I present a new 4-minute music video (in 4K resolution) featuring time-lapses of the Milky Way.
One of the most amazing sights is the Milky Way slowly moving across the sky. From Canada we see the brightest part of the Milky Way, its core region in Sagittarius and Scorpius moving across the souther horizon in summer.
But from the southern hemisphere, the galactic core rises dramatically and climbs directly overhead, providing a jaw-dropping view of our edge-on Galaxy stretching across the sky. It is a sight all stargazers should see.
I shot the time-lapses from Alberta, Canada and from Australia, mostly in 2016 and 2017.
I include a still-image mosaic of the Milky Way from Aquila to Crux shot in Chile in 2011.
Do watch in 4K if you can! And in Full-Screen mode.
Locations include Writing-on-Stone and Police Outpost Provincial Parks, and Banff and Jasper National Parks in Alberta.
In Australia I shot from the Victoria coast and from inland in New South Wales near Coonabarabran, with some scenes from the annual OzSky Star Safari held each April.
New Year’s Day proved to be a busy one for sky sights from home in southern Alberta.
Clear skies and warming temperatures allowed me to capture a trio of sights on January 1: Mercury in the morning, a unique mirage called the Fata Morgana in the afternoon, and the rising Full Moon in the evening.
On January 1 elusive Mercury was at its greatest elongation away from the Sun in the morning sky. This placed it as high as it can get above the horizon, though that’s not high at all at the best of times.
I captured Mercury before dawn as a bright star in the colourful twilight, using a telephoto lens to frame the scene more closely.
At this time the temperature outside was still about -24° C, as a cold snap that had plunged the prairies into frigid air for the last week still held its grip.
But by the afternoon, warmer air was drifting in from the west, in a Chinook flow from the Rockies.
As evidence of the change, the air exhibited a form of mirage called the Fata Morgana, named after the sorceress Morgan le Fay of Arthurian legend. The illusion of castles in the air was thought to be a spell cast by her to lure sailors to their doom.
The mirage produced the illusion of bodies of water in the distance, plus distorted, elongated forms of wind turbines and farm buildings on the horizon. The cause is the refraction of light by layers of warm air aloft, above cold air near the ground.
By evening the mirage effect was still in place, producing a wonderful moonrise with the Full Moon writhing and rippling as it rose through the temperature inversion.
As the lead image at top shows, at moments the top of the disk had a green rim (almost a distinct green flash), while the bottom was tinted red.
Here’s a short time-lapse video of the scene, shot through a small telescope. The lead image above and below is a composite of four of the frames from this movie.
This was also the largest and closest Full Moon of the year, what has become popularly called a “supermoon,” but more correctly called a perigean Full Moon.
A lunar cycle from now, at the next Full Moon, the Moon undergoes a total eclipse in the dawn hours of January 31 for western North America. This will be another misnamed Moon, a “blue Moon,” the label for the second Full Moon in a calendar month.
And some will also be calling it a “supermoon,” as it also occurs close to perigee – the closest point of the Moon to Earth in its monthly orbit – but not as close a perigee as it was at on January 1.
So it will be less than super, but it will nevertheless be spectacular as the Full “blue” Moon turns red as it travels through Earth’s shadow.
The clouds cleared to present a magical night under the Moon in the Badlands of southern Alberta.
At last, a break in the incessant clouds of November, to provide me with a fine night of photography at one of my favourite places, Dinosaur Provincial Park, declared a U.N. World Heritage Site for its deposits of late Cretaceous fossils.
I go there to shoot the night sky over the iconic hoodoos and bentonite clay hills.
November is a great time to capture the equally iconic constellation of Orion rising in the east in the early evening. The scene is even better if there’s a Moon to light the landscape.
November 27 presented the ideal combination of circumstances: clear skies (at least later at night), and a first quarter Moon to provide enough light without washing out the sky too much and positioned to the south and west away from the target of interest – Orion and the winter sky rising in the east.
Below is a slide show of some of the still images I shot, all with the Canon 6D MkII camera and fine Rokinon 14mm f/2.5 lens, used wide open. Most are 15-second exposures, untracked.
I kept another camera, the Nikon D750 and Sigma 24mm Art lens, busy all night shooting 1200 frames for a time-lapse of Orion rising, with clouds drifting through, then clearing.
Below is the resulting video, presented in two versions: first with the original but processed frames assembled into a movie, followed by a version where the movie frames show accumulating star trails to provide a better sense of sky motion.
To create the frames for this version I used the Photoshop actions Advanced Stacker Plus, from StarCircleAcademy. They can stack images then export a new set of frames each with the tapering trails, which you then assemble into a movie. I also used it to produce the lead image at top.
The techniques and steps are all outlined in my eBook, highlighted at top right.
The HD movie is just embedded here, and is not published on Vimeo or YouTube. Expand to fill your screen.
To help plan the shoot I used the astronomy software Starry Night, and the photo planning software The Photographer’s Ephemeris, or TPE. With it, you can place yourself at the exact spot to see how the Sun, Moon and stars will appear in sightlines to the horizon.
Here’s the example screen shot. The spheres across the sky represent the Milky Way.
Look east to see Orion now in the evening sky. Later this winter, Orion will be due south at nightfall.
I present a music video of time-lapses of the Northern Lights from Norway, shot from the ship the aptly named m/s Nordlys.
The Nordlys is one of many ferry ships in the Hurtigruten cruise line (the name means “fast route”) that ply the Norwegian coast, with daily departures from Bergen (at latitude 60° N) to Kirkenes at the top of Norway (at 71° N). At the top end of Norway you are under the auroral oval and almost always see some level of auroral activity, if skies cooperate.
This 11-day cruise was blessed with five clear nights with active auroras. I was serving as an instructor for a tour group of 30 from the U.S.-based Road Scholar tour company.
Sailing to the Northern Lights from Alan Dyer on Vimeo.
The final sequence is of the ship entering the Trollfjorden – a narrow fjord often entered in darkness under searchlight. This was a dramatic sight with the aurora dancing overhead.
For a selection of still images from this trip and from the second cruise I did immediately following, see my previous blog post, The Nordlys of Norway.
All exposures were about 1 to 1.3 seconds only, to minimize blurring during each exposure, shot with the Nikon D750 at ISO 6400, and with mostly the Sigma 14mm Art lens at f/1.8.
One sequence is with the Rokinon 12mm full-frame fish-eye at f/2.8. Intervals were 1 to 2 seconds, providing a rapid cadence.
In assembly I applied a 4-frame blur to smooth the frame-to-frame motion. All processing with Adobe Camera Raw and assembly with the Mac app Time-Lapse from MicroProjects.ca (an app no longer available – a pity).
Music is by the Hollywood soundtrack artists AudioMachine, and is used with permission under “social media” licence. It is the track “Above and Beyond” from their album Tree of Life.
I’ve assembled a music video of time-lapse clips and still images of the fine aurora of September 27, with Steve making a cameo appearance.
The indicators this night didn’t point to a particularly great display, but the sky really performed.
The Northern Lights started low across the north, in a very active classic arc. The display then quietened.
But as it did so, and as is his wont, the isolated arc that has become known as Steve appeared across the south in a sweeping arc. The Steve arc always defines the most southerly extent of the aurora.
Steve faded, but then the main display kicked up again and began to fill the sky with a post-sub-storm display of pulsing rays and curtains shooting up to the zenith. Only real-time video can really capture the scene as the eye sees it, but the fast time-lapses I shot do a decent job of recording the effect of whole patches of sky turning on and off.
The display ended with odd pulsing arcs in the south.
Here’s the video, available in 4K resolution.
Alberta Aurora (Sept. 27, 2017) from Alan Dyer on Vimeo.
I present the final cut of my eclipse music video, from the Teton Valley, Idaho.
I’ve edited my images and videos into a music video that I hope captures some of the awe and excitement of standing in the shadow of the Moon and gazing skyward at a total eclipse.
Totality over the Tetons from Alan Dyer on Vimeo.
The video can be viewed in up to 4K resolution. Music is by the Hollywood session group and movie soundtrack masters, Audiomachine. It is used under license.
Never before have I been able to shoot a total eclipse with so many cameras to capture the scene from wide-angles to close-ups, in stills, time-lapses, and videos, including 4K. Details on the setup are in the caption for the video on Vimeo. Click through to Vimeo.
I scouted this site north of Driggs, Idaho two years earlier, in April 2015. It was perfect for me. I could easily set up lots of gear, it had a great sightline to the Grand Tetons, and a clear horizon for the twilight effects. And I had the site almost to myself. Observing with a crowd adds lots of energy and excitement, but also distraction and stress. I had five cameras to operate. It was an eclipse experience I’ll likely never duplicate.
If you missed this eclipse, you missed the event of a lifetime. Sorry. Plain and simple.
If you saw the eclipse, and want to see more, then over the next few years you will have to travel far and wide, mostly to the southern hemisphere between now and 2024.
But on April 8, 2024 the umbral shadow of the Moon once again sweeps across North America, bringing a generous four minutes of totality to a narrow path from Mexico, across the U.S., and up into eastern Canada.
It will be the Great North American Eclipse. Seven years to go!
The summer Full Moon arcs low across the southern sky, mimicking the path of the winter Sun.
This is a project I had in mind for the last month, and hoped to capture at the July Full Moon. A clear, dry, and cooperative night provide the chance.
The still images are composites of 40 images of the Moon traveling across the sky from dusk to dawn, taken at 10-minute intervals. They are layered onto a blend of background images of the 10 p.m. dusk sky (left), 2 a.m. middle-of-the-night sky (middle), and 5 a.m dawn sky (right).
As a bonus, the 10 p.m. sky shows some dark crepuscular rays in the twilight, while at 2 a.m. the Moon was in light cloud and surrounded by iridescent colours. By 5 a.m. denser clouds were moving in to obscure the Moon.
I shot the still image composite (above) and time-lapse movie (below) to illustrate the low arc of a summer Full Moon. In summer (June or July) the Full Moon sits at a similar place near the ecliptic as does the Sun in winter near the December solstice.
From the northern hemisphere the low position of the winter Sun gives us the short, cold days of winter. In summer, the similar low position of the Full Moon simply gives us a low Full Moon! But it is one that can be impressive and photogenic.
The time-lapse movie uses all 400 frames of the moving Moon superimposed onto the same background sky images, but now dissolving from one to the other.
The movie is 4K in resolution, though can be viewed at a smaller resolution to speed up playback if needed.
For the technically minded:
The Moon disks in the time-lapse and still composite come from a series of short 1/15-second exposures, short enough to record just the disks of the bright Moon set against a dark, underexposed sky.
I took these shots every minute, for 400 in total. They are blended into the bright background sky images using a Lighten blend mode, both in Photoshop for the still image, and in Final Cut for the movie.
The background sky images are longer exposures to record the sky colours, and stars (in the case of the 2 a.m. image). They are blended with gradient masks for the still image, but dissolved from one to the other in the time-lapse movie.
I shot the frames with a 15mm full-frame fish-eye lens and Canon 6D, with the camera not moved during the 7-hour shoot.