![]() You could also use a Photoshop script to load the JPGs as layers. But if you have an older computer or not a lot of scratch-disk space, you may want to instead export all these frames as JPGs (full-resolution) and then load those files into Photoshop layers using Adobe Bridge. It will result in the highest-quality final image, albeit one that’s huge (in this case, a 7 GB PSB file). If your computer can handle the task, load the images into Photoshop using the method I described above. Less Ideal, But Less Computer-Stressing Method I also imagined what this should look like and made the ground edit believable-not too bright, not too warm. Why? Because it would be easier to use a selection tool later in Photoshop.įor my foreground image, I did the opposite: I pushed up the whites and highlights in a gradient mask and range mask, and I carefully edited the edge so as not to blur the ground/sky transition (Figure 4, right). ![]() Let’s prep the foreground image to make it easier to blend with the other frames.įor my sky image, I had deliberately crushed the blacks and shadows with a gradient mask and range mask to make the ground as dark as possible (Figure 4, left). I knew pretty much exactly what I was going to use, because I love my first photo from when the moon rose over the Sangre de Cristo Mountains. You may have shot several options to use as your foreground-some long exposures at a low ISO, some with light painting, some with moonlight, etc. So stay positive, be smart and work with what you get. And even if you’re supposed to be witnessing massive activity, your camera angle may not capture what does end up being visible, despite your best scouting efforts. (This is part of the info that PhotoPills provides.) This may vary by location, and will certainly vary by the amount of moonlight in the sky. Lesson: Maximize your chances keep that sequence going as long as you can.Īlso note that each meteor shower has a different potential yield for meteors per hour. And I was running an exposure sequence for over two hours. Yes-only 7 percent of my frames captured meteors. I found only 23 frames with meteors out of 325 images. But persevere! The end is in sight.Īs I found mine, I used a Yellow color label (number 7 on the keyboard, Figure 3) to mark each one. Then do a few more subsequent passes at the “fill” zoom setting on different areas of the sky.įinding all those meteors is time-consuming-possibly the most time-consuming part of this post-processing project. Do your first pass with the zoom at “to fit screen” to find the dramatic, obvious meteors. Make a few passes through the whole series. You will eventually train your eyes to see the meteors. Toggle back and forth between pairs of images while looking for differences. So first spend some time in Lightroom to identify every image that has an actual meteor in it. It’s easier to export and work with only the ones with meteors. ![]() ![]() You could export all the images as layers in Photoshop, but imagine how much that would choke your computer. ![]()
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