The water of the rainforest always seems to be moving,. Running, drizzling and dancing over the ground. Dosewallips falls rolls down a face of stone into the gathering pools below, overflowing them and running on towards into the deep forest, making a journey to the larger streams and rivers, then finally to the sea. It’s a mesmerizing dance of water set in one of the most beautiful places and is something to stop and look closer at.
We spent the past few days in the Olympic forest and as beautiful as the it is, I find it can be complicated. There’s so much to see that it can be a challenge to covey simple beauty in a single frame. Part of that challenge is deciding what element best conveys the feeling the the place when the image is initially made.
I found myself looking closely at the stream below the falls, all the rocks and paths the water had made. But I stopped in this one. It’s shape and line telling a story of waters journey in a simple scene. There’s a lot of little details here, but you have to take the time to look for them. It’s simple, but complex in it’s own way and as always, I am mesmerized the the subtle complexity and beauty of creation.
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The Siren of Lake Chelan. Commissioned Portrait, Summer 2010 by Gavin Seim.
Water. Once we sink below the surface of its shimmering waves, we enter a foreign world of untold beauty. A silent land of bending light, murky depths, and unknown dangers…
Whew, did that sound enough like a nature show for you? Good, now let’s move on. Seriously, though, I working with water and I loved making portraits under it. I did it for the first–though probably not the last–time during a portrait commission for Jenaia. I learned a lot about working in the water, and we brought her home some beautiful images, but this is my favorite piece.
It took some trail and error, but my visualization was a calm ethereal portrait, and I think I managed it. I love the color hues and the way the light streams from the surface. We’re in a lake, not a pool, and it’s around 1500 feet deep, making the light fade into infinity. Just don’t drop anything that doesn’t float, or it’s gone for good. I lost a fin during the project, and once it was out of sight, there was no way I was going after it. It’s truly dark down there.
While my fin has joined the aforementioned murky depths, I’m very satisfied with this work. It taught me a lot and it helped make Jenaia’s portrait collection a real success.
River Forks, Snoqualmie National Forest, Summer 2011. Non released example image, 8 minute exposure at ISO 100.
This is for you photographers. It’s an 8 minute exposure I did just after sunset on the river. I processed it with the Velvius preset from Power Workflow3. It’s not a stunning image and that’s not why I posted it. I felt it was a good image to use to talk a bit about pixel science.
To me, what merits discussion is the noise. I’ve done images much longer than 8 minutes. The longer the exposure, the more potential for noise to be generated as the sensor heats up. But, as myself and some others have found, the warmer the environment, the worse it seems to get. It was probably in the low 70’s here in the mountains, and the warmer temperature seemed to make a great deal of difference compared to images I’ve done in cooler environments.
Look at the image and the crop section I posted below. The noise produces a banding-like effect on the frame that really reduces quality. The large color artifacts are easy enough to fix, but there’s an almost patterned, under-the-surface noise that really is a challenge. And this was with in camera long exposure reduction turned ON.
I talked about this type of noise in depth in the making of 140 Minutes of Night ( 2+ hour long exposure) and looked at techniques to deal with it, but it’s not easy to correct. When you get into bad heat noise, the plethora of noise plugins and tools we have won’t just take it away. Well, they will, but only at the cost of losing a lot of detail everywhere else. And that’s just not acceptable.
The Chamberlains. Commissioned portrait, Summer 2010. Final 70" classical framed canvas hanging in client's home.
This journal consists largely of my fine art, but I don’t restrict my work to pictorials. Classical art is often composed of commissioned portraits, and the pieces are no less because of it. So when I make a portrait, I make it for my client’s needs, but creatively, I want something stunning enough that it could hang in museum ten decades from now.
We planned the Chamberlain portrait for weeks. I was determined to avoid the stereotypical toy solder line of people that is so common, especially in very large groups. We planned this to be a wall piece, and we succeeded. It now hangs as a handcrafted, seventy-inch canvas in the client’s living room, and, I confess, I’m very proud of it, though it’s not done justice on this tiny screen. I wish you could come to the studio and look at the one on my wall.
This image set a new standard for me in proving to myself that a group portrait need not be a stereotypical clustering of people with grim faces and awkward poses. It also won best photo at the Winter Fest art competition, which was really cool. I’m thankful that I was able to capture this family in way that shows three generations, tells a story, and hangs beautifully on the wall. In planning this, I opened up a world of new ideas for the way I conceptualize commissioned pieces.
Today I’ll share all my best tips for star trail photography.
I remember when I was starting I had this from the film days called DayBreak 2000. One of the photographers took an ultra-long exposure of the stars as the new millennium entered.
So when I saw an old tree in the forest outskirts of the Grand Canyon, dwarfed by the vast sparkling night sky. My mind came back to that photo I saw as a teenage photographer with a 35mm camera.
At 2 hours and 20 minutes, this is my longest exposure. We were in the hills near Grand Canyon NP, an area known for its views of the night sky. We set up camp in the open woods about a hundred yards from this tree and I had been eyeing it for a couple of days.
How it was made and how to photograph stars.
Canon 5D MK2, 24mm TS-e II, f8, ISO100, exposure 140 min main exposure.
I have this rather bad video of the setup so you can see the content here and why I did what I was about to share with you about how to photograph stars.
I’m also going to go into candid. I spent over an hour walking around the tree and testing angles, focus, and composition. I also tried various shift settings with my 24mm tilt shift lens to control perspective until I found the one that I felt the most natural, shifting just a bit up to reduce the distortion of the tree.
How to set up for star trail photography.
Some might say there’s no way I could spend so long and still be improving it, but that’s wrong. Taking the time on this was, in my opinion, one of the most important factors in this image. Thinking an image thru always makes a difference.
This is not street photography or a wedding. In mastering night landscapes, I learned that pre-planning and setup is perhaps our most valuable tool. More on that below.
“Pre-planning and shot is perhaps our most valuable tool. “
When I finally decided on a spot I kept tweaking and focusing, then going in the camper to analyze it on the laptop. My planning was purposeful because my exposure was so long and I had one shot. I would be shooting in the dark so I set up the camera exactly where it would be and left it until that time came. This paid off, giving me far more control than a last-minute night composition using the high ISO long exposure test technique.
A few hours later, the sun was gone, and true night had set in. I already had an idea what exposure I would need from the previous night’s work, but I had done a few test shots to verify that I wanted about 2 hours.
Long Exposure – The HIGH ISO Test Method.
To decide on a long digital exposure you can’t just meter. So set the ISO to a high level. Say 52,000. While I would rarely settle on an ISO this high due to its ultra-high noise, it’s invaluable for seeing better in the dark.
With high-sensitivity exposure, you can check composition, light pollution, etc in moments. I can also get an idea if my focus and other settings look correct by zooming in on the preview. Doing this extra step will let you hack your shadows and control the light I talk about in my live workshops.
Let’s say I determined that at ISO12,800 I would need a bit over 1 minute to capture the stars silhouetting the trees. At that point, I dobled that minute for each full ISO stop (doubles and halves from Shadow Hackers). Say I want at least a 30-minute exposure. I’m going down now on ISO based on this test shot.
ISO 6400= 2 minutes, 3200 = 4 minutes, 1600 = 8 minutes, 800, 16 minutes, ISO 400, 32 minutes etc. I can use this test frame not only to review my setup but to see how much light I will capture (only with less noise in my final) and then adjust the aperture etc accordingly.
In a talk of how to photograph stars, this is a powerful tool. I rarely use an ND filter. Those are for daytime long exposure or cities. For dark landscape night scenes I will use ISO and aperture in these ways to decide how to expose.
Test shot I did of my setup at ISO 25,600 to see if everything was working.
How to photograph stars and get it natural.
It’s almost 2024 and an AI world as I manually type this and update this article with what I’ve learned over my experience exploring star trail photography. I’m not a star trail photographer per se, but long exposure of all kinds has always been a favorite category of mine.
A lot of folks in the digital world use a trendy stacking technique. They take a lot shorter exposures of the night sky and then blend them in post using stacking software. This can produce beautiful results and there is nothing wrong with that method.
But in a new AI world where everything feels fake and people are tired of fake. Stacked stars in no way produce the same look and I prefer the in-camera approach of long methodical exposures like we did with film.
Not all star trail photography has to be this long. But I wanted something special tonight.
I started the exposure, locking it into the bulb using my cable release. Then I returned to the camper, and my alarm went off 2 hours and 15 minutes later. I went out, being very careful not to shine a flashlight near the scene or lens which would ruin my image in an instant.
Also photograph stars in shorter long-exposures.
Not all night scenes need to be stars and not all star trails need to be this long.
What I’m telling you applies to many long exposure scenes. But when I do stars I want them as part of a landscape. It’s not a Hubble photo.
With newer cameras, we can do higher ISO deep field photos. Like my light-painted photo – Night in the Aspens of North Washington State. It took only 13 seconds to about the stars from blurring.
DEEP field star landscapes. Star trail landscapes
These are the two main categories in this. The 3rd is stacking star photos which we don’t cover here today. Whether to go long or short (in your long exposure) is up to you, your time, your gear, etc. Both styles are stunning.
If you want stars to be deep field points of light, you can’t go much past 15 seconds. Whereas if you want stars to be trails you don’t want to go much below 30 minutes because you will get small trail lines.
Star Trail photography is all about LONG. So low ISO. Deep field like this is a long exposure but not too long. So to capture the deep field use a camera that can handle higher ISO and get deep detail in a few dark seconds.
13 seconds at ISO 6400 on a Sony A7R MK2. Trees painted with an LED flashlight.
Tips to make a 140-minute star trail photo work
I had black frame noise reduction set to auto. Essentially it takes an equal-length exposure with the lens blacked out to capture hot pixels on the sensor against black, allowing them to be mapped and removed.
On my 5D MK2, it didn’t seem to work and the camera did not do the auto dark frame. The camera did not count that high and maybe it lost track of how long the exposure was. It seems to stop counting at about 3o minutes, but the image did not stop 3exposing, just the metadata.
“A flashlight near the scene would ruin my photo in an instant”
After the exposure, I went into the camper for review. It looked good, and the regular ISO noise was not bad at all thanks to ISO 100. What I thought were hot pixels, however, were BAD and LR could not take those out. That said, it could have been worse. It was cool outside and the higher the outside temperature, the more the sensor heats up and produces this type of artifact.
I immediately decided to make a dark frame manually. This is a common approach done by setting the camera in the same conditions and taking an equal-length exposure with the lens cap on. It was late, so I set an alarm and set the camera outside starting the exposure, and went to bed, bringing it in and stopping the exposure when the alarm expired. Another 140-minute black exposure in the same conditions as my reference for later.
The twilight image for detail along with the RAW of the 140-minute exposure next to the final process.
After a base edit I went into the sliders, working the color, noise, and detail carefully to get everything as good as I could before going to Photoshop.
Understand with most night images that the night is dark. Cameras like film are made to see best in the light. As often happens with night images and RAW files the light and color were flat. I had to boost the highlight a lot to bring out the separation of stars. Ditto for other settings.
This is something you have to expect. The sky is deep with stars and even the one you can’t see backlight that sky. That means to make the stars stand out that separation has to be defined and this is especially true with digital raw files since they shoot flat giving us lots of information to work with.
Don’t shoot the night in JPEG. You may get a bit more content but it will fall apart with the amount of boosting you typically need to do. After RAW processing I went into PS with the main image and added the twilight image. I very gently masked the area around the trees, bringing in detail to prevent the foreground from being black, but not so much as to become a distraction. The silhouetted tree is still my subject.
10 Seconds at ISO 12,800 – I could not have captured a shorter long exposure deep field scene like this with the 5D MK2. But new sensors can let you see amazing things if you set them up well.
Long star trail night exposures and noise problems.
These are two exposures. The secondary is just my pre-night reference frame for detail and manually blended. I took a frame of the final composition just as the sunset. But that frame retained detail in the foreground so I painted a little of it in since it lined up perfectly. I did not try and blend HDR or anything like that. It was just used to restore texture to really dark areas.
Noise or rather heat artifacts on this era camera were the big problem. Long exposure like this won’t damage your camera but they can result in artifacts. NOTE that I’ve noticed this problem far less on newer mirrorless cameras. I think it’s because they have to manage heat better. After all, they are also designed for video. But even on newer cameras, the following tips may help.
I set to work trying to get rid of those pesky artifacts that you can see in the example below. I started with basic black frame reduction. Bringing my dark frame of equal exposure into PS, I laid it over the image, then set its blending mode to difference. The goal here is to take the spots of the image and effectively subtract them from the ones mapped on the black frame. I tweaked the opacity to avoid them appearing as darker dots, and that was the process.
It worked. But not enough. I continued to use variations of the black frame with different settings, using the same approach but hoping to target pixels differently. It’s normal to use multiple layers when doing this manually, and, again, this helped, but I was not home-free; I wanted a large wall print of this. I may have been better off making two or three dark frames to get slightly differing, hot pixel patterns, though that would have taken most of the night.
After this, I then used Topaz De-Noise on a copied layer of the main image. Even though this is not normal noise, it did help out. But to avoid killing the detail from aggressive noise reductions I could not apply the Topaz too heavily. I was getting closer, but there were still dots.
See the dots. The stars are trails, those are not part of the sky but sensor artifacts. Since no one I knew even did exposure this long I had no data on how to handle them back in 2011.
Fixing heat spots and artifacts from long star exposures.
This part is nerdy and in the AI noise reduction world with the better sensors we have today, you will probably have to do as much as I did even for a 2-hour long exposure. But keep these techniques in mind.
After hours of working with this image, researching alternate ideas, and trying in various ways to destroy the dots, I was closer but not as close as I wanted. I won’t go into all my tests, but using everything I described above, I finally added a merged copy of the main image layer group with all the previous corrections combined into it. I then used the de-speckle tool in PS, and this helped a lot but left the image with a huge loss of detail.
So I made a copy of the layer and boosted up its contrast with curves and levels to the point at which it was way overdone and had ultra-hard edges. Then hit select all on the contrasting layer copy that layer and turn it off.
I added a mask to the de-specked layer, and, instead of mask painting with a brush, I Opt (Alt) clicked the mask icon to bring it into mask view mode. Then I posted the actual contrasted image over it as a mask (cmd + v) which made a grayscale mask that matched the contrasted image. This masked away hard edges and detail on the de-specked image, revealing the more detailed layers below.
Star trails that printed perfectly.
Doing star trail photography right is hard and slow. But the work paid off and I had the detail, the sharpness, and the quality. My master print was this 50-inch on bonded canvas.
Cameras have come a long way since this exposure was made, but sensors still face similar problems at times. Taking the time to set up, plan, review, and process this carefully gave me an image I can be proud of and one that looks great on the wall.
This is my thoughts on how to photograph stars and what I did here. Keep experimenting and leave your comments with your own tips
