very light, and can blow over in the wind. I have never lost a light to breakage though, but maybe I have been lucky. They do blow over, but that is the result of them being lightweight.

These are 42 to 50 inches high. The higher the better. You need to get the lights off the ground or they will create many ground shadows. I try to find a big rock to place the tripod on if possible. I also try to avoid any large rocks that may cast shadows on the area of interest.

I usually carry 2 F&V Z96 lights, 2 of the smaller 36 LED lights, the high CR LED, my Halogen hand held spotlight, and a couple of headlights. I carry my camera tripod and head, with a leveling head. I carry 2 small tripods for the lights. I carry a remote shutter release device. Extra batteries for the headlights. I have never had the LED light panels run out down the batteries in one night. If I know I am going to photograph something big, then I take the larger 160 LED light panel. I carry a number of white handkerchiefs to cover the front of the lights if necessary. (Sometimes I double up or triple up the handkerchiefs).

I also carry a small canister of Mace or Pepper Spray, and a gas powered Boat Horn. These look like a spray can with a cone on top. It is a gas powered horn that is incredible loud, and I hope it will scare off any wildlife that might be dangerous. Examples on Amazon, $5-20 :

www.amazon.com/Falcon-Safety-Super-Sound-Horn/dp/B0000AXTVF/ref=sr_1_cc_2?s=aps&ie=UTF8&qid=1461261495&sr=1-2-catcorr&keywords=boat+horn

www.amazon.com/Shoreline-Marine-Horn-Mini-Ounce/dp/B004UOVAO2/ref=sr_1_cc_9?s=aps&ie=UTF8&qid=1461261495&sr=1-9-catcorr&keywords=boat+horn

I wear tall boots, 8" above the ankle, and watch for snakes.

I use either Canon or Nikon. I carry 3 lens. 1) Nikon 14-24 mm f/2.8 2) Rokinon (same as Samyang or Bower) 24 mm f/1.4 3) Fisheye lens Sigma 15 mm f/2.8 or Rokinon 12 mm f/2.8

That is what I carry. It's a lot but it is manageable.

Cheers,Wayne

2016

A Candle Wax Landscape by Wayne Pinkston Via Flickr: Thanks to everyone for the kind comments! This is a panorama from the Bisti Badlands in the NW part of New Mexico, USA. The landscape resembles melted wax in many areas, an is the result of erosion of an ancient sea bed over millions of years. It is "otherworldly" and a unique experience at night. This is a panorama of multiple vertical images shot at 18 mm, f 3.2, 25 sec., and ISO 6400. There is Low Level Lighting, or LLL, to gently illuminate the foreground. This is very dim constant light that attempts to match starlight, so dim you can hardly see it. In this case I have used LED light panels with warming filters turned down very low. Thanks for taking the time to look. Hope you enjoy! Big thanks to the wonderful Flickr family out there. Please join me at: Website Facebook Instagram Blog

Lost in a Dream... by Wayne Pinkston Via Flickr: Hoodoo in the Valley of Dreams East, in the Badlands region of NW New Mexico.

The Great Kiva at Chetro Ketl by Wayne Pinkston Via Flickr: Website, Instagram, Facebook The Great Kiva at Chetro Ketl in Chaco Canyon, New Mexico. The Ancient Puebloan Ruins in Chaco Canyon are fascinating in the day, even more interesting at night. The kivas are monumental structures thought to have religious significance. They were roofed over with beams and packed dirt, creating a gathering place on the roof. You entered vertically from the roof by a ladder. The structures within this kiva are particularly intact. There were fire boxes, floor pits, and a hole in the floor called a Sipapu, that symbolised the opening in the Third World through which the people emerged into the world. This is a panorama or 8 vertical images with a Nikon D850 and Sigma 14 mm f/1.8 lens, at f 2.5, 25 sec., and ISO 8000. The sky is more complex than usual with the clouds, airglow, and light pollution. There is relatively little light pollution in this area, but the clouds magnify it. Low Level Lighting used. You need a Special Use Permit to go into the park at night, and it is time consuming and costly to get one. A big thank you to @jocksphotos for letting me accompany him. Thanks Jock! Thanks for all the kind support over the last year, it is much appreciated! A big thank you to the wonderful Flickr family!

Mittens Panorama by Wayne Pinkston Via Flickr: Website, Instagram, Facebook The Mittens Monument Valley, Utah. Panorama of approximately 11 images taken vertically with a Rokinon 35 mm f/1.4 lens. _______________________________________ You need a guide to go into the park at night. Contact Majestic Monument Valley Tours and ask for Quanah. ____________________________________ Thanks for all the kind support over the last year, it is much appreciated! A big thank you to the wonderful Flickr family! Thanks for all the kind support over the last year, it is much appreciated! A big thank you to the wonderful Flickr family!

Questions and Answers

Processing Airglow

People have asked me a number of questions about equipment, issues, and technique in Nightscape or Landscape Astrophotography. Since many of these questions are recurring, I am going to post the questions and answers here. I’ll answer your questions to the best of my ability!

Q: Very nice panoramic in a wonderful place. One question Wayne, always in your picture I'm looking the airglow, Are you lucking or a special technique? ;-), thanks, Regards.

A: Thanks for looking Gabriel. The answer is both, sometimes lucky, and sometimes processing technique. There is frequently some degree of airglow present, but not always. If the airglow is present then the processing workflow I use does enhance it along with the light pollution. Lots of people try to get rid of the airglow and make the skies more uniform in color to meet their own and others expectations about the night sky. There are actions and workflows to get rid of these colors. Instead I go the opposite direction and enhance them to some degree if they are present. I start in Lightroom and then export to Photoshop. If you make the sky blue from the outset in Lightroom, it covers up most of the airglow and decreases light pollution to some degree. It can also make the airglow and light pollution a less pleasing color. If you initially make the darkest part of the sky a neutral "greyish" in Lightroom it will bring out more colors in the sky near the horizon later in processing. The subtle colors are less suppressed, and when you make the darkest sky more neutral it actually makes the colors of light pollution and airglow a more pleasing color and less of a "ugly" color. I export to photoshop and increase contrast in the sky in curves, and later make the sky bluer at the end. I describe the process here: 

http://lightcrafter.smugmug.com/About-Nightscapes