Tag Archives: noise reduction

Why Aim North?

Reaching for the Sky

Reaching for the Sky: 112 images, each f/4, ISO 800 for 60 seconds including a shot from twilight hour for the foreground Alabama Hills, Lone Pine, California

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Sunday, August 12, 2018 (and an optional second night).

 

I live and travel in the Northern Hemisphere. In fact I have yet to travel south of the equator, so my apologies to those of you from the southern half of the planet for my obvious northern bias.  I believe those of you in the bottom half of the planet can just substitute the word South for North everywhere and everything should be correct.  I have added [parenthetical content for those who are in the southern hemisphere where that north/south swap doesn’t work]

The results obtained by shooting a long exposure at night depend quite a lot on which direction the camera is pointed. I favor long star exposures with a northern view for many reasons.

The Advantages of Shooting To the North

  1. Curvature of the star trails is strongest around the north star. Exposures of about 6 hours will appear to be full circles (24 hours of exposures are actually needed to make complete circles and that is not possible in one night except near the North Pole!).
  2. The moon will never intervene into the shot because the moon never passes through the northern sky.  [NOTE: those in the southern hemisphere still have to worry about a moon in their Southern shots]
  3. Cassiopeia and Ursa Major (the Big Dipper) are bright constellations that can always be found in the Northern Sky – so there is always some interesting sweep of stars possible. The region immediately around the North Star, however has dimmer stars which may only be captured through long exposures. [The southern hemisphere suffers for lack of many bright constellations near the southern celestial equator]
  4. With just a smidgen of star hopping skill it is easy to find the north star which, weather permitting, is always visible in the night sky.
  5. The moon sweeps east to west giving long shadows from the right or left of the subject. And when the moon is highest in the sky it can cast strong face light.
  6. The sun also never appears in the northern sky so it is safe to leave a camera running from before sundown to after sun up. Camera damage can result from a long exposure pointed at the sun.  [NOTE: those in the southern hemisphere still have to worry about a sun in their Southern shots]
  7. Since the moon cannot enter into a northern shot a photo can be made regardless of the moon’s phase and for as long as I choose. For shots toward the East, South or West it is important to know the moon phase and location during the hours of shooting to prevent problems from flare or washout. [NOTE: those in the southern hemisphere still have to worry about a moon in their Southern shots].
  8. The stars in the north move the slowest through the field of view which allows them to be brighter and reduces inter-exposure gaps in the trails.
  9. If I know my latitude I know how high to point the camera and be guaranteed to get a circle in the view.
  10. I do not need to know what constellations will be visible in the direction I will shoot.
  11. Two major meteor showers (the Perseids and Quadrantids) and 3 periodic meteor showers (the Giacobinids or Draconids, the Ursids and the Andromedids) are well placed in the northern sky.

The Disadvantages

There are a few detriments to pointing north, however:

  • Not every situation lends itself to a view from the south.
  • It takes a longer exposure to form a pleasing arc.
  • To get a circular arc, I must include at least 10 degrees or so above and below the North Star. The farther north you are, the higher in the sky the center of rotation. Those at more northerly latitudes will be more constrained in their choices.
  • The altitude (degrees above the horizon) of the north celestial pole may constrain the choice of lenses to very wide-angle – and may force you to use portrait mode. Or you can create your exposure by stitching together foreground and sky shots.

Another Northern View

Grand View [C_009613-686br]

Looking North from Grandview Campground, White Mountains, Bishop, California.  Shot at ISO 800, f/3.2 for 6 minutes each. Began at 10:11 PM and ended at 5:35 AM. That is 75 shots x 6 minutes = seven and a half hours. Grandview is at latitude 37 degrees North, so the center of the circular pattern is 37 degrees above the horizon.

What About OTHER Directions?

Southern View

Woosh

Woosh: 19 images. Each image: 6 minutes, ISO 800, f/3.2, Canon 5D Mark II, 16mm; Patriarch Grove, White Mountain, California

Eastern View

Valley of Stars (Remix) *Explored*

Western View

Stars and Stripes [5_065561-626li]
Granite Park - 53 Minutes (edited)

Notes

Contrary to popular belief, Polaris, the North Star, is not the brightest star in the sky. Sirius is the brightest star. The brightest objects in the night sky are the moon, and the planets Venus, Mars, Jupiter and Saturn. Also while Polaris is quite NEAR to the North Celestial Pole, it’s not exactly there so even Polaris will make a trail.

This is a reissue of an article originally written in October 11, 2010; Thoroughly revised and updated.

Star Trail Creation – Step By Step

Originally Published: November 19, 2012
Last Revised: March 3, 2017

I dredged this one up out of the archives. Many people ask me “how do you do those star trails, Steven.”  If you want a grand overview of the process, my Treatise on Star Trails is a good read. However here I reveal step-by-step how I create a star trail image from the first shots to the finished image. The method shown below is for creating simple (lighten mode) star trails. If you want to do some fancy effects, please take a look at our Advanced Stacker Plus.

Here we go.

South Side [C_009842-75br]

Photo 1: Quickly stacked image which is a composite of thirty-three 6-minute 500 ISO exposures and one 30 second, ISO 2000 exposure.

The above is my first quick attempt at creating a star trail, and following is summary of how I created it.

It starts with the test image and continues with the exposure set. For background on how to navigate the various shooting choices, see: the summary Stacker’s Checklist. The theory about selecting exposures may help.  And there is a two-part series that addresses the difficulties you may encounter. See Part 1 and Part 2. If you’re curious how I get the stars to form circles, this article will provide the information.

I usually start with a short (30 second or less), high ISO exposure to gauge several things: 1. How well framed my subject is, 2. How sharp the focus is, and 3. What I may need to adjust to control the sky-glow.

Photo 2: First, image: ISO 2000, f/2.8, 30 seconds.

After taking the first image, I realized two things: one is that the trucks passing were providing helpful light on my foreground – but not always illuminating the entire thing.  The other is that the exposure (ISO 2000, f/2.8, 30 seconds) was under exposed.  I needed to at least double the exposure to 1 minute. Let me stop for a moment. Those of you who don’t do much night photography are thinking “Whoa from 30 seconds to 1 minute is a huge difference.”  But no, it’s not. It’s only one f-stop. It is no different from changing a daylight exposure from 1/200 of a second to 1/100 of a second.

Starting with an exposure at 1 minute, 2000 ISO f/2.8 as a starting point I calculated an  ISO 500, 6 minute exposures at f/3.5. Here is how: A 1 minute exposure at ISO 2000 is equivalent to a 4 minute exposure at ISO 500 (500 is 1/4 of 2000).  Changing the aperture from f/2.8 to f/3.5 drops the light by about 33%, so I increased the exposure from 4 to 6 minutes.

I set my camera to record in RAW and my interval timer to take 5 minute, 59 second exposures every 6 minutes. I pulled out my reclining beach chair, a sleeping bag and slept while the camera clicked.  Below are a few of the shots. Note how the light changes from passing trucks!  You can also see the counter-clockwise rotation of the Milky Way. The last shot was taken as twilight approached is too bright to use because the sky is losing contrast and the light on the cliff is looking flat. I did not include that last shot in the stack.

Photo 3: Collage of some of the photos used in the stack.

I downloaded all the images from my card to my Incoming folder which is organized by date.  I used Digital Photo Professional to pull up the images, applied a bit of contrast enhancement, a slight exposure increase (1/3 of an f-stop), and a very slight noise control over the entire image. I exported in Landscape style which adds a slight saturation increase (Photoshop Saturation and Vividness) and modest sharpening. I cloned the recipe to all the photos and exported them into a “RedRockEast” folder in a temporary directory.  I could have done all these things with ACR (Adobe Camera Raw) or Lightroom.  In this case I didn’t have to do any white balance adjustments because I had preset the camera to approximately 4100K.

I then dragged and dropped all the exported (JPG) images onto Image Stacker which took about 3 seconds per image – less than two minutes to create a result. My option for Image Stacker was “Brighten” mode. I could have used the Star Circle Academy Stacking Action in Photoshop instead and the result would have been identical.  The stacking action takes about the same amount of time, but is more versatile and can even use raw images. (Note: StarStax is a program that supports Mac, Unix and Windows and works well, too!)

Photo 4: First Results stacking 34 images in Image Stacker by Tawbaware – this is effectively a 3 hour, 24 minute exposure.

The result was a little dark and flat so I used Picasa 3 to increase the exposure (called Fill Light), highlights and shadows – each by about 1/4 of the scale, and I warmed the photo by slightly tweaking the white balance (Color Temperature). That was all I needed to get the image shown in Photo 1.

Screen Shot 1: Picasa Adjustments

One obvious problem with the result is that the combination of the early short exposure with the sequence of shots left a gap. There really was no reason to include the first shot.

I want the cliff to pop a bit better, so my next course of action was to work on improving the foreground.  I found all the brightest shots of the cliff face (e.g. when the trucks were lighting them), and combined them using additive stacking to brighten them and averaging to reduce the noise. Remember that “brighten mode” (Lighten in Photoshop) does not brighten anything – what it actually does is select the brightest pixels at each location from each of the images in the stack.  The brightest pixels may also be noise! Using averaging reduces the noise significantly – but it will not remove “hot” pixels; we will address those later.  Fortunately Image Stacker has an option to stack and average. All you need do is specify the divisor.  If you have 10 images and specify a divisor of 10 then you are simply averaging. But if you specify a divisor of, say 5, then you are averaging AND effectively increasing the brightness by about 1 stop.  I used 12 images and a divisor of 3. And I made the same adjustment to the result in Picasa as I showed in Screen Shot 1. But I wasn’t happy with the result – the foreground still wasn’t bright enough.

Next I took 10 of the brightest images and Stacked them (additive).  After tweaking shadows and brightness in Picasa I got this:

Photo 4: Additive stack of 10 images.

Now my foreground is better, but I have created a new problem. The sky is over-bright and the hot pixels and the noise are significant as shown in a 100% crop below.

Screen Shot 2: 100% view showing Hot Pixels and noise (white speckles)

The hot pixels here have a purple fringe to them. Sometimes hot pixels are tinged red, green, blue, white or gray. I will fix hot pixels in my next to last step using the clone stamp (Picasa’s retouch) or the healing brush in Photoshop.

While the noise is obvious at 100% I think it will be fine so I am not going to address it.  If I later find the noise intolerable I will go back and stack more images and average them. Or I may return to the original images and apply stronger noise reduction in Digital Photo Professional and re-export them.

My next task is to remove the over-bright sky from the Photo 4, above. Sky removal is rather easy with the wand selection tool in Photoshop. I select all the sky and fill with black after making a few more tweaks to contrast and color.

Photo 5: Sky removed and replaced with black.

Since I now have a black sky version with the foreground as I like it, I can include this frame in any other stacks I make, and my foreground will be just as I want it. If I were working entirely in Photoshop, I would not have to fill with black, I could just use the result as a layer with only the foreground revealed by a mask.

To complete the process, I restacked 33 images together with the sky-less foreground image (Photo 5). Some more minor shadow and color temperature tweaks and some spot corrections of the few hot pixels (there were about 15), an addition of my copyright and this is the result:

Photo 6: Final Image

Since I had all the images for the stack, I was challenged on Flickr to also make a time-lapse video. This video below also helps to illustrate how stacking works. I collected the original thirty-three 6 minute exposures and cropped them to HD format (1920 x 1080). I then created and a sequence of stacked images using the intermediates option of Star Circle Academy Stacking action and joined them into an animation complete with a lovely snippet of the song Kidstuff by Acoustic Alchemy. In my next column, I’ll show how to create the time-lapse animation.

Red Rock Dancing *Explored 03-03-2011*

If you would like hands on experience and instruction, you can join us at a StarCircleAcademy Workshop

Advanced Star Trail Tricks

Published: Oct 11, 2012
Last Update: February 14, 2018 (remove Flash)

I have been playing with Star Trail processing for quite a while.  Ever since I wrote the StarCircleAcademy Stacking Action I’ve been tweaking processing to try different things. Sometimes failure is inevitable, sometimes… well, you’ll see.

First, you may want to look back through my earlier columns on shooting and processing star trails because this is not a primer on star trails – it builds on what I’ve previously written and this is not a good place to try to understand what stacking is.

Second, please understand that I use a variety of tools but almost all of my more successful endeavors end up as layers that are combined in Photoshop (CS5 at the moment).  You could combine your layers in GIMP if you don’t have Photoshop, but you’ll be out of luck if you try to use Lightroom.

Here are my star trail effects:

  1. Smoothee – Averaged sky and/or foreground to reduce the grittiness that sometimes results from brighten stacks. I’ve been espousing this for quite a while. See the Simple Astrophotography Processing Technique.
  2. Blobulous – stars at the beginning (or end) of a trail are made to stand out from the rest of the trail.
  3. Comets – star trails appear to grow brighter and the end of the trail looks like the nucleus of a comet.
  4. Streakers – Like comet only the trails are longer
  5. Blackened – A clever trick removes sky glow from light pollution, the moon, or twilight.

And of course you can make “Blobulous Comets” and “Blobulous Streakers” and “Blackened Smoothee Comets” and more.

Building Blocks

To creatively combine exposures, I usually create the following stacked frames.

  • Dark (Darken in Image Stacker/StarStax)
    The darkest elements emerge – especially the hot pixels
  • Brighten (aka lighten) stack
    The Brightest of everything is present, including hot pixel and more noticeable noise
  • Average
    Contrast is reduced, smoothness increased.
  • Additive (called “Stack” in Image Stacker)
    Hot pixels become really bright.
  • Scaled (called Stack/Average in Image Stacker)
    Allows some increase in brightness but more smoothness, too. Experiment with different divisors.

Normally I create all of these combinations using Image Stacker against my JPG files because it is really easy to do.  I end up with a set of frames something like these although I’ve significantly brightened them so that they are easier to see.

Smoothee

In a Nutshell: Combine the Average stack over the Brighten stack using Normal mode at 45% opacity.

I’ll start with the Smoothee technique since it’s probably the easiest to do and perhaps the easiest to understand.  The problem with “Brightness” (or lighten as it’s called in Photoshop) is that it will also pick up all the hot pixels, and the brightest bits of noise.  Averaging on the other hand tends to smooth out everything except for truly hot pixels since most noise is random. By putting an averaged stack as a layer over the brighten stack and then adjusting the blending modes and opacity you get a smoother sky and foreground.  Exactly what settings to use depend on the images, but surprisingly many of the blending modes for the Average layer work here including Darken, Multiply, Overlay, and Normal. The starting place for Opacity is about 45%.

Hint: You can also use an Additive stack instead of the average stack but usually only the Normal blend mode will work.  For even more fun combine the Additive stack and the Average stack.

For additional smoothness you can also subtract the “Darken Stack” while adjusting the opacity to prevent halos and weirdness.

Blobulous

In a Nutshell: Add one of the single frames more than once.

What do “Blobs” look like? Like this…

“Fat Star” processing.

There are two ways to produce “Blobs”. One way is to add “Comets” to a smoothed star trail. The other is to simply pick an image (usually the last one in the set) and add it in using “Add” or “Screen” mode. To make the blob more pronounced duplicate the last frame so it’s added twice. BUT remember when you add in any single image the hot pixels are going to come out… and even more so if you add an image twice.

Comets and Streakers

These two techniques require some fancy stacking techniques. Fortunately I’ve created an action to do all the fancy stuff.  I’ll be rolling out the action and the explanation to my Photo Manipulation Webinar participants first <NOTE: The Advanced Stacker PLUS action has been released and is available for purchase in our store>.

Oh, here is a peak at what the Comet action looks like:

What's The Point?

And here is what an animation of comets might look like:

Star Rise

 

Settings

I know you’re going to ask so let me save you some typing. Except for the “Comet” image above, all images used in these illustrations were taken during the Ancient Bristlecone Pine Workshop in the Patriarch Grove on White Mountain, East of Bishop, California.

The 34 or so images that I’ve combined in the examples above were all taken with the following settings: Canon 50D, ISO 400, f/3.5, 79 seconds, 10-22mm lens at 15mm.

Dark Frames And Your Night Photography

In an upcoming webinar (Down with the Noise) I explain a lot about noise: causes, contravention and cures. This is a bit of a prelude and addresses the questions:

  1. What is a dark frame?
  2. What do I do with my dark frame?
  3. What do I do if I don’t have dark frame(s)?

What Is a Dark Frame?

A dark frame is one or more images taken at the same exposure length, ISO and ambient temperature as the light (normal) frames but with the lens or body cap on the camera to prevent any light from reaching the sensor. When doing many kinds of night and low light photography dark frames can be quite helpful. And when doing star trails or other night imagery dark frames may save your bacon. A dark frame is what your camera does after a long exposure when long exposure noise reduction is turned on. But you’ll be far more efficient if you take those frames yourself. If you’re taking 100 light frames, e.g. for a star trail, you can take 3 or four dark frames and waste 50% less time (and not have gaps!)

Contrary to popular belief dark frames and long exposure noise reduction do little to reduce the random noise that is present in every exposure. That random noise is most pernicious in dark photos and shadow areas.  Dark frames, however are good for the following things:

  1. Reducing or eliminating hot pixels and amp glow
  2. Removing any “bias” in your image – that is bringing the black back.
    Want me to translate that: an unexposed area on your sensor should read as “0,0,0”  for Red, Green and Blue but I will bet you you don’t get zero!

This would probably be a good place to show you what a dark frame looks like. But you’ll be disappointed. Dark frames are usually quite black.  So instead of showing you JUST the dark frame, here is the dark frame boosted to show the speckles from hell – though they may not be obvious. Here I have made the speckles more obvious by boosting the darks using Curves in Photoshop. At this level of detail there are not any obvious hot pixels.

Dark Frame Overview – Boosted to show details. Note where the markers are – they are shown in the next frames.

And next is the same dark frame zoomed to 3200% unaltered. Hover your cursor over the image to see the same area boosted using curves.

Single Dark Frame (Linear Mode) Unmodified – or cursor over to see boosted version.

When inspected carefully, and with the dark level significantly increased it is possible to notice the hot pixels and possibly banding in a dark frame.  While there were plenty of red speckles and obviously green and blue as well in my stable of dark frames, the “hot pixels” didn’t leap out at me.  If you look carefully at the image you’ll notice I also used the color sampler tool to provide RGB values for 3 different locations on the image.  Of note is location 1 where the R (red) value is 14.  What is particularly worrisome about that value is that even after the entire frame has been boosted to the equivalent of 1.6 stops, you’ll notice that a value of 14 is still larger than all three colors at spot 3. After boosting, that red pixel really stands out with a value of 44.  Our first take away is that boosting the brightness boosts the noise.  The second thing to notice is that the red spot is NOT a hot pixel.  How do we know? Compare 4 dark frames (all boosted)

Boosted Dark Frame                             Click these–>   Frame 1 ~ Frame 2 ~ Frame 3 ~ Frame 4

Takeaway 2: There really is randomness!

Now that we have noticed the randomness, we realize that if we average enough of these frames together we can get the average “bias” – that is the amount of offset above zero in the image.  And if there are hot pixels, the good news is they will be in there too.

But How Do I Use a Dark Frame?

The simplest answer is to feed your dark frame(s) to a program that already knows what to do with them like StarStax, StarTrails or Image Stacker.  But you can do it yourself, and perhaps more elegantly using Photoshop.  How?  Place the dark frame as a layer over the image you want to correct and change the blend mode to Subtract (or difference). Adjust the opacity of the blend until it looks just right.

But I Did Not Take a Dark Frame, Now What?

All is not lost. If you have enough frames you can create a unique kind of dark frame. I took over 300 28-second exposure for a star trail along Lake Gaston in North Carolina.

In the image below I created the top frame using the Brighten mode in StarStax. I could just as easily have created the top frame using the StarCircleAcademy Stacking Action.

I used Darken mode to create the middle frame by feeding it my 100 darkest images. Using Darken mode as the stacking option means that hot or stuck pixels that are in every image as well as the lowest value of sky glow will be collected into a single result.

I then loaded the light (Brighten Mode) and the dark (Darken mode) frames into Photoshop. I placed the dark image over the brighten stack and changed the blend mode to Subtract.

What Happened Here?
Dark Frame Substitute process

Several interesting things happened:

  1. The hot pixels were almost completely annihilated
  2. The sky gradient caused by lights glowing in the distance was also almost eliminated.
  3. The contrast in the sky and elsewhere was improved
  4. The red bias on the railing was mostly removed.

A few less desirable things happened, too. The bright red glow on the railing once subtracted caused some of the railing to turn green. And the subtraction created some “holes” and “halos” in the image – especially where the brightest lights are found.  With some minor touch up, most of those issues can easily be fixed.

Is this the end? By no means! There are a LOT more interesting techniques to follow. Stay tuned.

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