What does it mean if your Milky Way is under exposed? Learn how to properly get a perfect exposure right out of camera and give yourself a much easier time later on in post-processing. Join me for Live Webinar #3 where I go over the camera settings you should use for Milky Way Photography.
I will share with you what it looks like when your Milky Way is underexposed and show you why it is so much better to get a properly exposed shot right at the start.
We will also go over the settings for a Crop Sensor Camera body vs. a Full Frame Camera body and why you should push your ISO higher than you ever thought you should.
#MilkyWayPhotography #ProperExposureSettings #CameraSettings
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If you are curious, below is a list of the gear we use. These are Amazon links, so if you were to buy anything from them it actually would help support Photog Adventures and we really appreciate it!
Canon 5D MKIII:
Canon 17-35mm f2.8L:
Tamron 15-30mm f2.8:
SunwayFoto L Bracket:
Manfrotto Junior 410 Geared Head:
Acratech GP Ballhead with Gimbal Feature:
Manfrotto Tripod Aluminum:
Feisol Tournament CT-3442 Rapid:
Mindshift Gear 180 Horizon:
Canon Camera Bag:
Boruit Rechargeable LED Headlamp RJ-3000:
JClaw Tek LED Headlamp with Red Lights for Night:
F&V Z96 UltraColor LED Light (Same as Aaron purchased but as of today, out of stock.)
In-Stock option for F&V HDV-Z96 II Z-flash LED Light
Larger Capacity Battery for F&V light
YONGNUO YN300 Air LED Video Light:
Rokinon/Samyang 24mm F/1.4 Aspherical Wide Angle Lens:
GoPro HERO4 Session:
GoPro Hero4 Silver:
GoPro Hero4 Black:
Zoom H1 Portable Digital Recorder:
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it's 11:05 let's get rolling with this today hey everybody welcome to the live stream I'm Aaron King with photog adventures this is an astro photog playlist video what we're focusing on learning everything we can about milky way photography so let's just pull up the big window let's get rolling I've got a bunch of people online Jordan Yan says joined us hey guys and so if you guys have any questions at all hit me up here Robert will help me answer it and it'll also help me see what the question is and welcome picture monk Jordan Yan so if you haven't checked out Jordans stuff go to his website picture monk calm now right so let's talk about settings setting setting settings well everyone gets out there with the Milky Way and they get a little bit intimidated with the idea of what am I supposed to do what's my shutter what's my eye so what's my setting should what should I do with my focus what should I do with everything or maybe a my Kelvin maybe what should I have this on that off well we are gonna make it as simple for you as possible today it's going to be a discussion of items that basic beginner settings and from there you adjust with your scene your setting how much your foreground is being lit everything that you need to know from this is how to properly expose a milky way and so I'm just gonna show you guys my example and I'm gonna show you some bad examples I'm gonna show you everything I can to teach that and I'm gonna rely a lot more this time on questions so guys who are in here in the live chat make sure you hit me up with stuff hit me up with anything because I want to make sure that this makes sense to you so let's go ahead and minimize the window we're out here in Lightroom and I'll leave this up while I start my discussion on focus so you guys who have a canon camera you'll recognize my instructions very quickly those of you with Nikon Sony Pentax Olympics you're gonna have a different way of getting your live screen on the back have a live view and then magnification so let me show you what I do I'm gonna pretend like this is my camera just so that I have something to hold when you get your camera out and you're gonna work on getting focus you're gonna get out in a LOC dark sky location your eyes are starting to adjust you don't have to wait for your eyes to adjust this is just at the very beginning of the stage when you're getting set up you know your tripods where you want to be you've got your camera lens on that you want to use you have it all the way if you've a zoom lens like this Tamron make sure you're not at 30 unless you're planning on shooting at 30 if you're planning on shooting at 15 go to 15 get to that point where you're gonna be shooting so you know you're at full wide open aperture 2.8 you're gonna be a 15 millimeter that's what you've decided then setting it up to that point make your adjustments on focus why because it'll change just a little bit depending on your zoom depending on your aperture and so you're gonna want to make sure that you have everything set I'm looking to get star tracker adventure is it an auto guider another accessory or the adventurer have it have it built it okay Jose can be Cujo can get an awesome answer from Kirk because he has that exact thing so I'll leave that up to you Kirk to answer in the chat sorry those of you who are watching this later the answer will come through chat so on the back of my camera I got it set up I got F 2.8 on my Tamron lens I've got it all the way out to 15 millimeter and on the back on my Canon I can quickly switch from live view from viewfinder right at the top I hit that button it switches to the LCD screen on the back from the back now I'm looking at the stars now I look up in the sky my eyes not adjusted is actually better because which star stands out if you have any planets that are available go right to a planet make sure that planet is showing up at the middle of your lens you know look at this bulbous lens I have a very hey let me go big actually right now I have a very bulbous lens on this Tamron and so if I were to put the star in this location it's gonna have a lot more distortion if I put it here I want as little distortion as possible when I'm trying to get my folk so I get that star centered or that planet centered right on that spot and then if I'm having a hard time seeing it in my live view make sure that you turn up your ISO as high as you can go and maybe even go to shutter 30 seconds just so that you have as much light coming through as possible so you can see another thing if you're at 30 seconds and a 12,000 ISO and you still can't make out any of the white dots of the stars or planets you might be so out of focus that everything of course it crashed this is fantastic I love this thing why does it always crash so we're gonna turn on live view again and get that window up for you guys so that you can see me really disappointed that it keeps popping off so let's go ahead turn this on and get the OBS viewer to view it and let's double check alright I'm changing that for you guys sorry for this little delay making sure you can see me when I'm giving you this example and they just have to die I'm trying to use the old settings and they're just not recognizing it so let me just add a new connection if you guys have any questions hit me up right now while I'm doing this since I have to fight with the OBS viewer there's always got to be something even when I have it totally figured out something's always got to go wonky so let's go ahead turn on that and let's shrink this will not shrink let's shrink the side so you don't have to look at all my settings it seems like every live webinar I have to do this at least once I blamed the EOS app for whatever reason it crashes not loving that but let's go big so you can see me and let's talk about focus again oops grab the wrong corner alright let me just see if any question came through while that was going on and there we go I had to close the app and reopen the feed okay look like AZ Tech didn't have it working for a second I'm glad you're there alright back to the live feed back to the annoying nuisance that this window is talking about focus well focus right here is than that you can mess up entirely and then not see any of the settings and so I'm sorry not settings but see any of the stars I'm distracted by the fact that I have to get all of this back up and running so if this focus ring is completely out of focus you've seen it before where you have a nice little pin of a light and then you stretch it stretch it stretch it out of focus out of focus and then it kind of fades away to oblivion and you're already having a hard time seeing those stars in the screen you're not as zoomed in as you want to be you're as bright as you can set up your camera to be 30 seconds 12,000 ISO but you're still not seeing it it's possible that your focus ring is at that point where it's just so out of focus it's blurred them to oblivion so if you're really not seeing that planet you're like you know I know that's Jupiter it's crazy bright I'm pointed right at it but I still can't see it in the view feh in the viewfinder in the live view I'm just not getting anything turn that focus ring extremely right and left and see if it Aalesund pops up i sat there for 10 minutes one time helping a friend out in Arizona and she had her camera set up we had her ISO right we had her shutter right and we just couldn't pick up a single star not in the planet none of the planets and other stars we just couldn't see anything we wanted to focus on one of those points and we were out in the desert we didn't have any other light sources to focus on and so we're thinking what the heck is going on I finally touched her camera lens and I started changing the focus and hoop here it came right in so just in case you get stuck in focus like that check the focus ring so you have the live view up you get the planet visible this bright star visible in the center of your lens now what you're gonna do is you should have a magnifying glass somewhere in your settings or on the back my Canon 6d has it right on the back I hit that once twice and it goes to 10 times zoom when you start zooming in you'll see that you're not perfectly centered in and you can go ahead and move your camera a little bit and put that right in the middle of it as best you can and then that's when you pull out your magnifying glass of choice I like the carson lumi loop because of this feature right here i think you could tell what i mean by when the focusing distance where you use it you got your eye right up in there something like this you get your ride right up in there and if you didn't have this part of the plastic that's holding it in or holding it the right distance from the subject you're looking at you would have to do this and as you're standing there in the dark and the cold you're not standing perfectly still and so you're gonna have a focus go in and out just on your magnifying glass so it's great to have the Carson Lumi loop with it's perfectly distant plastic focus holder I don't know what to call it it just helps it stay in focus and I'm looking right in there on the pixels I got the pixels of the star perfectly visible and my other hand is on the focus ring of my camera and I'm working it back and forth and making sure that I toggle that to the perfect focus as you focus you're gonna see it go from big blur to an obvious small thing but then it just keeps going yeah it goes a little tighter or it doesn't go tighter it goes from same tightness but it goes a little purple a little wine a little other color depending on your camera you see a little bit of color aberration happen I personally have not verified it enough with the nuf images compared to keeping it on the purple versus going to the white whether or not this is true my personal preference is that I go to where it's purple and then I go tighter so that purple goes away either side of the purple that's the problem you zoom into the purple and maybe going past it it's gonna go out of focus versus in so I'm looking literally at the number of pixels that I can see lit up by the white dot of the star and that white dot of the star is gonna be four to six pixels on the back of my canon 6d and I'm looking I'm matching it up and it is how tired you are how great your eyesight's working how great everything around you is not distracting you there's not one of your buddies with his headlamp and it keeps splitting flash flash flash this is your eyes with this camera with this headlight and so you guys you're gonna find it as and I a hundred percent confident that I got in focus this is the best way to get there and feel most confident but it's okay when you get there and you've tightened it and you've checked it you've gone big you got a small big and small big smile purple purple white and just hold it okay I'm done just call it because you're gonna love the picture the pixel peepers like Rob Brian and I are probably to go hmm that's a little out of focus but don't worry about us we're just jerks we're just anal we're crazy about that so just get that picture out and take the shot but that's the best way to start getting your focus there the other thing you should do you notice I have I can't you see it well yeah a little bit of gaffers tape right here on my camera I keep that gaffers tape on there because I always tighten the focus ring with it yeah it's the Carson lumi loop ten times and Susan asked that too yep I use the Carson lumen loop ten times I bought it on Amazon and it was a whopping five dollars so easy thing to buy not not something to worry about ever so this tape I peel it off and at this point I've got to be careful I don't have a problem moving my focus ring so I just tape it off and you don't go like this because then you might turn the ring you just depress it and make sure you're not turning it on the tamron the focus ring is nice and sturdy it's it's harder to move on the Rokinon it's a pain the but this is an awesome to lens an awesome lens for astrophotography but this focus ring it turns with no effort at all and so you're up there going to tape it off and I don't know if you can see but the focus ring is this big it's all the way back here and so you don't have just a little ring to worry about you got to tape off the whole thing practically and so I have a bigger piece of tape so I taped that off and then watch even with it taped off it has a little bit of give right and left so once I get my focus on the Rokinon I'm just going and not touching it anymore i tape it off call it boom and you will need to check it overnight if it gets really cold after about an hour to being out there and you're still going refocus because you're infinity point can I get you to see this probably not maybe you can recognize that it has a range it has infinity is from here all the way to here so I take off my tape and I go to that point of infinity and this points infinity and this points infinity and this points infinity so what do you do you could go in the day and find your point of infinity where it's in perfect focus and mark it off and then every time you go out at night you go right there but if you have an extreme weather change an extreme change of cold – ha are hot to cold this lends infinity point will change it'll be more in focus turn more to glow to the right instead of where it was where you saw during a warm day so as the lens conditions change it's particularly getting colder the infinity point will adjust that's why they have a range they don't just have one point some lenses do have a true infinity point and they even have a click it's like click on in infinity those are awesome it's just they need to also have good coma and so we get stuck with something like the awesome performing wroking on with a terrible focus not terrible but it's just a ton more effort the Tamron brilliant focus brilliant focus but the heaviest thing you can hike with that's how I do focus any questions water flow doctor doctor use the sharps oh yeah I was gonna recommend that too if you have a bot knob mask or you want to use the sharp start – from Ian Norman at lonely speck it's awesome how do i best show you this i'll use these two things so you have this X that's happening and as you focus you're gonna see well I'll use this pretend like this is my that's a terrible way of doing that I'll use this lens cleaner so these two wives for lens cleaning you've got an X happening already and then you have this like middle line that moves across that X that's terrible so that ex line is right here and here but then you have a middle point and as you turn and focus because of the way the light refracts off of it and that botton oov mast shaped the angle that it turns the light it gives you that white point and it turns it goes right and left and once it's in the center of the intersecting X you know you're in focus so much easier than this other method but it's also so much easier than going and guessing it's easier than hoping so getting a sharp start to or a botton off mask that you can put on the front of your camera is the best way to go me you saw my bulbous element on this Tamron I can screw on filters and so I have to use those expensive disi Orly filters and hi-de-hi be' or something i have to buy those fit him to it and a fix a large like 150 millimeter sharp star which Ian doesn't shell for sell for cheap so you know Ian I love it and I want it but I don't have one yet I get my focus with five dollars for now and it's working out pretty well but I can't wait to get it so any questions about focus before I go on mm yeah expensive method indeed but awesome and flawless but expensive I mean not just the filter I have to buy the holder and everything and you know once you start buying a filter holder you start buying nd filters and awesome polarizing filters I know that it would cost me a lot because of where I would go next with it okay so let's talk about actual settings and unfortunately you have to watch me zoom because this thing is ridiculous oh of course I grabbed the wrong one so going to the let's fight forever control of my camera let's move this down get me small Oh this whole time I've left my focus on there I'm sorry guys you had to see that stupid square on my face the whole time you set everything up and then it turns off and it kills it so here we go here's an old picture of mine I'm gonna start with something under expose and how do you know whether you've underexposed something is it precisely the number always go 22nd so I always go 6400 ISO that's not something I can tell you one you're gonna be in an area with different light you're gonna have a foreground like this one that you're seeing where it just zooms around all sorts of pictures you're gonna see a foreground like this where it's all black no light whatsoever but you're also gonna be in locations like this one where you have some light happening in your foreground because of the by virtue of being near a city the light pollution of the area and so you're gonna have different settings need different stuff depending on how much lights coming in well why is the light important because we're gonna use our histogram to know if you've properly exposed the Milky Way so let me show you a bad histogram first let's show actually you know what let me show you this graphic this graphic came from Royce bear's book I always reference it when I teach people this Royce Bears fantastic get Milky Way Knights gave so I'll put a link in this video afterwards so you can get his book cuz love that guy love this graphic okay quickly you can see what I'm talking about what a proper exposure looks like on your histogram let me make sure I have the chat window up so I can see any questions Robert says my face tracking bracket was driving and crazy I wish I could have you turn that off from there Rob that would been awesome so here's a proper exposed histogram for the Milky Way I think you can even make out the words right here foreground night sky Milky Way so there on your histogram if you're new to cameras you have a luminance histogram talking about the light levels and you've also got RGB color histograms that tell you if your Reds are peaking blues and greens are peaking well in this situation we're doing a luminance histogram and most likely you're already default at luminance if you see it as white and black you know you have a luminance histogram so in the back your camera let's use this again as the back of the camera and I've got this history I'm popping up after I take in the image on the Canon 6d at least I have to I will take the picture first so I can see a full exposure and then I'll look at that image and turn the histogram info on and I'll check it and if I have this this is the brilliant histogram you want this is the histogram of glory this is gonna get you there so what is happening on the histogram your foreground why is it this crazy peak well the histogram is whites to mid-tones to blacks and the black over here on the far left it's peaking to the top knocking my lights because I'm waving my arms too much this right here is a peak saying hey there's tons of black in your image well is that okay oh yeah absolutely I mean look at my image let's see what the histogram is on this image oh it's not gonna show the histogram because the photo is missing fantastic curse you King for not going out here so here is another histogram of some light painting and let's go to the histogram that I took of the milky way this is a good example of something that changed so let's go back let's take it all the way to its raw and see it there so the raw histogram let's make this histogram huge this is a good example of a histogram that's underexposed don't fight with me give me a larger histogram go on no you're not going to give it bigger than that awesome well done Lightroom well done so this histogram I hope you guys can make much of that I'm sure you could see it fine enough but you can see how I have my foreground peak and then I have a peak of light this is quasi exposed if you look back at our image you have a bump a foreground going up from all the black okay the first bump on the left it's in the blacks that's all the way up I mean look at this this is one third of the image is entirely black so that makes sense that matches up then what's happening here what is going on with this bump and why do I want it you're gonna see the night sky and from all the way to the blacks to the mid-tones the night sky is gonna show up on the histogram why it's not pure black a lot of its black but you have like you're seeing in this image you have stars everywhere you have nebula you have dark lanes in the Milky Way you can see this pictures not even all that in focus and then here you can see the blacks of the foreground so the sky what does it have light pollution down here it has the Milky Way it has black of the black space it has stars everywhere so my histogram is reporting that reporting every star point pouring the milky way lightness reporting the light pollution reporting all the black that it sees down here and it Peaks because there's a lot of elements bringing it up right here and there's a question that he's answering space TV how long is remaining in this live stream hey space TV yep he's right half an hour I go for an hour and I'll bleed into that next hour a little bit depending on how many questions I have so back to the histogram the histogram right here of the night sky is gonna stretch all the way from the black to the mid-tones but then you want a peak for your Milky Way and the reason why this is strong is because you have the blacks of your foreground and then the Milky Way is separate you want to have that separation you have two humps with some separation you're on the right track you probably got a good exposure coming up well in my example here I have a hump I have a separation then I have a hump so why do I say it's kind of underexposed well because I didn't go close to the mid if you see the midpoint you want your second hump to reach to the midpoint am i asking for the peak up here to be at the midpoint no no no you don't need to do that I was just talking with Rob last week or a week ago before that asking about hey where do you put your on the histogram he says that he usually ends up if it goes too much to the midpoint he gets too much noiz it's not good at all it's better for him to go back from it but then he was looking at cystogram who's noticing yeah I'm not puttin the hump on the midpoint I'm just kind of reaching the midpoint and it's a lot similar this then he realized when we were talking about it and so we both realized in his Nikon and in my Canon this is true I can verify from his experience in my experience that I am properly exposed at this I don't want to cross the midpoint too much unless I'm gonna go to the exposed to the right method where you have an e GTR method go as far right as you possibly can get all that data and then all sorts of processing you can bring out a milky way in a light polluted area it's nuts Ian Norman has a good video for that check it out ett our method so I had a question Joe Lauren Lorenzetti says anyone used thebroken on 8 million or fisheye with detachable lens I want the circular frame I'm wondering if it's the best alternative can it's 8 to 15 millimeter I can verify that Rokinon fantastic I have this Rokinon 24 millimeter but I have it for the 1.4 aperture the 8 millimeter is that 2.8 I think it is I don't have the a millimeter haven't used it 14 millimeter is a 2.8 it doesn't have that 1.4 benefit of a larger aperture but if you want that fish eye look go for it it sounds awesome I had a situation two years ago when I wanted to capture all the planets there were five planets visible mercury is above the horizon enough before sunrise that you could see Mercury Venus Mars Saturn Jupiter it was fantastic and I could get all five but I had to do a panorama to get it in I wish I would have had an eight millimeter cuz then I could just put all that in one shot and it would in a really cool picture it turned out to be an OK image but nothing special it's 3.5 that's right Rob says it's 3.5 I just recently looked it up I was talking to someone else about it it's not even a 2.8 it's a 3.5 yes it has a large viewing area but it's a 3.5 which means you should stack or panorama to try and make up the loss of that 3.5 aperture blocking off more light you want to have as open as you possibly can 2.8 or better is perfect and a 3.5 is workable it's very workable it's just it's at that threshold of being on the fence of workable and crap so I'd say the 8-millimeter is great but you're gonna have that issue okay space TV you're saying you get a notification 30 minutes late well thanks a lot YouTube so you're saying that you can notified hey photog adventures is live and it's 30 minutes in I'm sorry about that that's the worst you're gonna have to check out our Facebook page and keep checking here because it says that I'm gonna go live in fact right after this by tonight sometime I'll put up next week's broadcast that's gonna be the final one where we talk about gear specifically what gear I have and some other gear I recommend and just answer any question there and so we're have gear next time it's gonna be at 11 a.m. mountain time so join us if you can sorry you missed the first half so back to this midpoint milky way he got the jump you got the I got the second hump it's reaching towards the middle but it's not overlapping so my histogram what's wrong with it well it's not terribly wrong I mean look at this one example of processing for it yeah you can see I pulled some stuff out well you look at this histogram and let's compare it to another one let's go to my dry pond Milky Way right here what's the histogram on this guy and let's even make it raw go back to the import my raw image there's my histogram man that looks almost identical and this was my epiphany moment I had heard it from Royce I had seen it from Royce I read it in his book but I was just so nervous about noise I just didn't want nose and so I just looked on the back of the LCD screen I set my settings and went to the setting that I felt like low noise 3200 in fact what was it on that last one going back to this image what was my actual settings and it was not telling me anymore it is 15 seconds 2.8 at ISO 2000 okay remember that I so let's go back to this other one and the ISO on this one that has a much better looking histogram ISO 5 and this was the first place that I went past 3200 baby 40 something I think I went in the 40s before but never 5000-6000 I was nervous I was nervous how bad it would turn out I was in this last milky way of this season it's pretty much vertical as soon as the Sun sets and astronautical Twilight's over and so I didn't want to mess up this shot but I wanted to try it out I wanted to test out what Roy was telling us it's like you know what let's see we can get for a histogram and it took until I got to 5,000 for it to work I'm thinking that my other images are not gonna be in this quick collection so let me see if I can find it in all photographs please work Lightroom alright let's go back to some of my early images here's my kins Oh Yosemite Wow it's just Lightroom is such a pain sometimes it's slow and then it just jumps around let's go back to quick collection click on this go back to all photographs and so you can see what I'm talking about alright now just use the arrow key let's not risk it anymore let's go back until I see one of these exposures at a different setting edited in Photoshop I forgot I did that let's go down down down down I was messing around my settings right at the very beginning of the astronaut Twilight period and I was looking at my histogram perfect slow down Lightroom here we go first off astronomical Twilight this picture is during nautical Twilight look at how bright it is then we go into a string with Twilight towards the end and you can see how it still washes out your milky way full darkness occurs look at the difference it completely changes how much you can see the Milky Way have you ever wondered why I say wait for a little Twilight to end that's why so let's look at this setting here's my exposure at 3200 the image is missing unfortunately so it's not gonna show me the histogram but at 3200 that's how well it showed up four thousand five thousand if only it would show the histogram I really am kicking myself guys I'm sorry that I believed these images here on this hard drive before I came in but the histogram at 5,000 you can see apparently not unless I go to the quick collection you can see that it has a good hump a good separation from the foreground and how well did the image turn out well I got done with all the raw editing get done with balancing everything and you can see just how much detail is coming out in my image let's go to the final edit do we could see the color of this red airglow later in the year red air glows looking awesome right here I even should have brought it out more but I did a color filter in color effects Pro and changed it from this look to this look because I love this more even though this is not a true representation of the movie looks like it's not that blue it's not that teal it's not that yellowish red at the bottom so we don't have that but you can see the situation of the stars and how cool they're looking and how much detail is out here even in my areas of coma in the corner you can just see a ton of detail in the sky and I was amazed a properly exposed Milky Way looks like that compared to this and underexposed Milky Way gone were the days that I cared about noise like forget it I'll fix the noise if it's that noisy honestly this is so weak compared to my other image that had a properly exposed Milky Way it's amazing what a difference of two thousand ISO to 5000 ISO this one's at 20 seconds at F oh it's not f5 that's telling me my foreground my foreground was set for f5 at 20 seconds F 2.8 ISO 5000 that's my star now I haven't caught on to any pitch any questions wrong has anything come through all right they're just still talking to the to themselves no questions Rob write me a question copy and paste a question if I missed anything so now at five thousand I so at twenty seconds well I look at my stars and this is when the pixel peeping begins and I looked at my trailing it's just slight I have a full-frame camera I'm using the 15 millimeter Tamron the 600 rule the 500 rule even the more conservative 400 rule where it says 400 divided by the focal length you have so 400 divided by 15 that's something like 22 seconds or something 21 me ask Siri what is 400 divided by 15 so I have 15 millimeter focal length 400 rule Oh 26.6 seconds if I went by the 600 rule what is six I will find a barber 600 rule okay you got turn Siri off when you're just talking what is 600 divided by 15 so if I use the 600 rule it says I can go for 40 seconds no no no I mean this is 20 seconds and look at the trailing that's happening is that ruining the image no no it's not ruining the image but yeah there's some trailing so how do I solve trailing so then we go on to our next setting we'll list let's summarize real quick before I get too excited your histogram how do you get there well I chose 15-millimeter because my composition I plan during the daylight I saw I want this in view I want that up there I'll work between these trees that's what I'm gonna have and I'm gonna focus on this awesomely craggy really cool ground so I know I knew what my composition was gonna be I knew I wanted 15 millimeter I knew what I wanted to do there and I wanted to go wide as possible because this is such a better lens at 2.8 instead of stopping it down the Rokinon just a little hint the 24 millimeter Rokinon it has tiny amounts of coma at 1.4 and so I'll always stop it down to 2 as you're focused you see your focus then you take your aperture ring and you turn it down one wow you see this ball that you just focus become this tight dot that you focused it's brilliant and so I almost always use my Rokinon at two but two is much better than the 2.8 I get out of the Tamron so it's it's worth the sacrifice if you can call it a sacrifice how did my camera crash again come on wow this is really disappointing I got a GU something better than the EOS remote apparently that's not gonna be a solution so I apologize guys for that ridiculousness where I'm looking at the camera talking to the camera and you guys don't see any of it so iOS remote let's get you back to the live view shoot I don't think it's a timer I have this thing on a timer where it's just timer free it's also plugged into a battery and so it can't be that it's having an issue with hey its timing out it's not timing out but it in essence is timing out so I wonder what the deal is so let's get that window back up and this time Rob I am going to turn off the folk to focusing reticle get that out of the way I don't know why it has to do that alright let's make this nice and big you can see me I keep talking to a crowd that can't even see me so I'm sorry for that and I I need to put Rob in my ear where he's like hey your camera crashed again so fix it let me turn that off go back how's it going guys okay I was saying this and this have a difference in 2.8 to 2 if you wanted to see it here's where the we're sure the aperture ring is on the manual Rokinon it doesn't communicate to the camera your camera won't know your aperture so you have to turn it down here manually by twisting it so all right let's get my face out of the way of the images and hopefully you'll see me now I got another window up there let's get rid of it yes okay cool back to work so you set up your you set up your camera you got a 15 millimeter you decided on your composition you decided on 2.8 you're going at so now how do you get your proper settings how do you make sure that histogram is singing and looking like this in your camera so you take an exposure you guess an ISO just guess any ISO that you feel comfortable with every time you go out you'll start with your comfortable mine 6400 I always start there on the Canon 60 get that ISO just right or I get that ISO started take a shot and I check the histogram depending on the light in my terrain I might find the histogram fights me a little bit and when it starts fighting me it's because other lights showing up and so we're getting higher than mid-tones or I'm starting to see sort of three peaks and it's confusing so I like to go to the extreme at that point it's gonna fight me let's see what happens if I go to twelve thousand nice so that's what the histogram looks like okay then I go to twenty or thirty two hundred ISO and go really low and see what that looks like and then between those two extreme examples I have a base example of okay this is how the histogram is changing based on my ISO I understand where the light pollution is here and where the lights from the foreground is happening or if I have this and I'm lighting my subject I'm gonna have a much different histogram I'll show you that here in a sec you're gonna have to adjust to that and so then you start tweaking your ISO up taking a shot again taking a shot again taking a shot again and now you got your ISO where you want it well what if you haven't changed your decision on your shutter what your shutter going to be mine for the Anil pixel peeping crowd like myself and Rob Ryan we are going to shoot at something like 13 seconds why because well my camera can rob probably not hey Rob let us know what your shutter typically is cuz Rob is on a crop sensor and he's on a Nikon where after 3200 it's nuts and ruined and so typically he doesn't do that Oh Gustav was gonna be in Salem oh man that place might have clouds but you're gonna have an awesome long Eclipse so here's the situation with shudder Rob let us know what you had so for my shudder I like to be at 13 seconds because then I don't have any star trailing at all and then I do have to compensate for that low shutter with the higher ISO which puts me around 8,000 12,000 6400 depending on the scene in this case at 2.8 at 20 seconds in 5000 I got a good exposure I got a great exposure histogram really happy about that let's look at another example before we go on um the trestle was this what was the milky way of the trestle because here we have a light painting situation so you can see how we're not actually light painting this this is from a crowd of people oh no this is us I could see the change in the flashlight this is when we're using our cliquey still and not the low-level lighting and you can see the histogram has an overblown peak on mid-tones because of all these little it trestle that makes a big difference but I'm seeing a separation from the blacks there's not as many blacks as you can see it's just the background here that has some black in this area up here you can see the black there so it's just not really as much as in others but I can see that separation and I know that histogram is okay well what was my setting seventeen seconds four thousand so and I look at this again and go hmm it's peaking Bellini towards the back my mid-tone is right here and it's pretty far from it so this is an underexposed Milky Way and I'm kind of limited what I can do with this and how much I can clean the noise it's just if you have a properly exposed Milky Way the noise just seems easier to work with and still talking about locations for eclipse cool well I have no idea if you have any questions so Rob like I said hooked me up with the questions don't let me miss any at least any that are about this so let's go out to an area where we light painted and it's in if you've seen our most recent Escalante video this is that area this is my panorama for the sunrise arch and so let's go to this one where it has a lot of the core in view and let's go to the import settings how'd my histogram look see what I mean by the histogram goes nuts when you light paint in this situation how does having a tracker change this equation still targeting the same histogram just lowering ISO and lengthening shutter time to get there yeah Tyler your situation is that you can have a much longer shutter without worrying about start trailing and your exposure to but what you want to do is get your shutter that you really want to do take the shot and check the histogram it might be a minute shutter in your situation might be a min and a half Kirk what was your crater lake shutter lengths thirty no you said something like sixty or ninety seconds I can't remember let us know but you get that shutter where you want it to be so that you're getting a lot of information and then check the histogram you're gonna have a lot more light you're probably gonna see something like this where you just have a ton of light information you don't have the separation of humps so what you want to make sure you have is you have a foreground black to the rest separated but not all clumped together let's use I'm always wanted to use like a visual aid and then I okay this is perfect alright this guy if your histogram only looks like this you've got something wrong you want separation somewhere you don't want everything together from blacks to mid-tones to whites you don't want everything together you want to have two of these or in my histogram up here you can see how its spread out you want that and so as long as you get that history a sixth day that's what I was going to say oh cool thanks just got rekted this week and realizing I overexposed to everything hmm what was your histogram like I wonder probably all the way on the right or too much in the mid-tones and over exposing as long as you didn't clip and have no data on the Milkyway core because you're gonna have these bright spots right here let's zoom in on this one this bright cluster you want the separation between all these flex sand looking stars and the closer stars that are to us you want that to be separate and not just something that looks like this where it's blown out entirely you pull back on your Milky Way maybe it looked like something like this where you just can't see the darks from the whites so Kevin Desai just joined with a full lunar view of later on absolutely as soon as I say hey guys we're done see you next week and I end the livestream YouTube is gonna take this video and it's an hour long so it takes longer than normal and it processes it it writes up subtitles for every nonsense word I said and then it puts it out there so it'll be available for you to watch the whole thing absolutely and like Rob just said all of them all webinars are available so looking at this exposure look at this histogram this is where you might be okay Aaron told me histogram should look like this well I got that well why do I have that look at my background look at my foreground there is nothing not lit I had this going this is my let's make myself big here I hate that isn't working this is my low-level lighting light you can see it's got 96 97 or something LED lights these guys are fantastic let's blind you full blast this is the setting I run it at this guy is what I was lighting this scene with Brendan and you can see how it's made everything from ripe oh I should actually let you see you can see how it has everything let's zoom in but not all the way you see everything right below our feet you see our bags you can see the bushes here you can make out the difference between the shadows and the light and then there's no distant distant background that is black if you have mountains or a lake way far in the distance you're gonna see the blacks from that but in this case everything is higher and then the Skype is the only thing behind it so we just don't have anything that's showing up black and this black up here it's not true black and so what were my settings here well let's zoom back out oh I guess you're not gonna let me this right here is 13 seconds at ISO 6400 with this light why was I comfortable at 6400 even though I had all this crazy light going on that I need to turn off I could see that my histogram wasn't going past my midpoint I wasn't over exposing the widest parts of the Milky Way to a point where I couldn't see it and the light that was hit was actually the worst on here was our under lighting behind the arch we had another one of these shooting up you see the video see Brendan move it and it was completely highlighting this and blowing it out at the lowest setting and so we had to move it back even further and it's still kind of a bright highlight underneath there it's not a warm glow it's a bright spotlight that's the brightest thing in my image and so you may have mid tone still pretty good not crossing that plane I have a separation bump from the darker section to the brighter section somewhere in between here is the Milky Way core data and so I felt pretty comfortable this was an exposure I wanted to keep and then when you put it all together with all your panel it turns out pretty awesome right now it's a getting caught up with the file you're not seeing InFocus yet it depends on where you are oh and rou Andrew I'm gonna sneeze part of me I guess it's not gonna happen now that I said it we put a link to the light that used absolutely and Sam just a heads up we're gonna put you to the link that we've been using that's our Amazon affiliate link so if you were to buy this light through us you'd actually give us like two bucks doing it it doesn't change the price on anything you buy but it's just a nice thank you so if you use that link that'd be awesome and so Andrews asking to get to the Milky Way with your naked eyes absolutely just depends on where you are like Kirk was saying and just it's just oh hey who said that was Sam Sam Lopez said it it depends on where you are you're gonna see the Milky Way pretty quickly and dark-sky location if you see my very first video we talked about the bordel scale and light pollution maps at dark site finder comm from orange to dark colors blue purple you're gonna see the milky with your naked eye just depends on what's shining in your eyes at that moment you can stand in a nice purple section but as someone's shining a flashlight in your eyes you're not gonna see it so this light was on you can see how it's even placed right here let's talk a little bit how much time do I have can I add this right here we have six minutes okay real quick low level lighting you put this light up it's constant you can do time lapses it's fantastic and this light unless you look directly at it you can't even tell it's really on yeah you can see the outcome of the light but you don't get your eyes ruined for the lights above you it's brilliant it's awesome so this won't disturb people who were there with you also taking shots in fact they'll love it how's that natural bridges National Monument a woman came running down the trail she's like oh my gosh they're lighting the bridge the Oh a chomo bridge and she blitz down there and we were about to leave I'm like hey you know what I'm about to leave do you want to have some time where you can have our light on she's like oh please will you because she loved how it looked so this is low level lighting and in this case it's way too close to our subject we had no choice behind that shadow it just drops it's a cliff fence so we couldn't put the light any further that way and that's the direction we wanted to light the subject so but it's really fun and awesome and you can see air glow right here and even Aurora happened it was bizarre that night we had a little bit of an Aurora because it was so huge up north we actually see it in southern Utah so this exposure that's a good example of 6400 with light painting let me jump to another location should we touch that one no let's go over hey I'm here with Kirk at this location lots of light pollution and I even went on a higher ISO so this is gonna be great okay so Bandon oregon different situation different conditions we have water reflecting the Milky Way so there's more milky way to actually see and show up in your histogram you have a light pollution from the side let me show you what's going on here we got all the shoreline lights just glowing and ruining all the little mist and particulates in the air at the edge of a beach it just shows up so much more than it does in a desert with nothing in the air or if the winds going in the desert it's really bad huh any questions just bought an LED light for a low level lighting this week looking forward to trying out awesome Susan you're gonna love it and I'll show you the silo how I use this and you know close to home locations not just beautiful arches out in the desert so in Bandhan Oregon you can see how we're actually able to see these rocks and you get some shadow well that's because of this very light and once again the terrain wouldn't let's go any further back but it was a lot further this time I think no I don't think you see it in any of my panels but you can see the exposure let's look at that Milky Way again and see what we're dealing with cuz we got lots of light pollution we've got the rocks being lit and I wanted to go high I'm gonna try 12,800 ISO why because look at my exposure it still hadn't gotten past the mid-tone but I'm completely peaking completely clipping all of that there and so it's a little bit too much and how does it affect the image well you can see a lot more noise you can see a lot more noise in it than you could with out but I mean how bad did it ruin it if you guys are worried at all about noise and your milky way photography get the proper exposure of your milky way bring it home and process it I didn't do even a stitch of noise reduction on this and still unhappy with it I'm not disappointed in this shot I love it I love the milky way how it is between those two rocks and I'm proud to show it off will someone who's a pixel paper like Rob Ryan I say well that's noisier than maybe other shots but I love seeing this air glow and a higher ISO or a longer shutter is gonna bring out that air glow and I wanted more of it showing up I could saturate this and bring out the colors of that air glow where you can see the light pollution layer and then the green right here it's really cool I love it are you in Salt Lake City I live downtown and it seems like this is a hot spot for night scapers Tyler you live in Salt Lake awesome I live in ORMs but I work in Salt Lake every week oh thanks Susan for the gorgeous shot comment noise drives you crazy Susan you'll find yourself not going to 12,800 if you have a canon 6d stick around 6400 the noise is completely mitigated and man yes Tyler this place is awesome for nights capers because you look at our light pollution map and it's pretty much leave the city and you got a Milky Way I have a 45-minute drive from here to my best dark sky site with a silo a train trestle we've already looked at pictures of the train trestle so let's jump to the silo if you guys don't mind I'm gonna keep showing examples it's been an hour I don't have to go anywhere if you guys want to watch more let me just summarize for those of you who only could give it an hour you want to make sure that you're exposed Milky Way is set up like this with two humps at all cost if you light paint if there's light pollution if there's just a moon a little bit up and you decide to take the shot anyway you're gonna have experiences like this where your histogram just looks nuts it's not separated and all black on one side you're gonna have a goal we need hump and that's okay what you have to do at this point is make sure you can see separation obviously try extreme high ISO extreme low ISO and see how that histogram changes get a feel for it okay this is the shape of the light pollution when I go high ISO goes here low ISO okay I can recognize what's happening you see those two extremes decide on a median and go for it make sure that you don't go past the midpoint don't go past the midpoint too much because you're gonna have tons of noise on your foreground and your milky way is gonna have points where when you're looking at these awesome highlight areas you're gonna blow them out and you don't want to blow them out where's my favorite little highlight area right here you want to see the grit of the distant stars with the front more close to us stars you don't want to over expose to the point that this is just a big white blur a big white mess if your image comes out like this in your histogram you can see what's gonna happen when you come back and you try and bring it down you're gonna lose some data yeah you'll make it darker but that big white blob is all blob together it doesn't all of a sudden become separate dots you have to actually expose it as separate dots and then you can change your contrast up and down and make it look the way you want but if you turn those dots into this blob this nondescript blob of white because you've overexposed it you'll never get that back you've also want to make sure you don't just have only the very few dots available because you're at the lowest mm ISO and you just don't see it fix it with longer shutter fix it with higher ISO get that exposure to have a black pump and go to a mid-tone bump and get that in there first and then work around that that's a properly exposed milky way I'm surprised an hour went by that fast but that's the summary hope that makes sense let's keep showing more examples with you guys who are still here looks like I'll need to get on a boat all right hey Rob thanks for showing that link for dark site finder that's awesome so let's go to crater lake crater lake was amazing and it's a good example because it has that same week of light air glow how it's going it's organ air and it doesn't have any of the light pollution I mean you can see it immediately look at the difference you just have real black skies compared to what you had before let's see more of the core let's do this side we see wizard island so this is crater lake hung out with Kirk Kai's over here Kai's photo comm and we were out here at Crater Lake enjoying one of the best skies ever if you remember my first lesson about planning and location scouting oh is that the second laugh that was the first the first lesson and we shot we talked about that clear dark sky calm where it has those blue boxes and it shows darkness and it also shows clouds well there's other settings of transparency and seeing that we talked about and I didn't go into detail on those because they're not that important this night at Crater Lake it was across-the-board brilliant it was blue in all the transparency seeing hours and darkness and clouds just perfect settings and were high in elevation so we're above a lot of what's going on and the heat the moisture in the air the light pollution it was great fantastic so let's look at my Milky Way exposure what's happening here look at my histogram that is not my ideal histogram so why was I happy with this well I didn't go past the mid-tone I was already at twelve thousand eight hundred I was seriously already up here at ISO 12800 so I wasn't gonna go higher than that in fact I could fake it but my Canon 60 that's up there I can't take it past twelve thousand eight hundred unless it's the exaggerated fake version and I don't want to do that and so what other option that I have to bring this to my mid-tone more my shutter it's the only thing else I could change and I had to decide do I want to bring that to the mid and just get that perfectly exposed Milky Way or stick with this and have perfectly tight stars now if I had gone any further you can see these planets they're still a little it's just a little stretched to them is it the stretch of my lens yeah most likely I'm a bit of vertical so everything is coming across my lens and being stretched but I also have maybe some movement in the ground maybe my shot let's check the next image right here it's gonna load a pretty pinpoint on this shot I may have had less vibration less movement less issues in this shot than I did in the previous shot from panorama because you can see these are all pinpoints look at that that's great I mean the things that are stretching are just so distant it's not because I'm out of focus or trailing what you want to look at are those big bright stars that are closest to you and see how they look here's Saturn and that was just a nice circle it wasn't an oblong shape so I have my focus right I had I didn't stretch it or turn it or change it or bump it so this is a nice solid shot and here's my histogram my foreground and going up why is it such a blob and not separate well it's because I've got reflection in the lake and I have snow the snow is bright and all of that snow in the image is making this light up and it's just nothing you can do about it so that could confuse you on your milky way exposure the snow and the terrain the reflection in the water that could change your histogram to different shapes it won't just always be clear cut and dry boom boom so you're just not gonna have that depends on your terrain let's see if any questions have come up Oh thanks Susan this place was awesome all right I can't wait to finish this week in the Escalante video so I can start the Oregon video and show these scenes off on our Channel let's see what else I have after that I think oh yeah if I've got the Escalante one and this one's a completely different settings so I love that let's do this so Escalante the Grand staircase-escalante area in the shot at completely raw look at how greenish blue it looks the air glow was crazy different that night I processed it out a bit much but it was just it was so green it was so much greener than I've been seeing before it was just one of those nights and it turned out the next night Aurora was happening so nope no question why you know the airglow was a little bit more affected so you're looking at my Milky Way I have light painted with this those rocks were pretty close if I had my choice next time I go out I would bring that light double the distance this is just it's like car headlight kind of lighting and so when I processed it I brought in some contrast and a little bit of clarity more than I would have just so that I could make the rocks look less like they've got blown out by but look at my histogram it is terrible but not why well I have a hump I have a second hump here in black and then it goes a little over the midpoint but not much the peak of the bump is not over the midpoint it's close to the midpoint and so you look at this image and say why is my histogram looking like that giant rock pinnacles are being lit and so there most of the light I have a background up in the front or a foreground up in the fore in the front that's kind of black nothing really black but this is the only black black I have in the image I mean my black sky is just green let's look at my stars look at they're all facing just a little bit of a direction so 13 seconds 13 seconds you can see just a little bit of stretch is that stretch focus is that stretch bumping I'm thinking it was bumping I was rushing the shot I know I was I'm thinking it was just a little bit of movement at my tripod and it just stretched it a little bit but it doesn't ruin the image don't worry about my histogram because the hump doesn't go over the mid-ground because the hump is you know I understand why it's doing that because a light painting in this situation and I have a separation with the true blacks I'm good I have an exposure and 6400 did it I didn't have to do the 12,800 that I was doing over at crater lake I only needed to do 6400 so I kind of got this area in my Canon 6d now I start at 6400 and I go up as I need just adjust and play with it any questions uh the light in the ground oh you know what okay I'm gonna walk away from the camera to stare at my desk I can't crud I can't because the tripods being used right now for the tascam so I have my first tripod that I ever purchased that I use there's my backup tripod for this I just hook it on here it's got a shoe for it or I'll screw in and then I can kick it on the tripod and I just and I liked that tripod a lot because it has the ability to pan back or tilt it back and if I tilt it back I can get this light to be more of a fall-off instead of a direct light this situation it was not fall off it was definitely directly hitting it to have a good example of fall off on a closed subject yeah this one more about the same distance away the light is hitting these rocks but because the fall-off is happening it just looks like moonlight instead of being so bright so let's look at the raw like the edited and Photoshop is the most recent huh because this is not the panel so the import here's before the stitch and you can see my histogram is much more like the ideal histogram I've got a big black I got a big hump here they're separate I have a separation with the Milkyway core and it's looking like a stretching just to the midpoint perfect fantastic loved it how is my focus my focus is looking okay but I just still have a little bit of star trailing and you know I was doing 13 seconds long is it because I bumped it is it just because at this situation I should have done less seconds and have more of a pinpoint maybe I might to play around with that and do about 10 seconds versus 13 and see if this trailing that we're seeing here this little bit of an oblong shape it see if it's because of the 13 seconds or past virtue of just bumping the tripod talking while it's going but again I can't emphasize enough don't worry about it it's not gonna ruin your image in the end you're gonna be totally happy with it so I want to point something out if you have any questions future webinar covering panorama workflow and foreground will be invaluable okay if you go to my channel and see the video on milky way processing you'll see me do a panorama and my camera turned off again what a bogus camera just got to stop using it this way so let's get my camera back come on you stupid EOS m so the quill be in that video that tutorial shows you how I do panoramas but it's going to be kind of quickly mentioned it's not going to be something like how we could handle it here in a live webinar so I am more than stoked about the idea of doing that for you when we finished this live webinar series of these four that we talked about with gear next maybe maybe we should maybe we should focus on getting getting a a webinar set up just for panorama and I can do some panorama stitches I can show you one that didn't go well I can show you one right here from crater lake that no matter how I try Lightroom treats it terribly it's horrible it's depressing my final image for our podcast cover looks like this and you can see the bowing in it just because I wanted something I wanted something to be visible so what's gonna happen how do I fix this panel well light rooms not stitching it intuitively but it's not over I can go to ptgui or other panorama stitching software's like Photoshop and manually connect it and tell it to not treat these trees as an element of these tree branches and try to fold it up that's what's happening here and I didn't get a high enough shot that's the highest I ever went on the top of the arc so you can see how I accidentally didn't get enough above Headroom of the milky way where the craziest distortion of the stitching would happen off of my composition I wanted all this weirdness to happen above the Milky Way where I just crop it off and I'm good but I can't crop it off in this situation because it cuts off my Milky Way so it's kind of a bummer so I think in that webinar we can talk about failures and successes that's pretty much the hallmark of photog adventures is here let's share our failures and our successes so I wanted to talk about the sky and emphasize one point about these settings and I wanted to point them out use warp and Photoshop to fix it exactly right stavos pointing out that I can go in there and then I can warp it manually and pull things in and make it not that stretch and so it's not working easy in Lightroom but I have more than enough tools to fix it and I'm thinking of doing an entire tutorial of when I do that so I can show how I fix it and maybe that'll be useful for you ma'am so these guys let's look at these guys versus say do I have a bad example up here no okay I am just gonna drag this one through my my collection and put it next to a poorly exposed or just an underexposed image of the Milky Way something from my earlier days and just not understanding that I should stop worrying about noise and start worrying about exposing the Milky Way properly and work from there yeah maybe this trestle shots good because they're both good images it's not a bad image it's just there's a big difference there's a huge difference in the sky in fact I'm also gonna bring that 5000 ISO one in because it is the same area as this trestle and I want to point out the differences with you know apples to apples so let's go on to area much darker sky site you're gonna see much more stars you're gonna see all of these fun star clusters and they're just all that black space in other images like this one all that black space as soon as it lets me actually control it all this black space up here it's not empty there's stars and you can see that in this image where you can't see it here different skies situation different light pollution situation and different settings 4000 compared to 6400 this one is in the same sky area as that other image so this trestle is just down the street from this dry pond it's right next to each other and look at the difference was it light pollution only that made this sky dim and lacking in star and texture no it wasn't the light pollution it was a difference of another thousand ISO now in this situation 17 seconds and 20 seconds as well so I had a longer shutter and I had a higher ISO well this information right there it's showing you my foreground my foreground I kept it at a hundred ISO so that I wouldn't be noisy here because all these black areas in the craggly earth was gonna be crazy noisy if I had at any higher ISO so I'd only did that at 100 but I remember that it was 5,000 ISO I'll just show you for proof sky shot 5,000 ISO of 20 seconds so when you bring up your exposure and you get your properly exposed Milky Way you're not just helping the core of the Milky Way look awesome you're helping the entire image right to left top to bottom have more stars and the more stars in there for people from cities that just don't see the Milky Way and they don't see all the stars they think of stars as these 2500 pinpoints they don't realize that there's millions up there all the time they don't remember that and when they see a sky like that they're like oh that's a lot of stars and I was out taking a picture and I could have been like look at this trestle and check out all these stars but just that difference in ISO a few seconds I properly exposed really brings out the sky and so it's not just about having that histogram perfect and making that Milky Way awesome it's about bringing more interest in your image more of the stars and just impress people with the texture of the sky when I did the dry pond Milky Way thumbnail for YouTube I actually only used this part of the sky just because it's so interesting even though it doesn't show any of this also it's a very tall and narrow image and hard to do a 1080 wide thumbnail width but zoomed in like this it's still really cool so that's why I want to emphasize a plus of having a properly exposed milky way's you can bring out more of those awesome stars Aaron would you go lower ISIL always instead of the histogram to properly expose the shot because I'm a star trail freak I'm gonna go as low shudder as I possibly can but bring the ISO up as high as I need to to get that exposure so instead of the histogram to properly expose the shot when I go by lower ISO no I mean I think that's opposite of what I would say I'm not sure if I'm misunderstanding you or if you meant it that way but I would focus on higher ISO by default if you've a crop sensor if you have a camera that has 3.5 lens higher ISO go higher get that histogram to be separate from the blacks to the Milkyway mid-tones and and whites get them to show up separate and get them with high ISO make that shutter as small as you can to get that sharpness that you want get that focus exactly right and then bring the ISO up you're gonna be more happy with your image in the end if you see clarity and more interest than you will be by hey there's some noise in this corner or if there's some noise in this dark spot on the foreground mat no one's gonna care no one ever does it's only you so I would actually say lean to a higher ISO and just get that histogram any other questions guys the upgrade is a nikon d750 you're gonna love that always get the histogram to the mid-range yep yeah exactly Gustavo absolutely get it to the mid-range but try and make sure that you're not bringing everything in the mid-range have a separation if it's a big blob check try high high high ISO and low low low ISO just so you can see what happens to the histogram and different examples and then go to the one you want and you'll recognize where that black starts and ends to the mid-tones you'll recognize that even on a weird starfish a blob and then you can adjust from there and that is an awesome lens yeah yeah yeah okay any questions I'm gonna babble for two more minutes right now it is 12:20 so let's end it here in two minutes if you have any questions hit me up anyone who's wondered about low-level lighting I told you about the fall-off I told you this but just know when it clicks on that's the max setting I wish I could go even lower and so the way that I make sure that this is lower on my subject as I get it further and further away the other lesson is that here's your camera here's your light no that's terrible you don't want it to light your subject flat you're gonna want to bring it out so that it is you know perpendicular to the angle you're shooting at the very least maybe even a little bit more so you have a subject say here's some really cool pinnacles right here in the terrain you can't see that here's some really cool pinnacles in the terrain and you want to light them you're gonna get them lit on one side or the other and not the front face because you want that contrasting shadow you want that really interesting shadow low level lighting is fantastic go to low level lighting org and learn about that from Rice bear and Wayne Pinkston I get some gear and help us help the national parks realize that we're not gonna be out there with this big flashlight and waving it around and all of a sudden the dark sky that's beautiful turns into this like light show and then it turns off and then someone else turns on a light show again and it turns off they hate that other people hate that and so they're getting rid of light painting in all the national parks almost and so we need low level lighting to save the ability to lighter subject and do astrophotography without interrupting everyone else in the wildlife and making it annoying so any questions come in why I said that hey Tobias thank you I'm really jealous oh you have your picture on your wall Tobias I got to get one of mine on the wall we have that one and that's it so let's see bright Miller hey man especially if a 4k monitor will make you feel terrible you're Astro phone yeah don't let yourself fall for that because everyone's gonna see your stuff either printed where it just moves out the noise or they're gonna see your stuff on Facebook which makes noise or they're gonna see it in a smaller screen even my iPad Pro when I show it to people it hides everything so the 4k giant monitor only you see it that way don't worry and it to do any questions that have come up man you guys are having a good conversation I don't want to end it how close do you get to the subject with your light okay I kind of went over that let me just answer it directly Donna when I'm at the silo in fact do I have a good silo shot right now that I can show you probably not in quick collection so let's just go to all photographs library and let's look at my silo silo the silo is a very close to me subject and here's me setting something up and here's out-of-focus so that's a good example of what out-of-focus looks like and let's go to a good image out-of-focus out-of-focus oh yeah this is that whole night where I accidentally out-of-focus I was so depressed when I came back let's use this one it's not processed yet it's very bright you can see I'm at 12,800 ISO actually you can't tell the light painting very well let's go to one that you can mm-hmm all that yellow light we had a yellow light pollution problem in this area where look at the nuts yellow light pollution that was happening it was disgusting it ruined everything so frustrating look at how it is behind the silo but this helps you see so you can see right here our cameras are set up right there this wasn't our shot we were just getting ready and then we realized that it was the apocalypse back here at that light pollution and there's a red light on this train track that was lighting the silo it was just everything went terrible so here's my light on the tripod shooting here almost straight on but I'm over here on the right what I wanted was a shadow in between these two bumps of the silo and on this side so you can see how it's roughly 30 yards away from the silo so it just depends on your subject if if I were to pull up Royces image I wonder if I have it easily accessible we can end on that it's a good example of light of light painting from the distance in fact oh I do have it as a template yep yep okay I have our YouTube thumbnail of his presentation if you haven't seen the Royce bear presentation it gives you some very good specifics on light painting locations and how it works well this image right here with my face there you don't see it as well so I move over here but you can see how from here to here you can't see the light it's actually been cloned it was somewhere around here in the image and it was lighting both of these this pinnacle and this pinnacle just letting both of them with one light and it's exactly this light and we're not talking a bigger panel we're not talking anything more amazing than this this guy turned up to a proper brightness that lit up both of those it's just awesome and look how natural it looks especially in this shot where the Milky Way is your light source on the left and it's hitting the side of the rocks yeah I just I love this image we are going to have photog adventures listener adventure to these rocks and Hanksville we're gonna do Hanksville this and goblin Valley for a listener adventure next spring so I'll put it up there is there's gonna be a paid workshop for this too but we're also gonna do a free one for listeners over one weekend and so stay tuned for this maybe Rob Brian can join us maybe Kirk you can come down and be there but yeah we went long but I'm ok with going long I hope you guys had fun any questions that were lagging Gustavo Donna you're welcome Donna any thoughts on the Nick or 10.5 Rob can help you out with that more link to the light Kevin yep absolutely I might as well just try and give it to you right now let's see if I can find it easily enough let me look at our links oh yeah I just barely did it in a podcast that's true so let me go to our podcast link we talked about it again and so I linked to it was in the show notes here no it was to Rob Ryan maybe man no that was actually the star tracker so it'll be something where you'll wait too long for me Kevin to find it right now so I can't do it on the live video but I'm gonna say goodbye to everybody thanks for hanging out next Saturday we'll be here same time 11:00 a.m. the calf shot will be over there not at the computer you're gonna see me at our podcast table over there where we edit our record or podcast we're talk about gear I'm also gonna have our gear time specialist Brendon hopefully with us I hope he can make it next Saturday livin am and we'll have his gear and mine that we can talk about astrophotography gear the pros and cons we already have a gear video for our 2016 gear that's gonna have a lot of that information if you want to watch it now but we're gonna do a quick discussion there and have a last webinar of the series thanks guys for joining me again I'm Aaron King with photog adventures thanks for watching thanks for come and thanks for everything and find us on our Facebook channel if you have any questions you've any questions hit me up on the YouTube comments I'll be there all the time thank you thank you thank you and have a good Saturday see you guys I'll hit the stop streaming now thanks again Rob thanks for your help guys let's go ahead have a good