![]() Provided you don’t move the camera or alter any settings while you take your shots, it should be easy to combine them. Set a self-timer delay of 5 or 10 sec to allow you to get into position with your torch, and play the light over the subject, using a different angle for each shot. After you’ve framed up and focused, switch to MF to ensure the focus doesn’t change, and use Manual mode with a shutter speed of 8 sec and an aperture of f/11. The longer the exposure is, the more time you have to move your torch around – but to avoid lighting the whole subject in one go, it’s easier to lock off the camera on a tripod, and make several shorter exposures, lighting the subject in sections at a time. Frame up with Live View enabled and zoom in on the edge, and you’ll see the Moon positively belting across the screen!īy shooting a long exposure while shining a torch, you can manually light a static subject. The important thing is to use a shutter speed of at least 1/125 sec. If it’s too dark, set the aperture to f/8. If it’s too bright, set the shutter speed to 1/250 sec and reshoot. Use a remote release if possible if you don’t have one to hand, set the self- timer to 5 sec so you’re not touching the camera when the shot is captured. If you have a mirror lock-up mode, engage it, as this will minimise any vibrations when the shot is taken. Focus using AF, but switch to MF to lock the focusing distance. For a full moon, dial in an aperture of f/11 and a shutter speed of 1/125 sec, with the ISO set to 100. With the camera on a sturdy tripod, set the main mode to Manual (M). Compact cameras have even higher crop factors as have smaller sensors – making some zoom and bridge models perfect for really close-ups of the moon. so that a 300mm lens setting would give you an equivalent of a 600mm. Micro Four Thirds lenses have a 2x focal length crop factor. You’ll need at least a 300mm lens, but even longer is better if you can get your hands on a focal length that is equivalent to 500mm or a 600mm.Ĭameras with APS-C sensors have an advantage over full-frame models, as the sensor crop effectively magnifies the focal length by 1.5x (so a 400mm gives you an effective focal length of 600mm). The Moon is much brighter and much faster-moving than you’d think, so you need to set up carefully to get a well-exposed shot. I'd expect that Pentax is maybe a bit more accurate than others, based purely off of my newfound brand allegiance bias.As the largest object in the night sky, the Moon is a must-shoot subject for any night photographer – but rather than revealing lunar craters and seas, most attempts result in a blank white disc devoid of any detail. I know that measured and declared ISO is a contentious subject in some circles. ![]() Rumor is that it is actually ISO 200 on the K-3. Nominal base ISO for both cameras is ISO 100. Same evening, same subject, wider view.ISO 200 One can click through to view higher resolution at Flickr. I don't push the envelope and expect miracles nor do I do much NR in PP (I don't own dedicated NR software). ![]() For direct comparison, K-3 noise performance is equivalent to the K-5 series cameras when the K-3 image is downsized to 16 megapixel.Īs for my personal practice, I own the K-3 and address potential noise issues the same as I would on any other camera. My memory is that the K-3 may have more more noise for combinations of ISO and subject, but that detail capture is generally better on the K-3. This question was bandied around at length after the K-3's introduction. So for each camera I usually get 15-20 minutes of dark frames (30-60 darks per camera). I prefer to capture as many light frames as possible when out so for capturing dark frames I do it at the end while I am tearing down and packing everything else up. This method provides better results than the high ISO or slow shutter speed noise reduction as it allows you to capture more light frames in a given period of time and you also remove more of just the systematic error from each light shot. By taking multiple dark frames and averaging them together it removes more of the true random noise in the master dark providing a more accurate representation of the actual systematic error you want to subtract out of each of the light frames and thus final image. From there you load them into your stacking program and tell it they are dark frames and it will create a master dark to subtract from all of the light frames. If you are really concerned about sensor heat artefacts then the thing to do is to take several dark frames at the same ISO and shutter speed at the end of your astro imaging session.
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