It really has been a trying year with lock downs and persistent cloudy weather, it has been very hard to maintain the connection I’m used to feeling with the night sky. September through to early November is usually my favourite time for taking Milky Way shots as it stretches out flat along the western horizon. This season I only managed a couple of nights out, however the quality of those nights has been a significant step up. A lot of this has come about through refining my acquisition process to include tracked shots of the Milky Way. A big part of this is the method I now use for polar alignment of my MSM star tracker, taking me no more than a few minutes. It is now barely any extra effort to take tracked exposures which has very significantly improved the quality of my images.
I love the South West Coast of Victoria, it is the area I grew up in. Winter weather being extremely volatile along this rugged coast makes it all the more rewarding when you you are fortunate enough to get a window of clear sky. I Managed to get a single clear day in a week while staying with family which just happened to coincide with a new moon. I headed to one of my favourite dark sky spots in the area to see what I could capture, using very low level constant lighting on the beautiful sandstone cliffs in the foreground. Unfortunately I arrived about an hour after I had intended and was only about an hour into the session when a very thick sea fog rolled in and completely drowned out all visibility of the sky.
There is something magical about adding motion to timelapse sequences, even more so for a nightscape timelapse sequence. How is this motion added though? In this video I take a high level look at the tools I use in my work flows to produce motion in my timelapse sequences. This is the first part in what will become a multi part series on the various devices as well as “hacks” and post processing techniques.