University of Southern California Dissertations and Theses

The application of photography technology in modern graphic design: the beauty of astrophotography

(USC Thesis Other)

The application of photography technology in modern graphic design: the beauty of astrophotography

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Content T H E A P P L I C A T I O N O F P H O T O G R A P H Y T E C H N O L O G Y I N M O D E R N G R A P H I C
D E S I G N
T H E B E A U T Y O F A S T R O P H O T O G R A P H Y
by
W a ngyu L i u
A T he s i s P r e s e nt e d t o t he
F A C U L T Y O F T H E U S C R O S K I S C H O O L O F A R T A N D D E S I G N
U N I V E R S I T Y O F S O U T H E R N C A L I F O R N I A
I n P a r t i a l F ul f i l l m e nt of t he
R e qui r e m e nt s f or t he D e gr e e
M A S T E R O F F I N E A R T S I N D E S I G N
D e c e m be r 2022
C o p y r i g h t 2 0 2 2 W a n g y u L i u
i i
T A B L E O F C O N T E N T S
L i s t of F i g u r e s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . i i i
A b s t r a c t . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . v
I n t r o d u c t i o n . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
C h a p t e r 1 : S t a r p h o t o g r a p h y c l a s s i f i c a t i o n s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
1. 1 L a n d s c a p e A s t r o p h o t o g r a p h y . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 1
1 . 2 W i d e - F i e l d D e e p S p a c e P h o t o g r a p h y . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 2
1 . 3 E x t r e m e D e e p - S k y A s t r o p h o t o g r a p h y . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 2
C h a p t e r 2 : S t a r r y S k y P h o t o g r a p h y P r a c t i c e . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 4
2.1 F i l m S t a r P h o t o g r a p h y P r a c t i c e . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 4
2 . 2 D i g i t a l C a m e r a S t a r P h o t o g r a p h y P r a c t i c e . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 4
C o n c l u s i o n . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 3
B i b l i o g r a p h y . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 5
i i i
L i s t o f F i g u r e s
F i g u r e 0 : J u n o c a m I m a g e S e t 8 9 3 – P o l a r T i m e L a p s e S e q u e n c e . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . v
F i g u r e 1 : A p i c t u r e o f t h e M i l k y W a y . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
F i g u r e 2 : A p h o t o o f t h e N o r t h e r n L i g h t s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
F i g u r e 3 : B e r k o w s k i ' s f i r s t p h o t o o f a s o l a r e c l i p s e o n J u l y 2 8 , 1 9 5 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
F i g u r e 4: I m a g e t a k e n b y t h e C a s s i n i s p a c e c r a f t i n J u l y 2 0 1 6 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
F i g u r e 5 : A p i c t u r e o f a f u l l m o o n . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 0
F i g u r e 6 : L a n d s c a p e M i l k y W a y p h o t o b y N e i l Z e l l e . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 1
F i g u r e 7 : N A S A ' s o u t e r r i n g s o f S a t u r n . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 2
F i g u r e 8 : A p i c t u r e o f t h e s k y i n J o s h u a T r e e . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 3
F i gur e 9: T he phot ogr a phy pl a c e i n t he de s e r t ...............................................................................15
F i gur e 10: S c r e e ns hot of t he pos i t i on on t he m a p ..........................................................................15
F i gur e 11: S c r e e ns hot of t he l i ght pol l ut i on m a p ...........................................................................16
F i g u r e 1 2 : F i l m c a m e r a o n t h e e q u a t o r i a l t e l e s c o p e . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 7
F i g u r e 1 3 : F i l m c a m e r a o n t h e e q u a t o r i a l t e l e s c o p e . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 7
F i g u r e 1 4 : T h e f i l m I u s e d . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 8
F i g u r e 1 5 : H o w t h e e q u a t o r i a l t e l e s c o p e w o r k s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 9
F i g u r e 1 6 : P h o t o g r a p h e n v i r o n m e n t . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 9
F i g u r e 1 7 : F i l m w i t h c l e a r M i l k y W a y . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 0
F i g u r e 1 8 : 1 0 0 % m a g n i f i c a t i o n a f t e r s c a n n i n g . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 1
i v
F i g u r e 1 9 : F i n i s h e d f i l m o n t h e l i g h t b o x . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 2
F i g u r e 2 0 : D i g i t a l s c a n n i n g f i l m . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 2
F i g u r e 2 1 : M y f i r s t s u c c e s s f u l d i g i t a l p h o t o g r a p h y . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 5
F i g u r e 2 2 : S e l f i e u n d e r t h e b e a u t i f u l s k y . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 7
F i g u r e 2 3 : S t a r p h o t o g r a p h y . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 8
F i g u r e 2 4 : M i l k y W a y a b o v e t h e r o a d . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 0
F i g u r e 2 5 : L i g h t p r a c t i c e . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 1
F i g u r e 2 6 : M e t e o r s h o w e r . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 3
F i g u r e 2 7 : S i n g l e f r a m e p i c t u r e o f M e t e o r . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 4
F i g u r e 2 8 : G e m i n i d m e t e o r s h o w e r . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 5
F i g u r e 2 9 : S t a r T r a i l s b y J u s t i n N g . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 6
F i g u r e 3 0 : S c r e e n s h o t o f t h e P h o t o s h o p . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 7
F i g u r e 3 1 : F i n a l w o r k o f s t a r t r a i l s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 8
F i g u r e 3 2 : C o m e t C / 2 0 2 0 F 3 ( N E O W I S E ) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 0
F i g u r e 3 3 : C o m e t C / 2 0 2 0 F 3 ( N E O W I S E ) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 1
F i g u r e 3 4 : C o m e t C / 2 0 2 0 F 3 ( N E O W I S E ) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 2
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A b s t r a c t
T he c i t y w he r e I w a s r a i s e d ha d no l i ght pol l ut i on a nd s o I w a s a bl e t o s e e t he s t a r s i n t he
ni ght s ky c l e a r l y. E ve n a s a c hi l d I w a s a t t r a c t e d t o t he be a ut i f ul s c e ne r y. M y l ove f or s t a r ga z i ng
di d not go a w a y a s I got ol de r a nd i n f a c t i t l e d m e t o t hi nk a bout t he r e l a t i ons hi p hum a ns ha ve t o
t he uni ve r s e a nd t he or i gi n of t he uni ve r s e . I be ga n t o r e s e a r c h a nd pr a c t i c e a s t r ophot ogr a phy
w i t h t he de s i r e t o r e c or d t he s e unr e a c ha bl e l i ght s i n t he s ky.
A s t r ophot ogr a phy ha s a l ong hi s t or y of de ve l opm e nt , f r om t he or i gi na l c oppe r pl a t e
phot ogr a phy t o t oda y' s di gi t a l i m a ge s . O r di na r y phot ogr a phe r s c a n us e di gi t a l c a m e r a s w hi l e
pr of e s s i ona l f i e l ds s uc h a s N A S A us e hi gh- de f i ni t i on t e l e s c ope s or e ve n s pa c e c r a f t t o s hoot .
F i gur e 0: J unoc a m I m a ge S e t 893 – P ol a r T i m e L a ps e S e que nc e
vi
M y t he s i s i s a bout t he pr a c t i c e of f i l m phot ogr a phy a nd di gi t a l phot ogr a phy us e d t o c a pt ur e
di f f e r e nt c e l e s t i a l bodi e s a nd a s t r onom i c a l phe nom e na . A s t r ophot ogr a phy i s c ha l l e ngi ng. T o
c a pt ur e a n i m a ge t he phot ogr a phe r m us t f a c e ha r s h e nvi r onm e nt s a nd ha ve a de t a i l e d
unde r s t a ndi ng of c om pl e x i m a gi ng a nd de ve l opm e nt m e t hods . T he pr a c t i c e of a s t r ophot ogr a phy
r e qui r e s gr e a t t e c hni c a l know l e dge a nd a c om m i t m e nt t o r e s e a r c h a nd pr a c t i c e . O f t e n i t t a ke s
m a ny f a i l ur e s a nd e xpe r i m e nt s t o ge t t he i m a ge .
M y t he s i s w or k f oc us e s on ove r c om i ng t he ha r ds hi ps of t he pr oc e s s , a ddi ng m y de s i gn
pe r s pe c t i ve a nd pur s ui ng t he c r e a t i ng m e m or a bl e i m a ge s t ha t e xpa nd our know l e dge of s pa c e
a nd t he pl a c e w e hol d w i t hi n i t .
1
I n t r o d u c t i o n
I ha ve l onge d f or t he s t a r r y s ky be c a us e i t ha s he a l e d m y s oul s i nc e I w a s a c hi l d. T he ol de r I
ge t , t he m or e I r e a l i z e t ha t t hi ngs t ha t c a n m a ke pe opl e ha ppy a r e be c om i ng r a r e . I ha ve a l w a ys
l ove d t he de e p s ky a nd di s t a nt ga l a xy, w hi c h i s s o f a s c i na t i ng e ve n t hough I a m f a r a w a y f r om i t .
W he n t he s t a r l i ght t ha t t r a ve l s t hous a nds of l i ght - ye a r s r e a c he s t he E a r t h a nd our e ye s , e ve n i f
t he l i ght be c om e s f a i nt , i t w i l l s t i l l s how gr e a t ne s s t o hum a ni t y.
A f t e r a l l t he s e ye a r s of phot ogr a phi ng t he s t a r s a nd t he ni ght s ky, I ha ve l e a r ne d t ha t w e a s
hum a n be i ngs a r e onl y on t he s ur f a c e of t hi s pl a ne t i n t he s ol a r s ys t e m but c om pa r e d t o t he va s t
uni ve r s e a nd t hos e unknow n pl a c e s , a m ong t he t r i l l i ons of s t a r s i n t he M i l ky W a y, w e a r e j us t a s
t i ny a s dus t . T he r e a r e 24 hour s a da y, a nd a pe r s on' s l i f e i s onl y a hundr e d or e ve n doz e ns of
c i r c l e s a r ound t he s un. I n our s hor t l i f e , t he r e i s no ne e d t o w or r y a bout ga i ns a nd l os s e s . L i vi ng
e ve r y m om e nt of t he pr e s e nt i s w ha t I w a nt t o do.
A l s o, one of t he m a i n r e a s ons I a m a t t r a c t e d t o t he s t a r s i s t ha t I c a n r e l a x a nd f or ge t a l l m y
i de nt i t i e s a nd l a be l s w hi l e l ooki ng up a t t he s ky. W he n I s e e t hos e s hi ni ng m e t e or s or t he c ol or f ul
M i l ky W a y i n t he vi e w f i nde r , a t t ha t m om e nt , I c a n onl y be s t i m ul a t e d by t he va s t uni ve r s e on
t he s ur f a c e of m y br a i n, a nd I w a nt t o pr e s s t he c a m e r a s hut t e r t o r e c or d t hi s va s t a nd be a ut i f ul
s c e ne i n f r ont of m e . T hi s s t a r t ha t t r a ve l s l i ght ye a r s a w a y i s s o m ys t e r i ous a nd gr a nd.
E ve r y da z z l i ng s t a r m a y ha ve a l r e a dy be e n na m e d. I t c a n be s a i d t ha t l ooki ng up a t t he s t a r s
i s t he i nna t e l ongi ng of hum a n be i ngs . W he n I i de nt i f y e a c h s t a r f r om t he m obi l e phone s of t w a r e ,
c onne c t i t t o e a c h c ons t e l l a t i on, or c a l l out i t s na m e gi ve n by ot he r pe opl e , i t s e e m s l i ke I ha ve
2
c om m uni c a t e d w i t h t he a nc i e nt s . W ha t w e s e e i s t he s a m e s ky a nd t he s a m e gr oup of s t a r s , t he
c ons t a nt l y s hi ni ng s t a r s e e m s t o us hum a ns t o be e t e r na l . O ur hum a n hi s t or y i s i n t he uni ve r s e ,
but onl y f or a m om e nt . E ve r y t i m e I t hi nk of t hi s , I f e e l a s e ns e of a w e a nd a dm i r a t i on f or t he
uni ve r s e .
I pos t e d m y pi c t ur e s on s e ve r a l w e bs i t e s a nd s ha r e d t he m w i t h good f r i e nds . W he n m y
f r i e nds s a w t he c l e a r M i l ky W a y a nd t he s hi ni ng M e t e or s how e r i n t he s e pi c t ur e s , t he y a s ke d m e
i f I c oul d s e e t he s hi ni ng s t a r s a t ni ght . T he l i vi ng e nvi r onm e nt a nd pe r s ona l ha bi t s m a y gi ve m e
a uni que a dva nt a ge i n phot ogr a phi ng t he s e pi c t ur e s . M a ny pe opl e c a nnot r e a c h t he pur e bl a c k
da r k s ky a nd c a nnot e ve n s t a y a w a y f r om t he hi gh l e ve l of l i ght pol l ut i on ne a r t he c i t i e s . B e c a us e
l i ght pol l ut i on w i l l hi nde r t he na ke d e ye ' s a bi l i t y t o obs e r ve t he da r k e nvi r onm e nt . T he c l os e r t o
t he l i ght s our c e , t he bi gge r i m pa c t w i l l be
1
. T he r e f or e , m y hom e t ow n i s not a f f e c t e d by l i ght
pol l ut i on a nd c a n c l e a r l y obs e r ve t he uni ve r s e .
W he n I w a s ve r y young, m y f a m i l y ha d not m ove d t o t he bi g c i t y, a nd our t ow n di d not ha ve
l a r ge bui l di ngs of e nt e r t a i nm e nt a nd ne on l i ght s . S i t t i ng i n t he ya r d w i t h f a m i l y, w a t c hi ng t he
s t a r s on a s um m e r e ve ni ng, i s t he m os t c om m on a c t i vi t y I r e m e m be r . H ow e ve r , l ooki ng a t t he
ni ght s ky e ve r y s i ngl e ni ght m a de m e gr a dua l l y i nt e r e s t e d i n t hi s unknow n s pa c e .
H ow e ve r , c om pa r e d t o t he uni ve r s e , hum a n be i ngs a r e s o or di na r y a nd i ns i gni f i c a nt . N o
m a t t e r how w e c ha nge a nd pr ogr e s s , ot he r pl a ne t s i n t he uni ve r s e onl y ope r a t e a c c or di ng t o t he i r
ow n l a w s . S o, w ha t r ol e do hum a ns pl a y?
1
W i l l i a m C . M a l m , K a r e n K . L e i ke r , a nd J ohn V . M ol e na r , “ H um a n P e r c e pt i on of V i s ua l A i r Q ua l i t y ” , 1980: 122 – 3 1
3
A c c or di ng t o c ur r e nt s c i e nt i f i c t he or i e s , t he pr e s e nt uni ve r s e or i gi na t e d f r om t he bi g ba ng
m or e t ha n 10 bi l l i on ye a r s a go. A t t ha t t i m e , t he uni ve r s e e xpe r i e nc e d va c uum e xpa ns i on, a l a r ge
a m ount of m a t t e r ga t he r e d i n a s m a l l s pa c e
2
. I n t hi s m a c r os c opi c pr oc e s s , t he pa r t i c l e s
t he m s e l ve s w e r e c ons t a nt l y m ovi ng a nd c ha ngi ng, a t t he s a m e t i m e t he y i nt e r a c t e d w i t h ot he r
pa r t i c l e s . U nde r t he m a c r os c opi c a nd m i c r os c opi c c ha nge s of t he uni ve r s e , ne bul a e , ga l a xi e s , a nd
pa r a l l e l s pa c e s ha ve gr a dua l l y f or m e d. W i t h s t a bl e ga l a xi e s , t he r e a r e c ondi t i ons f or nur t ur i ng
l i f e be c a us e t he dr a s t i c e nvi r onm e nt a l c ha nge s a r e unbe a r a bl e f or or di na r y c r e a t ur e s .
H um a ns a r e s pe c t a t or s , s o w ha t e f f e c t doe s t hi s ha ve ? T he uni ve r s e w e l i ve i n i s c om pos e d
o f t h e m a t e r i a l w o r l d , t h e e n e r g y w o r l d , a n d t h e i n f o r m a t i o n w o r l d . T h e s e t h r e e ; i n t e r d e p e n d e n c e ,
m ut ua l t r a ns f or m a t i on, a nd m ut ua l s uppor t ha ve f or m e d our pr e s e nt c ol or f ul w or l d
3
. A s t he
e s s e nc e of t he uni ve r s e , hum a n be i ngs m us t be a n e f f e c t i ve c om bi na t i on of t he t hr e e e l e m e nt s of
m a t t e r , e ne r gy, a nd i nf or m a t i on i n da i l y l i f e . T he w a y t o obs e r ve t he uni ve r s e i n a ddi t i on t o
obs e r vi ng i t a s a n obj e c t i ve w hol e f r om t he out s i de , w e c a n a l s o s t a r t f r om t he i ns i de . I de a l i s m
be l i e ve s t ha t " m y he a r t i s t he uni ve r s e , a nd t he uni ve r s e i s m y he a r t ."
4
A s t r onom i c a l phe nom e na
be c a m e t he c a r r i e r of m y e m ot i ons .
I n m os t of t he hi s t or y i n t he de ve l opm e nt of t he uni ve r s e , hum a n be i ngs s l um be r e d i n
i gnor a nc e a nd de s ol a t i on. T he oc c a s i ona l obs e r va t i on of t he s t a r r y s ky a bove t he he a d ha s a l s o
be e n e ndow e d w i t h s upe r s t i t i on a nd i m a gi na t i on. M ode r n c i vi l i z a t i on br ought us t e l e s c ope s , but
t he s c ope of w ha t w e s e e t hr ough i t i s a l s o e xt r e m e l y s m a l l a nd bl ur r y. U nt i l t he 1950s , t he e a r t h
2
L e vi n , “ H ow C os m ol ogy E xpl a i ns O ur B i g B a ng U ni ve r s e ” , 2007
3
T i e l e ns , “ T he M ol e c ul a r U ni ve r s e ” , 2013: 1021– 1081.
4
A i m e e , “ T he S oul s of M y U ni ve r s e ” , 2019
4
e nt e r e d t he s pa c e a ge , a nd hum a n be i ngs be ga n t o s t e p out of t he c r a dl e of e a r t h a nd gr a dua l l y
e xpl or e t he s ur r oundi ng e nvi r onm e nt of our pl a ne t
5
. W e w i l l s e nd pr obe s t o m a ke de t a i l e d
obs e r va t i ons , a nd w e w i l l a l s o c onduc t f i e l d vi s i t s t hr ough m a nne d s pa c e f l i ght . T he r e a r e m a ny
f a i l ur e s , a nd na t ur a l l y t he r e a r e a l s o gr e a t s uc c e s s e s . T he l ogi c of s pa c e e xpl or a t i on i s a c t ua l l y
s i m pl e : t he uni ve r s e i s t he r e ; w e m us t l ook a nd t ouc h i t .
S pa c e t e c hnol ogy ha s a l s o e xpe r i e nc e d s e ve r a l r e vol ut i ons , a nd now N A S A ha s a nnounc e d
t ha t t he y w i l l s e nd pe opl e t o M a r s f or a vi s i t i n 2040
6
. I t a l s o m e a ns t ha t w e ha ve t a ke n t he f i r s t
s t e p i n t he pr oc e s s of pl a ne t a r y m i gr a t i on, M a r s ha s t he s a m e c ondi t i ons f or hum a n e xi s t e nc e . A s
a t i ny i ndi vi dua l l i vi ng on t he e a r t h, i t i s ve r y di f f i c ul t t o l e a ve t he e a r t h, but t hi s doe s not a f f e c t
m y ye a r ni ng f or t ha t s pa c e . S t a r l i ght t r a ve l s f or a l ong t i m e , a nd va r i ous l i ght w a ve s pa s s t hr ough
hum a n s e ns e s t o pr e s e nt a s e t of c os m i c pi c t ur e s . T he f a m ous H ubbl e t e l e s c ope ha s pr ovi de d us
w i t h t e ns of t hous a nds of s pa c e phot os . T he uni ve r s e i t s e l f i s i nvi s i bl e , but w e c a n m a ke i t
vi s i bl e .
W e a r e s pe c t a t or s of t he uni ve r s e . F r om m y pe r s ona l poi nt of vi e w , I t hi nk i t ' s ve r y
m e a ni ngf ul t o pe opl e . H um a ns a r e t he vi e w e r s of t he uni ve r s e . W i t h t hi s unde r s t a ndi ng of t he
uni ve r s e , I w a nt t o us e a r t a nd s c i e nc e a s t he c a r r i e r . S c i e nc e i s a di s c i pl i ne t ha t obs e r ve s t he r e a l
uni ve r s e a nd s t udi e s obj e c t i ve t hi ngs , w hi l e a r t i s s ubj e c t i ve a nd c om e s f r om pe opl e ' s s e ns e s a nd
i m a gi na t i ons . T he r e f or e , t he pur s ui t of t r ut h a nd be a ut y c a n a l s o be uni f i e d. F or t he s t a r r y s ky
5
T r i bbe , N o R e qui e m f or t he S pa c e A ge : t he A pol l o M oon L a ndi ngs a nd A m e r i c a n C ul t ur e , 2014.
6
H ow e l l , “ B i de n R e que s t s $26 B i l l i on B udge t f or N A S A i n 2023 a s A ge nc y A i m s t o P ut A s t r ona ut s on M a r s by 2040. ” ,
2022.
5
a nd t he uni ve r s e , i n t he e ye s of phys i c i s t s , t he uni ve r s e i s a w a ve f unc t i on w i t h m a ny pa r t i c l e s
7
.
A s a n a r t i s t a nd phot ogr a phe r , t he uni ve r s e I s e e i s r i c h i n c ol or s a nd s t r ong c ont r a s t s . T he s e ki nd
of pi c t ur e s a r e s om e t hi ng I c a n f e e l t hr ough m y body a nd m i nd. O f c our s e , t he r e i s e m ot i ona l
i nve s t m e nt i n i t . I f e e l j oy w he n I s e e t he be a ut i f ul ga l a xy a nd c ons t e l l a t i ons .
7
U ni t e d P r e s s I nt e r na t i ona l , “ E xpl or i ng t he D a r k U ni ve r s e ” , 2021.
6
F i gur e 1: A pi c t ur e of t he M i l ky W a y
A not he r r e a s on t ha t s uppor t e d m y i nt e r e s t i n phot ogr a phy w a s m y f a t he r . H e w a s a
phot ogr a phe r but di d not s t udy i t t hr ough a f or m a l pr oc e s s , he j us t pr ovi de d m e w i t h a di gi t a l
c a m e r a i n m y e a r l y s t udy s t a ge i n phot ogr a phy. I w a s t hi nki ng ba c k t o m y hi gh s c hool
gr a dua t i on t r i p a t 18 ye a r s ol d, w hi c h w a s a vi t a l t ur ni ng poi nt i n m y l i f e . I t w a s i n Y unna n
P r ovi nc e , a c i t y w i t h a n a ve r a ge a l t i t ude of 3,000 m e t e r s . I a c c i de nt a l l y l i f t e d m y he a d a t ni ght
a n d s a w t h e c l e a r M i l k y W a y a b o v e m y h e a d . A t t h a t m o m e n t , I f e l t l i k e a c h i l d i n m y h o m e t o w n ,
a nd t he s c e ne l i ke I w a s t e n ye a r s a go a ga i n a ppe a r e d i n m y e ye s . A t t hi s poi nt , I a l r e a dy ha d m y
c a m e r a a nd w a nt e d t o put t hi s uni que vi e w i n m y phot o a l bum .
I s t a r t e d m y f i r s t a t t e m pt a t s hoot i ng t he s t a r s ky. T he r e s ul t w a s e a s y t o gue s s , e ve r y phot o
7
w a s bl a c k, a nd no s t a r s w e r e r e c or de d. N o m a t t e r how m uc h I c ha nge d t he c a m e r a s e t t i ngs , I s t i l l
ne e de d t o c ha nge t he f i na l e xpos ur e e f f e c t s . A l t hough t he s e a t t e m pt s f a i l e d, I ha d a l r e a dy
de c i de d t o c a pt ur e t he be a ut i f ul , dr e a m y ni ght . I n j us t a f e w s hor t ye a r s , I ha ve e vol ve d f r om
be i ng i gnor a nt t o be i ng a s t a r phot ogr a phe r t oda y.
F i gur e 2: A phot o of t he N or t he r n L i ght s
8
C h a p t e r 1 : S t a r P h o t o g r a p h y C l a s s i f i c a t i o n s
O ne of t he be s t w a ys t o l e a r n i n t hi s f i e l d i s t o t r y t o s hoot m or e pi c t ur e s . T he s ubj e c t m a t t e r
i s di ve r s e : a s t r ophot ogr a phy e l e m e nt s r a nge f r om e xpa ns i ve vi e w s of t he M i l ky W a y t o br i ght
c om e t s , a ur or a s , s t a r t r a i l s , or uni que s ol a r s ys t e m phe nom e na
8
.
W hi l e t hi s m a y s ound pe c ul i a r , a s t r ophot ogr a phy i s one of t he e a r l i e s t t ype s of phot ogr a phy.
T he pr of e s s i ona l f i e l d f i r s t e m e r ge d i n t he 19t h c e nt ur y t ha nks t o t he e f f or t s of a m a t e ur
a s t r onom e r s . D e s pi t e t he s e c ha l l e nge s , a nd m a ny unc e r t a i nt i e s , t he f i r s t s uc c e s s f ul phot o of t he
m oon a ppe a r e d i n 1840. I t t ook N Y U c he m i s t r y pr of e s s or J ohn W i l l i a m D r a pe r 20 m i nut e s t o
t a ke a da gue r r e ot ype f r om a r e f l e c t i ng t e l e s c ope
9
.
F i gur e 3: B e r kow s ki ' s f i r s t phot o of a s ol a r e c l i ps e on J ul y 28, 1951
B ut l i m i t e d by t he phot os e ns i t i ve a bi l i t y of f i l m , a s t r ophot ogr a phy ha s be e n c ont i nuous l y
8
L e ga ul t , A s t r ophot ogr a phy, 2014.
9
B a r ne s , “ 13 A s t r ophot ogr a phe r s C a pt ur i ng t he A w e - I ns pi r i ng W onde r s of t he G a l a xy ” , 2022
9
i m pr ove d. C C D s w e r e i nve nt e d i n t he 1970s a s a di gi t a l s e ns or t ha t c onve r t s di gi t a l s i gna l s i nt o
pi c t ur e s . N A S A t a ke s a l ot of be a ut i f ul phot os on i t s ow n s c i e nt i f i c f l i ght s
1 0
.
F i gur e 4: I m a ge t a ke n by t he C a s s i ni s pa c e c r a f t i n J ul y 2016
M or e ove r , a phot o c a nnot be j us t t he s ky, t he l a nds c a pe pa r t of t he gr ound i s e qua l l y
i m por t a nt . F or m e , a s a n or di na r y phot ogr a phe r , I c a n' t f l y out of t he a t m os phe r e t o do t ha t ki nd
of phot ogr a phy, a l l I c a n do i s f i nd a hi gh- s e ns i t i vi t y c a m e r a a nd a w i de - a ngl e l e ns w i t h a l a r ge
a pe r t ur e , a nd t hi nk a bout m y c om pos i t i on. I a l w a ys l ook f or i nt e r e s t i ng f or e gr ounds a nd
ba c kgr ounds t o c om pl e t e m y s hoot i ng pl a n. T he r e f or e , e a c h i m a ge i s c a r e f ul l y c ur a t e d t o c hoos e
t he m os t s ui t a bl e l oc a t i on a nd s e a s on a c c or di ng t o m y i de a s a nd t o obt a i n t he pr e c i s e t i m e a nd
s hoot i ng l oc a t i on t hr ough c a l c ul a t i on or s of t w a r e s i m ul a t i on; a ny s i ngl e oppor t uni t y c a n not be
m i s s e d.
1 0
B a r ne s , “ 13 A s t r ophot ogr a phe r s C a pt ur i ng t he A w e - I ns pi r i ng W onde r s of t he G a l a xy ” , 2022
10
F i gur e 5: A pi c t ur e of a f ul l m oon
T o gi ve a s i m pl e e xa m pl e , I w a nt t o s hoot t he pr oc e s s of t he r i s i ng of t he f ul l m oon f r om
G r i f f i t h O bs e r va t or y dur i ng t he M i d- a ut um n F e s t i va l . A t t hi s t i m e , I ne e d t o t hi nk c a r e f ul l y. I
w i l l a l s o m e nt i on t he ot he r s hoot i ng pr oc e s s l a t e r . S o I r e s e a r c he d t he t ype s of phot ogr a phy f or
a s t r onom y a nd f ound t ha t i t c a n be r oughl y di vi de d i nt o t hr e e t ype s .
T he f i r s t one i s l a nds c a pe a nd s t a r s ky phot ogr a phy, t he s e c ond i s w i de - a r e a de e p- s ky
phot ogr a phy, a nd t he t hi r d i s e xt r e m e de e p- s ky a s t r ophot ogr a phy. T he s e t hr e e t ype s of
phot ogr a phy ha ve di f f e r e nt r e qui r e m e nt s f or e qui pm e nt a nd e nvi r onm e nt s
1 1
.
11
W oodhous e , “ C a pt ur i ng t he U ni ve r s e : a P hot ogr a phe r ’ s G ui de t o D e e p- S ky I m a gi ng ” , 2021
11
1.1 L a nds c a pe a s t r ophot ogr a phy
T he f i r s t t ype of l a nds c a pe a s t r ophot ogr a phy i s a pr i m a r y phot ogr a phy m e t hod. T he
m i ni m um r e qui r e m e nt s a r e a c a m e r a a nd a t r i pod. T he c a m e r a i s r e qui r e d f or e xpos ur e , a nd a
t r i pod c a n pr ovi de s t r ong s t a bi l i t y, e ns ur i ng t ha t t he c a m e r a w i l l not s ha ke s i gni f i c a nt l y dur i ng
l ong e xpos ur e s . S ha ki ng i s a hi dde n da nge r br ought a bout by l ong e xpos ur e t i m e a nd s t r ongl y
ne e ds a s t a bl e e nvi r onm e nt . I n c ont r a s t , t he ot he r t w o t ype s of phot ogr a phy ha ve s t r i c t e r
r e qui r e m e nt s on t he e qui pm e nt us e d f or s hoot i ng.
N e i l Z e l l e r i s a ga l a c t i c phot ogr a phe r w ho i s ul t i m a t e l y dr a w n t o t he ni ght s ky a nd a l l i t s
a w e - i ns pi r i ng w onde r s . H e s a i d, " M y goa l i s t o us e m y c a m e r a t o c a pt ur e s t or i e s t ha t m y e ye s
w i l l ne ve r be a bl e t o t e l l you." H i s w a y of t hi nki ng pe r f e c t l y m a t c he s m i ne . W he n I e xpr e s s t he
uni ve r s e , I a l s o c om bi ne t e c hnol ogy a nd a r t . T hi s w a y of t hi nki ng c a n e xpos e s c e ne s t ha t c a nnot
be c l e a r l y s e e n.
F i gur e 6: L a nds c a pe M i l ky W a y phot o by N e i l Z e l l e r
12
1.2 W i de - f i e l d de e p s pa c e phot ogr a phy
A s t he na m e s ugge s t s , de e p- s ky phot ogr a phy a l l ow s pe opl e t o obs e r ve uns e e n s c e ne s , s uc h
a s dus t i n t he uni ve r s e , t he c ons t e l l a t i on S c or pi o, a nd ga l a xi e s f a r t he r a w a y f r om E a r t h. I t i s
di f f i c ul t f or or di na r y c a m e r a s a nd l e ns e s t o c a t c h t hi s hi gh- qua l i t y r e qui r e m e nt , a nd i t i s us ua l l y
ne c e s s a r y t o us e a n a s t r onom i c a l t e l e s c ope t o c onne c t a s pe c i a l C C D c a m e r a t o c om pl e t e t he
s hoot i ng
1 2
. T he w e i ght a nd bul k of t he s e de vi c e s r e qui r e a bi g ve hi c l e t o be l oa de d. S o i t i s a
hi gh- c os t s hoot t ha t ' s out of m y c ont r ol .
F i gur e 7: N A S A ' s out e r r i ngs of S a t ur n
1.3 E xt r e m e de e p- s ky a s t r ophot ogr a phy
S i m i l a r l y, e xt r e m e de e p- s ky phot ogr a phy i s a l s o c a l l e d pl a ne t a r y phot ogr a phy, w hi c h
r e qui r e s hi gh- r a nge t e l e s c ope s a nd pr of e s s i ona l e qua t or i a l m ount s t o ope r a t e . I t i s a m or e
c om pl e x t ype of r e s e a r c h a nd i s not w i t hi n m y a bi l i t y.
1 2
C ovi ngt on, “ D i gi t a l S L R A s t r ophot ogr a phy ” , 2018
13
F i gur e 8: A pi c t ur e of t he s ky i n J os hua T r e e
A f t e r t he pr e vi ous di s c us s i on, I w oul d c hoos e l a nds c a pe a s t r ophot ogr a phy a s m y f i e l d of
s t udy a nd r e s e a r c h. T hi s ki nd of phot o not onl y r e qui r e s f unda m e nt a l a s t r onom y a nd
a s t r onom i c a l know l e dge but a l s o ne e ds t o be r e l a t e d t o c om pos i t i on a nd e xpos ur e c ont r ol . I t i s a
c om pr e he ns i ve f or m of phot ogr a phy, a nd i t i s a l s o m or e c om pl e x phot ogr a phy t ha t i s s e pa r a t e d
f r om s i m pl e f ood phot ogr a phy f or pos t i ng I ns t a gr a m s t or i e s .
14
C h a p t e r 2 : S t a r r y S k y P h o t o g r a p h y P r a c t i c e
2.1 F i l m s t a r phot ogr a phy pr a c t i c e : H ow t o c a pt ur e t he M i l ky W a y on f i l m
I a m ve r y i nt e r e s t e d i n pr a c t i c i ng phot ogr a phi ng i t . T hr oughout hi s t or y a s t r onom i c a l
phot ogr a phy ha s be e n s t a r t e d s i nc e t he e r a of f i l m
1 3
. T oda y, phot ogr a phy e xpe r t s a r e s t i l l
s t udyi ng t he us e of f i l m t o phot ogr a ph t he ni ght s ky. T he r e a s on i s t ha t t he r e a r e r i c h de t a i l s a nd
ul t r a - hi gh r e s ol ut i on f i l m phot ogr a phy, w hi c h c a n m a ke t he s t a r s m or e vi vi d a nd be a ut i f ul , a nd
t he uni que c ol or s ys t e m of t he f i l m w i l l c onve y r i c h vi s ua l i nf or m a t i on t o pe opl e . H ow e ve r , t he
di s a dva nt a ge s of f i l m phot ogr a phy a r e e qua l l y obvi ous . T he f i r s t i s t he l i m i t a t i on of s e ns i t i vi t y.
S t a r r y s ky phot ogr a phy i s pe r f or m e d i n a da r k e nvi r onm e nt a nd r e qui r e s hi gh or ul t r a - hi gh
s e ns i t i vi t y, a nd e a c h f i l m c a nnot c ha nge t he s e ns i t i vi t y, r e qui r i ng c om pl e x e xpos ur e c a l c ul a t i ons
a nd t i m e c ont r ol . H e r e a l s o I ne e d t o m e nt i on t he r e c i pr oc i t y l a w f a i l ur e . T he r e c i pr oc i t y l a w
f a i l ur e ha s i m por t a nt i m pl i c a t i ons f or a s t r ophot ogr a phy us i ng f i l m . F or e xa m pl e , pi c t ur e s of
ga l a xi e s a nd ne bul a e a r e s o di m t ha t t he y c a nnot be s e e n w i t h our na ke d e ye s , s o e xpos ur e s of 30
m i nut e s or e ve n m or e t ha n a n hour a r e e xpe c t e d.
M or e ove r , pr ol onge d e xpos ur e w i l l w e a ke n or e ve n di s a ppe a r t he i m a gi ng a bi l i t y of t he
f i l m
1 4
( J one s 1934) . I t i s t ough t o us e f i l m c a m e r a s t o s hoot t he s t a r r y s ky. T he r e c i pr oc i t y l a w
f a i l ur e i s one of t he m a i n m ot i va t i ons f or s c i e nt i s t s a nd phot ogr a phy e nt hus i a s t s t o us e di gi t a l
c a m e r a s . E l e c t r oni c s e ns or s m a i nt a i n s t a bl e e f f i c i e nc y unde r l ong e xpos ur e s a nd l ow l i ght l e ve l s .
1 3
N e w t on, “ T he N i ght S ky on F i l m : A s t r ophot ogr a phy ” , 1995
1 4
J one s , “ R e c i pr oc i t y L a w F a i l ur e i n P hot ogr a phi c E xpos ur e s ” , 1934
15
F i gur e 9: T he phot ogr a phy pl a c e i n t he de s e r t
T he m os t i m por t a nt pa r t of t he pr e pa r a t i on i s t he c hoi c e of t he s hoot i ng l oc a t i on. I n or de r t o
a voi d ur ba n l i ght pol l ut i on a nd obt a i n a s uf f i c i e nt l y da r k e nvi r onm e nt , I dr ove t o t he de pt hs of
t he T e ngge r D e s e r t i n I nne r M ongol i a a nd dr ove 100 ki l om e t e r s nor t h a l ong t he de s e r t r oa d, a nd
t he ni ght s ky r e a c he d a s t a t e of " c om pl e t e da r kne s s ." S o, t hi s l oc a t i on pr ovi de s m e w i t h a be t t e r
obs e r va t i on e nvi r onm e nt .
F i gur e 10: S c r e e ns hot of t he pos i t i on on t he m a p
16
F i gur e 11: S c r e e ns hot of t he l i ght pol l ut i on m a p
F r om M a r c h t o A ugus t i n nor t he r n C hi na , i t i s s ui t a bl e t o phot ogr a ph t he s um m e r M i l ky
W a y, a nd t he r i s i ng t i m e of t he M i l ky W a y gr a dua l l y be c om e s l a t e r . M y s hoot i ng t i m e w a s i n
e a r l y M a y. T he ga l a c t i c c e nt e r i n B e i j i ng a nd t he e xa c t l a t i t ude s w i l l r i s e f r om t he s out he a s t a t
a r ound m i dni ght , a nd t he s ky w i l l br i ght e n a t a r ound 4: 30 i n t he m or ni ng, s o t he r e i s a t ot a l of
f our hour s f or m y s hoot i ng t i m e . I n a ddi t i on, pa y a t t e nt i on t o t he br i ght ne s s of t he m oon a nd t he
t i m e of t he m oon' s r i s e . T he m oonl e s s ni ght i s c onduc i ve t o t he s hoot i ng of t he M i l ky W a y.
T hr ough t he s e l i m i t s , t he f i r s t t w o da ys of M a y c oul d m e e t t he a bove good c ondi t i ons .
17
F i gur e 12: F i l m c a m e r a on t he e qua t or i a l t e l e s c ope
F i gur e 13: F i l m c a m e r a on t he e qua t or i a l t e l e s c ope
18
M y s hoot i ng w a s s c he dul e d f or t he ni ght of M a y 2nd. R e ga r di ng t he e qui pm e nt , I do not
ne e d a n a s t r onom i c a l t e l e s c ope f or t he w i de - a r e a s t a r s ky. I us e d a P e nt a x 67i i m e di um - f or m a t
f i l m S L R c a m e r a a nd a 105m m f 2.4 l e ns ( e qui va l e nt t o 50m m of a f ul l - f r a m e c a m e r a ) , w i t h a
m a gni f i e d vi e w f i nde r f oc us i ng, m e c ha ni c a l s hut t e r L i ne , a nd t r i pod. F i l m br a nd s e l e c t i on i s a l s o
w or t h m e nt i oni ng. E a c h f i l m ha s di f f e r e nt c ha r a c t e r i s t i c s . F or s t a r s ky s hoot i ng, I ne e d t o be
m or e s e ns i t i ve t o H - a l pha r e d r a ys a t 656.3nm a nd H - be t a bl ue r a ys a t 486.1nm , w i t h l i t t l e
i m pa c t on r e c i pr oc i t y l a w f a i l ur e
1 5
. B a s e d on t he a bove , I c hos e F uj i ' s pr ovi a 100f r e ve r s a l f i l m
a nd K oda k por t r a 160 c ol or ne ga t i ve f i l m .
F i gur e 14: T he f i l m I us e d
A f t e r c hoos i ng a l oc a t i on, t he f i r s t s t e p i s t o s e t up t he e qua t or i a l t e l e s c ope . T he r ol e of t he
e qua t or i a l m ount i s t o of f s e t t he r ot a t i on of t he E a r t h a nd t r a c k t he s t a r s . I t r e qui r e s m uc h hi ghe r
s t a bi l i t y t ha n t he us ua l l ong e xpos ur e on t he t r i pod. I ne e d t o s e t i t on f l a t a nd ha r d gr ound or
1 5
C ovi ngt on , “ C hoos i ng a C a m e r a f or F i l m A s t r ophot ogr a phy ” , 2002
19
pl unge i t i nt o s a nd or m ud t o a c e r t a i n de pt h t o m a i nt a i n l ong- t i m e s t a bi l i t y.
F i gur e 15: H ow t he e qua t or i a l t e l e s c ope w or ks
F i gur e 16: P hot ogr a ph e nvi r onm e nt
20
W he n s hoot i ng a s t a r r y s ky, t he c a m e r a l e ns s houl d be f oc us e d on a n i nf i ni t y di s t a nc e , but
t he a c t ua l i nf i ni t y i s i nc ons i s t e nt w i t h t he " ∞ " of t he l e ns s c a l e . F i l m c a m e r a s do not ha ve
e l e c t r oni c l i ve vi e w s c r e e ns , s o i t i s not e a s y t o a c c ur a t e l y f oc us w i t h t he na ke d e ye a t ni ght . M y
e xpe r i e nc e i s t o us e t he m a gni f i e d vi e w f i nde r t o t e s t t he f oc us on a n obj e c t a s f a r a w a y a s
pos s i bl e dur i ng t he da yt i m e . A f t e r a c c ur a t e l y a dj us t i ng t he f oc us r i ng, I m a r k t he s c a l e a t t hi s
t i m e . T hi s s c a l e i s t he t r ue " i nf i ni t y" of t he l e ns a nd c a n be a dj us t e d di r e c t l y w he n s hoot i ng a t
ni ght . M y s hoot i ng pa r a m e t e r s a r e t he f ol l ow i ng. F or r e ve r s a l f i l m pr ovi a 100f , 105m m f 2.8, 45
m i nut e s e xpos ur e . N e ga t i ve f i l m por t r a 160, 105m m f 2.8, 30 m i nut e s e xpos ur e .
F i gur e 17: F i l m w i t h c l e a r M i l ky W a y
21
F i gur e 18: 100% m a gni f i c a t i on a f t e r s c a nni ng
T he f i na l s t e p i s t o de ve l op t he f i l m out . F i l m s t a r phot ogr a phy us ua l l y r e qui r e s i nc r e a s i ng
t he s e ns i t i vi t y of t he ne ga t i ve f i l m t o i m pr ove t he br i ght ne s s of t he hi ghl i ght s w hi l e i nc r e a s i ng
t he c ont r a s t a nd l a ye r i ng
1 6
. D i f f e r e nt f i l m s ha ve di f f e r e nt pe r f or m a nc e s . U s ua l l y, f or c i ng w i t hi n
t w o e xpos ur e s l e ve l s w i l l ha ve l i t t l e i m pa c t on phot o qua l i t y. W he n de ve l opi ng t he ne ga t i ve f i l m ,
I c hos e t o i nc r e a s e t he e xpos ur e by t w o l e ve l s , us e t he H a s s e l bl a d X 5 s c a nne r t o s c a n a l a r ge
pi c t ur e , a nd m a nua l l y c a l i br a t e t he c ol or w i t h P hot os hop s of t w a r e . R e ve r s a l f i l m s w e r e
pr oc e s s e d t ypi c a l l y a nd s c a nne d w i t h a n E P S O N v750.
1 6
M a r qua r dt , “ T he F i l m P hot ogr a phy H a ndbook ” , 2016
22
F i gur e 19: F i ni s he d f i l m on t he l i ght box
F i gur e 20: D i gi t a l s c a nni ng f i l m
23
I a l w a ys t hi nk t ha t us i ng f i l m t o phot ogr a ph t he uni ve r s e i s a good c hoi c e be c a us e t he f i l m
c a n be w a t c he d di r e c t l y i n ha nd or i ns e r t e d i nt o t he s l i de pr oj e c t or t o s how , I c a n c ol l e c t i t i n m y
hom e , or I c a n gi ve i t a s a gi f t t o a f r i e nd.
T he pe r s on w ho ow ns t hi s f i l m c a n hol d i t i n t he i r ha nd or put i t i n a poc ke t . A s l ong a s i t
f a c e s t he l i ght , t he ga l a xy i t r e c or ds c a n i ns t a nt l y be c om e vi vi d. I c a n s e e i t w i t h t he na ke d e ye ,
t ouc h i t w i t h m y f i nge r s , a nd e ve n obs e r ve t he s e f i l m s w i t h a m a gni f yi ng gl a s s or a m i c r os c ope ,
j us t l i ke r e a di ng a pa pe r book. T he s t a r s c a n a l s o be s e a l e d w i t hi n t hi s s qua r e i nc h, a nd t he
ul t i m a t e pur pos e i s t o e xpr e s s t he be a ut y a nd s hoc k of t he s t a r r y s ky s o t ha t t he a udi e nc e c a n
ga i n j oy a nd e nj oym e nt . T he r e f or e , phot ogr a phy, on t he one ha nd, i s t o pl e a s e your s e l f , a nd on
t he ot he r ha nd, i t i s t o pl e a s e t he a udi e nc e . T he pr a c t i c e of f i l m phot ogr a phy m e a ns a gr e a t de a l
t o m e .
24
2.2 D i gi t a l c a m e r a s t a r phot ogr a phy pr a c t i c e
F or t he s ubj e c t of s t a r r y s ky phot ogr a phy, di gi t a l phot ogr a phy e qui pm e nt ha s m or e
a dva nt a ge s . F r oz e n C C D c a m e r a s a nd di gi t a l c a m e r a s a r e t he t w o popul a r di gi t a l e qui pm e nt
c ur r e nt l y us e d t o phot ogr a ph t he s t a r s . F r oz e n C C D i s m or e pr of e s s i ona l f or us e r s s uc h a s
obs e r va t or y r e s e a r c he r s
1 7
. I t s pr i nc i pl e i s t o r e duc e t he t e m pe r a t ur e of t he i m a ge s e ns or t o
i m pr ove t he pi c t ur e qua l i t y. H ow e ve r , t he hi gh pr i c e a nd c ol os s a l s i z e m a de i t i m pos s i bl e f or m e
t o c om pl e t e t hi s ki nd of s hoot i ng, s o I f oc us e d on t he r e s e a r c h a nd pr a c t i c e of di gi t a l c a m e r a s .
F i l m c a m e r a s us e s i l ve r - s a l t phot os e ns i t i ve m a t e r i a l s a s c a r r i e r s . T he f i l m m us t be de ve l ope d t o
obt a i n phot os a f t e r s hoot i ng. T he phot os ' pr e vi e w of t he s hoot i ng e f f e c t c a nnot be obt a i ne d
i m m e di a t e l y a f t e r s hoot i ng, a nd t he phot os c a nnot be de l e t e d f r om t he f i l m . I n c ont r a s t , di gi t a l
c a m e r a s us e e l e c t r oni c c om pone nt s t o c a t c h t he l i ght , t he n c onve r t t he l i ght s i gna l i nt o a n
e l e c t r i c a l s i gna l a nd r e c or d i t on a m e m or y c a r d. P i c t ur e s c a n pl a y ba c k i m m e di a t e l y a f t e r t he y
a r e t a ke n or be de l e t e d i f phot ogr a phe r s do not l i ke t he m .
T he m os t s i gni f i c a nt a dva nt a ge of phot ogr a phi ng s t a r s w i t h a di gi t a l c a m e r a i s t ha t t he
i nf or m a t i on c a n be di gi t i z e d. S hoot i ng i n c ol d or hot f i e l ds r e qui r e s good m obi l i t y a nd
a da pt a bi l i t y. I f t he c a pa c i t y of t he m e m or y c a r d i s l a r ge e nough, a di gi t a l c a m e r a c a n s hoot m a ny
pi c t ur e s . W he n e nc ount e r i ng a be a ut i f ul s c e ne , pr e s s t he s hut t e r w i t hout c a l c ul a t i ng t he c os t of
t he f i l m . B e s i de s , t he pr e vi ous f i l m i m a ge s c a n e a s i l y s how t ha t t he f i l m c a n onl y s hoot a pa r t of
t he s ky a l one .
1 7
de B r ui j ne , “ S c i e nc e P e r f or m a nc e of G a i a , E S A ’ s S pa c e - A s t r om e t r y M i s s i on ” , 2012
25
F i gur e 21: M y f i r s t s uc c e s s f ul di gi t a l phot ogr a phy
F or e xa m pl e , I r e c or de d t he c e nt r a l pa r t of t he M i l ky W a y be c a us e onc e t he f i l m c a m e r a i s
pl a c e d on t he e qua t or i a l t e l e s c ope , i t c a n onl y f ol l ow t he r ot a t i on of t he E a r t h t o t r a c k a nd c a nnot
t a ke c a r e of t he vi e w on t he gr ound. H ow e ve r , t he hi gh s e ns i t i vi t y a nd e xt e ns i ve r a nge of I S O on
di gi t a l c a m e r a s c a n r e duc e e xpos ur e t i m e , c ons i de r t he l a nds c a pe w hi l e s hoot i ng t he s ky, a nd
pr ovi de m or e c hoi c e s f or phot ogr a phi c c r e a t i on. S i m i l a r l y, di gi t a l c a m e r a s c a n a l s o us e a n
e qua t or i a l t e l e s c ope t o t r a c k c e l e s t i a l obj e c t s a nd s hoot , t he n us e s of t w a r e t o s ynt he s i z e t he
l a nds c a pe s hot s i m ul t a ne ous l y t o be c om e a c r e a t i ve w or k.
T h e p a r a m e t e r s e t t i n g o f d i g i t a l s t a r r y s k y p h o t o g r a p h y r e q u i r e s a u n i q u e c a l c u l a t i o n m e t h o d .
U nde r t he s a m e s hoot i ng e nvi r onm e nt , t he e xpos ur e t i m e i s c l os e l y r e l a t e d t o t he f oc a l l e ngt h of
t he c a m e r a l e ns . T he l onge r t he f oc a l l e ngt h, t he m or e s t a r s a nd de t a i l a ppe a r i n t he pi c t ur e . T he
s hor t e r t he f oc a l l e ngt h of t he c a m e r a l e ns , t he m or e s t a r s w i l l be c a pt ur e d. H ow e ve r , a c c or di ng
t o t hi s r ul e , t he E a r t h i s r ot a t i ng, a nd t he s t a r s i n t he s ky c ons t a nt l y r ot a t e a r ound t he N or t h S t a r .
26
W he n t a ki ng pi c t ur e s , i f t he s hut t e r s pe e d i s pl oddi ng a nd t he e xpos ur e t i m e i s t oo l ong, t he t r a i l s
of t he s t a r s w i l l be t a ke n i ns t e a d of c l e a r pi c t ur e s . A f t e r s om e r e s e a r c h a nd pr a c t i c e , t he r e i s a
di r e c t r e l a t i ons hi p be t w e e n s hut t e r s pe e d a nd l e ns f oc a l l e ngt h, w hi c h a f f e c t e a c h ot he r . T hi s i s
t he L a w of 300
1 8
. A s s um i ng t he c a m e r a l e ns ha s a f oc a l l e ngt h of 14m m , di vi di ng 300 by 14
gi ve s a n e xpos ur e t i m e of a bout 21.5 s e c onds , w hi c h m e a ns t he l onge s t e xpos ur e t i m e f or a
14m m l e ns i s 21.5 s e c onds . I f t hi s t i m e i s e xc e e de d, t he s t a r s w i l l c r e a t e t r a i l s on t he phot o.
S i m i l a r l y, t hi s phot o w a s t a ke n w i t h a 35m m l e ns , a nd 300 di vi de d by 35 i s a ppr oxi m a t e l y 8.5,
w hi c h m e a ns t ha t t he s a f e e xpos ur e t i m e f or t hi s f oc a l l e ngt h i s 8.5 s e c onds . T hi s s i m pl e
ope r a t i on c a n s ol ve bi g pr obl e m s a nd i s t he f i r s t r ul e of t hum b f or t a ki ng t he pe r f e c t s t a r phot os .
I ha ve s om e pr a c t i c e w i t h t hi s know l e dge , r e s e r ve , a nd unde r s t a ndi ng of phot ogr a phy. T he r e
a r e s t i l l i s s ue s dur i ng phot ogr a phi ng, but i t i s a l s o a pr oc e s s w he r e I c ont i nue t o i m pr ove a nd
l e a r n.
F i r s t , I w a nt t o t a l k a bout t hi s s e l f i e unde r t he s t a r s . T hi s phot o w a s t a ke n de e p i n t he J os hua
t r e e de s e r t . Y ou c a n s e e m e s i t t i ng unde r t he M i l ky W a y, l ooki ng i nt o t he di s t a nc e . T he
e nvi r onm e nt a t t ha t t i m e w a s e xt r e m e l y da r k, t he r e w a s no l i ght s our c e , a nd i t be l onge d t o a n
e xt r e m e l y da r k e nvi r onm e nt .
1 8
W oodhous e , “ C a pt ur i ng t he U ni ve r s e : a P hot ogr a phe r ’ s G ui de t o D e e p- S ky I m a gi ng ” , 2021
27
F i gur e 22: S e l f i e unde r t he be a ut i f ul s ky
M y di f f i c ul t y i s not ge t t i ng t he f oc us r i ght a t ni ght . T hi s pr obl e m i s a l s o e nc ount e r e d i n f i l m
phot ogr a phy, but t he f oc us i ng m e t hods of t he t w o c a m e r a s a r e di f f e r e nt a nd c a nnot be us e d a s a
r e f e r e nc e . I a l s o us e d t he c a m e r a ’ s a ut of oc us a t t he t i m e , but i t di d not w or k w e l l . I t i s s ui t a bl e
f or a ut of oc us dur i ng t he da y a nd m a nua l f oc us a t ni ght . S w i t c h be t w e e n a ut of oc us a nd m a nua l
f oc us on t he c a m e r a , us e t he di gi t a l c a m e r a ' s l i ve vi e w f unc t i on t o s e e t he s c r e e n' s c ont e nt a t t ha t
28
t i m e , a nd t he n m a nua l l y a dj us t t he f oc us r i ng t o f oc us unt i l t he s t a r s on t he s c r e e n a r e c om pl e t e l y
c l e a r .
A f t e r s uc c e s s f ul l y f oc us i ng, due t o t he e xc e l l e nt a i r qua l i t y a nd da r kne s s of t he s hoot i ng
l oc a t i on, I f i r s t t ook a phot o of t he c e nt e r of t he M i l ky W a y, w hi c h w a s m y f i r s t s uc c e s s f ul phot o
of t he s t a r s . I t m e a ns a l ot t o m e a s w e l l .
F i gur e 23: S t a r phot ogr a phy
T hi s phot o a l l ow e d m e t o c a pt ur e t he s t a r s w i t h a di gi t a l c a m e r a a nd ha ve t he m c or r e c t l y
e xpos e d a c c or di ng t o t he r ul e s of e xpos ur e t i m e a nd t o s e e a s ha r p f oc us . H ow e ve r , on t hi s ki nd
of ni ght , w i t hout t he m oon or a ny ot he r l i ght s our c e , I do not j us t w a nt t o s hoot t he s t a r s but w a nt
t o t a ke s om e pi c t ur e s w i t h pe opl e a s w e l l . A t t hi s t i m e , i t ne e ds t o us e s om e a ddi t i ona l l i ght .
29
T he r e a r e t w o w a ys t o r e s ol ve t hi s s i t ua t i on. T he f i r s t i s t he f l a s h, a nd t he s e c ond i s t o c r e a t e t he
l i ght i ng a t m os phe r e f or t he phot ogr a phe r
1 9
. T hi s i s a s e l f i e s hot us i ng t he f l a s h a s t he l i ght
s our c e .
F i r s t , I s e t t he c a m e r a i n t he e xa c t l oc a t i on be c a us e I a l r e a dy know t he pos i t i on of t he M i l ky W a y
i n t he pr e vi ous s hoot i ng. I j us t ne e de d t o s t a nd unde r t he M i l ky W a y a c c or di ng t o t he
a ppr oxi m a t e di r e c t i on a nd t he n t a ke out t he f l a s h pr e pa r e d i n a dva nc e . O t he r s hoot i ng pa r a m e t e r s
r e m a i n unc ha nge d a nd t he n s t a r t s hoot i ng by pr e s s i ng t he s hut t e r . T he e f f e c t of t he f l a s h w a s
not i c e a bl e , a nd a f t e r one f l a s h, m y ba c k a nd ne a r by gr ound w e r e i l l um i na t e d, a nd t he m a i n
c ha r a c t e r of t he phot o s t ood out
2 0
. S o, t he f l a s h m ode be c om e s qui t e e s s e nt i a l . O ne i s
f i r s t - c ur t a i n s ync , a nd t he ot he r i s r e a r - c ur t a i n s ync . T he f or m e r f i r e s a f l a s h w he n t he ve r y
be gi nni ng of t he s hut t e r i s pr e s s e d, w hi l e t he r e a r - c ur t a i n s ync f i r e s a f l a s h be f or e e ndi ng t he
l ong e xpos ur e . W he n phot ogr a phi ng pe opl e unde r a s t a r r y s ky or i n a da r k e nvi r onm e nt , t he
m ove m e nt s of t he m ode l ne e d t o be f r oz e n by i nt e ns e l i ght , s o t he f l a s h m ode of t he f r ont c ur t a i n
s ync hr oni z a t i on i s m or e c onduc i ve t o s hoot i ng por t r a i t s unde r t he s t a r r y s ky.
S e e i ng t hi s phot o I t ook, i t r e m i nds m e t ha t i nt e l l i ge nt c r e a t ur e s , i nc l udi ng hum a n be i ngs
a nd t he uni ve r s e , a r e t w o oppos i t e a nd c ont r a di c t or y e nt i t i e s . W i t hout t he uni ve r s e , t he r e w oul d
be no hum a n be i ngs , a nd w i t hout hum a n be i ngs , t he r e w oul d be no uni ve r s e . K now i ng t he
uni ve r s e , t r a ns f or m i ng t he uni ve r s e , t he uni ve r s e w i l l e ve nt ua l l y gr ow ol d a nd di e , but t hi s i s a
di s t a nt f ut ur e , a nd hum a n l i f e i s onl y a f e w de c a de s . B ut i nt e l l i ge nt c r e a t ur e s c a n t r a ns f or m t he
1 9
S hi ot a , “ R e c e nt T r e nd of A s t r onom i c a l I m a gi ng ” , 2016
2 0
B e a r , “ F l a s h! N a t ur a l D a r kne s s a nd A r t i f i c i a l L i ght ” , 2018
30
a gi ng uni ve r s e i nt o " r e i nc a r na t i on" a nd t r a ns f or m i t i nt o a vi br a nt ne w uni ve r s e . T he uni ve r s e
gi ve s bi r t h t o hum a n be i ngs , a nd hum a n be i ngs gi ve ba c k t o t he uni ve r s e , a nd t hi s i s t he i r m ut ua l
i nf l ue nc e .
F i gur e 24: M i l ky W a y a bove t he r oa d
A m bi e nt l i ght i s a l i t t l e w e a k c om pa r e d t o a n i nt e ns e f l a s hl i ght . H e r e i s a s t a r r y s ky phot o I
t ook of t he i c oni c J os hua T r e e N a t i ona l P a r k. T he M i l ky W a y ne e ds no f ur t he r de s c r i pt i on. T he
c e nt e r of t he pi c t ur e i s a J os hua T r e e . I us e d a r e d f l a s hl i ght t o f oc us on t hi s phot o. T he t r e e s i n
f r ont of m e w e r e a l s o be a ut i f ul . T he r e d l i ght i ng pr ovi de s a w a r m a m bi a nc e , w hi l e t he M i l ky
W a y i n t he s ky i s a n e xc e l l e nt c ol or , s o t he c ont r a s t of c ool a nd w a r m c ol or s gi ve s t hi s phot o
31
m or e l a ye r s .
F i gur e 25: L i ght pr a c t i c e
T he s e f e w phot os w e r e t a ke n a s a be gi nne r ' s w or k, w hi c h a l l ow e d m e t o ha ve good pr a c t i c e
i n s i ngl e - i m a ge s t a r r y s ky phot ogr a phy. C l e a r s ki e s a l l ow t he M i l ky W a y t o r e ve a l i t s be a ut y i n
t he da r k, but i t i s a da i l y r e c ur r i ng phe nom e non t ha t ' s onl y a f f e c t e d by c ha nge s i n t he m oon' s
br i ght ne s s . H e r e I ha ve a dde d s om e ba c kgr ound know l e dge . T ypi c a l l y, t he r e a r e t w e l ve f ul l
m oons pe r ye a r , a nd i n t he pe r c e pt i on of t r a di t i ona l s t a r phot ogr a phy, w e ne e d t o a voi d t he s e f ul l
m oons . A r ound t he 15t h of e a c h m ont h i n t he C hi ne s e l una r c a l e nda r , t he m oon t r a ve l s t o t he
m i ddl e of t he E a r t h a nd t he s un. T hi s i s t he be s t t i m e t o s hoot be c a us e t he m oon c a nnot be s e e n
a l l ni ght . T he n t he m oon w i l l go t hr ough a c yc l e , gr a dua l l y be c om i ng br i ght e r a nd m or e
s i gni f i c a nt , r e a c hi ng a m a xi m um a t t he be gi nni ng of t he l una r m ont h, a nd t he n gr a dua l l y
w e a ke ni ng, r e t ur ni ng t o a m oonl e s s s t a t e .
32
I n a ddi t i on t o t he m oon, t he r e a r e m a ny i nt e r e s t i ng a s t r onom i c a l phe nom e na i n t hi s
a s t r onom i c a l c yc l e . P hot ogr a phi ng uni que a s t r onom i c a l phe nom e na i s a l s o f ul l of c ha l l e nge s . I n
t he 365 da ys t ha t t he E a r t h r e vol ve s a r ound t he s un, be s i de s t he s e a s ona l c ha nge s , t he r e a r e a l s o
be a ut i f ul s i ght s of m e t e or s , c om e t s , s ol a r e c l i ps e s , l una r e c l i ps e s , a nd a ur or a s . H a l l e y i s one of
t he m os t f a m ous c om e t s . H e i s not a f r e que nt vi s i t or t o t he E a r t h. A c c or di ng t o s c i e nt i s t s , t he
s ubs e que nt a ppe a r a nc e of H a l l e y' s c om e t w i l l be i n 2062
2 1
. T he r e f or e , t he c yc l e of c om e t s i s
e xc e pt i ona l l y l ong, a nd i f s om e one i s l uc ky e nough, t he y c a n ha ve t he oppor t uni t y t o s e e t ha t .
H ow e ve r , c om pa r e d t o t he c i r c l e of de c a de s , t he m e t e or s how e r i s a n a nnua l c yc l e . T he r e a r e
t hr e e m a j or m e t e or s how e r s i n t he nor t he r n he m i s phe r e , i nc l udi ng t he G e m i ni ds m e t e or s how e r
i n D e c e m be r . I n pr i nc i pl e , s hoot i ng m e t e or s how e r s i s ve r y di f f e r e nt f r om or di na r y M i l ky W a y
s hoot i ng, but i t i s a l s o ne c e s s a r y t o ge t t he r a di a nt poi nt s of m e t e or s how e r s . A l t hough t he r e i s a
G e m i ni ds m e t e or s how e r e ve r y ye a r , i t s r a r i t y i s ve r y l ow , a nd a t i t s pe a k, 60- 100 m e t e or s c a n be
s e e n pe r hour . S uc h a vi s ua l f e a s t i s ve r y a ppe a l i ng t o m e
2 2
. S o, I got m y ge a r r e a dy t o s hoot a
G e m i ni ds s por a di c s how e r .
H ow e ve r , t he r e a l i t y i s di f f e r e nt f r om w ha t I i m a gi ne d. I us e d S t a r W a l k s of t w a r e t o s e e t he
di s t r i but i on of s t a r s a c r os s t he s ky. T he pi c t ur e s how s t he a ppr oxi m a t e pos i t i on of G e m i ni ds i n
t he s ky, w hi c h i s a l s o t he r a di a nt poi nt of t he m e t e or s how e r . A l m os t a l l m e t e or s s t a r t t o s c a t t e r
f r om t hi s a r e a t o e ve r y c or ne r of t he s ky. S o, t he m e t e or s how e r i s not l i ke r a i n, a nd t he r e w i l l
not be m a ny m e t e or s f a l l i ng t o t he gr ound s i m ul t a ne ous l y. E ve n i n m a ny c a s e s , t he na ke d hum a n
2 1
L i t t m a nn , “ C om e t H a l l e y : O nc e i n a L i f e t i m e ” , 1985
2 2
J e nni s ke ns , “ M e t e or S how e r s a nd T he i r P a r e nt C om e t s ” , 2006
33
e ye c a nnot c a pt ur e t he e xi s t e nc e of m e t e or s , a nd i t i s ne c e s s a r y t o r e l y on t he hi gh s e ns i t i vi t y a nd
I S O of di gi t a l c a m e r a s t o s hoot .
A f t e r t he s of t w a r e s ynt he s i s pr oc e s s , I put e a c h m e t e or t oge t he r . T he n I c a n a c hi e ve t he
e f f e c t of t e n t hous a nd a r r ow s . T he s e m e t e or s a r e a l l dus t f r om out e r s pa c e . A f t e r a l ong
m ove m e nt , t he y c a n e nt e r t he a t m os phe r e a nd bur n up, t ur ni ng i nt o a n i ns t a nt f l a s h. A s a
phot ogr a phe r , I c a n c a pt ur e t hi s f l e e t i ng be a ut y a nd s ha r e i t w i t h ot he r s , w hi c h i s ve r y r om a nt i c
a nd m e a ni ngf ul . T hi s phot o i s of t he m e t e or s how e r I t ook on t he s i de of t he hi ghw a y.
F i gur e 26: M e t e or s how e r
O nl y s om e hi ghl y br i ght bol i de s w e r e c a pt ur e d dur i ng t he s hoot i ng of t he G e m i ni ds m e t e or
s how e r be c a us e of t he s ubs t a nt i a l m oonl i ght i nt e r f e r e nc e . T a ki ng a s i ngl e phot o f r a m e r e qui r e s
s om e l uc k. A br i ght s t a r a ppe a r s i n t he phot o, w hi c h m a y t a ke m i nut e s or t e ns of m i nut e s t o
c a pt ur e . T he n a f i xe d s hoot i ng pos i t i on c a n r e duc e t he w or kl oa d of t he s of t w a r e c om pos i t i on
34
be c a us e a l l t he i ndi vi dua l m e t e or s a r e s hot f r om t he s a m e pos i t i on.
T he f ol l ow i ng pos t - e di t m e t e or s how e r i s a c om pl e t e s hoot i ng pr a c t i c e of m i ne . F i r s t , f or t he
i de a of t he s hoot , I w e nt de e p i nt o t he de s e r t t o ge t da r k c ondi t i ons a nd good w e a t he r c ondi t i ons ,
w h i c h m e a n t n o c l o u d s a n d a i r p o l l u t i o n . S t a n d i n g o n t o p o f t h e d u n e s a n d l o o k i n g u p a t t h e s t a r s ,
I s a w up t o 100 br i ght m e t e or s c r a s hi ng t ow a r d E a r t h t hr oughout t he ni ght . T hi s br i e f a nd
be a ut i f ul s c e ne i s s om e t hi ng I c he r i s h ve r y m uc h, a nd a s a t i ny pa r t of t he pl a ne t , i t i s a ve r y
m ovi ng m om e nt .
F i gur e 27: S i ngl e f r a m e pi c t ur e of M e t e or
T hi s m e t e or s how e r s t a r t e d f r om t he P e r s e us r a di a nt , a nd a f t e r c onf i r m i ng t he a ppr oxi m a t e
or i e nt a t i on of P e r s e us , I m a t c he d t he f or e gr ound. T he dune s i n t he pi c t ur e s how c hi a r os c ur o
w he n i l l um i na t e d by s om e m oonl i ght . A t t he s a m e t i m e , c ons i de r i ng t he hi gh qua l i t y of t he
e nvi r onm e nt f or t hi s s hoot i ng pr oc e s s , I put t w o t r i pods a nd t w o c a m e r a s . T o c a pt ur e t he pe r f e c t
35
m e t e or s how e r , i t ne e ds t o c ove r t he e nt i r e s ky a s m uc h a s pos s i bl e . B y t he e a r l y m i dni ght hour s ,
t he P e r s e us c ons t e l l a t i on ha d r e a c he d t he e xpe c t e d he i ght , a nd t he f i l m i ng pr oc e s s be ga n. O ne
c a m e r a i s r e s pons i bl e f or t he gr ound vi e w , a nd t he ot he r c om pl e t e l y c a pt ur e s t he s ky. W he n I got
hom e , I s e l e c t e d t he br i ght e s t m e t e or s f r om t he hundr e ds of phot os I ha d t a ke n a l l ni ght a nd us e d
P hot os hop t o c om bi ne t he m , ove r l a ys , a nd ot he r e f f e c t s . F i na l l y, s l i ght l y a dj us t t he c ol or t o
c om pl e t e t hi s f i na l e di t .
F i gur e 28: G e m i ni ds m e t e or s how e r
S i nc e i t c om e s t o t he us e of s of t w a r e , I a l s o w a nt t o m e nt i on t he s hoot i ng a nd pr oduc t i on of
s t a r t r a i l s , a ki nd of s t a r phot ogr a phy t ha t ul t i m a t e l y ne e ds t o r e l y on P S e di t i ng. T hi s f or m of
phot ogr a phy r e qui r e s t ha t e ve r y phot o be gr oupe d i n c hr onol ogi c a l or de r .
S i nga por e - ba s e d phot ogr a phe r J us t i n N g c a pt ur e s phot os of t he ni ght s ky t ha t i nc l ude
36
da z z l i ng c om pos i t e i m a ge s of c ur vi ng s t a r t r a i l s ove r va r i ous l a nds c a pe s . T he s e l f - t a ught
phot ogr a phe r e nha nc e s hi s i m a ge s i n P hot os hop, di gi t a l l y s t a c ki ng i ndi vi dua l phot ogr a phs t o
c r e a t e hi s ot he r w or l dl y c om pos i t e i m a ge s . H i s i m a ge s a r e pa r t i c ul a r l y uni que be c a us e of t he
unus ua l c ol or s a nd di s t i nc t s pi r a l f or m a t i ons of t he s t a r t r a i l s .
F i gur e 29: S t a r T r a i l s by J us t i n N g
B e c a us e of t he E a r t h' s r ot a t i on, t he s t a r s ' t r a j e c t or i e s c a n be di s pl a ye d. T he r e a r e t w o
m e t hods he r e . T he f i r s t one i s a t ot a l l ong e xpos ur e , t he e xpos ur e t i m e i s 30- 50 m i nut e s , but t he
pr obl e m i s t ha t t he pr ol onge d e xpos ur e w i l l i nc r e a s e t he t e m pe r a t ur e of t he c a m e r a s e ns or ,
r e s ul t i ng i n i r r e ve r s i bl e i m a ge qua l i t y da m a ge .
F ur t he r m or e , t hi s m e t hod c a n onl y s hoot s t a r t r a i l s , a nd t he gr ound s c e ne r y w i l l c om pl e t e l y
l os e de t a i l due t o pr ol onge d e xpos ur e . S o, I us e d a not he r m e t hod, s hoot i ng s hor t e xpos ur e s
37
t hr ough t i m e - l a ps e phot ogr a phy a nd s ynt he s i z i ng t he m i nt o one i m a ge
2 3
. T he c om pos i t i on
m e t hod w i l l be m or e s t r a i ght f or w a r d be c a us e t he nor t he r n he m i s phe r e onl y ne e ds t o f i nd t he
N or t h S t a r i n t he pi c t ur e , a nd t he ot he r s t a r s r e vol ve a r ound t he N or t h S t a r .
F i r s t , I got t hi s pi c t ur e . T he s t a r s a r e c onne c t e d t o t r a i l s , a nd t he r oa d on t he gr ound c a n a l s o
s e e t he l i ght s l e f t by c a r s a s t he y pa s s by. A f t e r a l l t he phot os a r e put i nt o t he s of t w a r e , t he
pr obl e m i s a ppa r e nt .
F i gur e 30: S c r e e ns hot of t he P hot os hop
T he l i ne of t he pl a ne s i n t he s ky w a s a l s o r e c or de d, c r e a t i ng a m e s s y r e s ul t , t he s e pl a ne s
w e r e di f f e r e nt f r om w ha t I ne e de d, but t he r e w a s no w a y I c oul d a voi d t he m dur i ng t he
phot ogr a ph. S ol vi ng t hi s pr obl e m c a n onl y be r e m ove d by e di t i ng e a c h f r a m e of t he s t a r s . T he
s pe c i f i c ope r a t i on i s t o us e t he s m e a r t ool of P hot os hop t o r e m ove i t i f t he r e i s a t r a j e c t or y t ha t
2 3
W oodhous e , “ C a pt ur i ng t he U ni ve r s e ” , 2021 
38
t he pl a ne f l e w ove r on a s i ngl e phot o. E a c h phot o ha s t o be s t r i ppe d of pl a ne t r a c ks a nd ot he r
us e l e s s e l e m e nt s a nd r e c om bi ne d t o ge t a s i ngl e i m a ge w i t h onl y s t a r t r a c ks . I n t he uppe r r i ght
c or ne r of t he pi c t ur e i s t he N or t h S t a r , a nd i t i s obvi ous t ha t a l l t he ot he r s t a r s r e vol ve a r ound t he
N or t h S t a r .
F i gur e 31: F i na l w or k of s t a r t r a i l s
T hi s i s S t a r t r a i l s , a phot ogr a phi c w a y of t r a ns f or m i ng t he E a r t h' s r ot a t i on i nt o a vi s ua l
r e pr e s e nt a t i on.
F i na l l y, I w a nt t o t a l k a bout m y e xpe r i e nc e of phot ogr a phi ng c om e t s . E a r l i e r I m e nt i one d
ga l a xy phot ogr a phy, s t a r phot ogr a phy, a nd s hoot i ng of m e t e or s how e r s . T he s e a r e c om m on
a s t r onom i c a l phe nom e na , a nd t he M i l ky W a y e ve n a ppe a r s i n t he s ky da i l y. H ow e ve r , c om e t s
a r e di f f e r e nt . C om e t s us ua l l y ha ve a ve r y l ong pe r i od a nd onl y a ppe a r f or a s hor t t i m e , s o t he y
39
ha ve e xt r e m e l y s t r i c t r e qui r e m e nt s f or s hoot i ng.
F or phot ogr a phy e nt hus i a s t s a nd a s t r onom y e nt hus i a s t s i n 2020, t he undi s put e d ki ng of a l l
s t a r s i s C / 2020 F 3 ( N E O W I S E ) . T hi s c om e t w a s di s c ove r e d i n M a r c h 2020, a nd s i nc e t he n, m or e
a nd m or e obs e r ve r s ha ve be c om e i nt e r e s t e d i n t he c om e t a s i t ge t s br i ght e r a nd c l os e r t o E a r t h.
O ve r t hr e e m ont hs , i t i nc r e a s e d f r om m a gni t ude 17 t o m a gni t ude one a nd w a s vi s i bl e w i t h t he
na ke d e ye unde r t he r i ght vi e w i ng c ondi t i ons
2 4
. T hi s m a ke s C om e t N E O W I S E l i ke l y t o be one of
t he m os t phot ogr a phe d c om e t s i n hi s t or y. H ow e ve r , i f you m i s s e d out on s na ppi ng phot os of t hi s
c om e t i n 2020, you w oul d be s or r y, a s N E O W I S E w i l l not be ba c k ne a r E a r t h unt i l 7,000 ye a r s
l a t e r
2 5
.
T hi s c om e t phot ogr a ph ha s be e n one of m y f a vor i t e s s i nc e I e nt e r e d t he f i e l d of s t a r
phot ogr a phy. B e c a us e I w a s i n a t ot a l da r k e nvi r onm e nt , t hi s gi a nt c om e t c oul d be s e e n w i t h t he
na ke d e ye , a nd e ve r yone c oul d s e e hi m s hi ni ng f r om t he r oa d.
24
S m i t h, “ D e t e c t i on of O H 18- C m E m i s s i on f r om C om e t C / 2020 F 3 N E O W I S E U s i ng t he A r e c i bo T e l e s c ope " , 2021
25
S m i t h, “ D e t e c t i on of O H 18- C m E m i s s i on f r om C om e t C / 2020 F 3 N E O W I S E U s i ng t he A r e c i bo T e l e s c ope " , 2021
40
F i gur e 32: C om e t C / 2020 F 3 ( N E O W I S E )
B e c a u s e t h e c o m e t i s t o o f a r f r o m u s , i t s t r a j e c t o r y i s n o t a p p a r e n t . A l t h o u g h i t h a s a l o n g t a i l ,
i t s t i l l ha ngs i n t he s ky, unl i ke a m e t e or t ha t f l a s he s by t he s kyl i ne . I ha d pl e nt y of t i m e t o f oc us ,
a nd a s m e nt i one d e a r l i e r i n t he f i l m phot ogr a phy s e c t i on, I us e d a n e qua t or i a l m ount f or t r a c ki ng
s hot s . I a m de l i ght e d w i t h t he ove r a l l i m a ge qua l i t y. I n a ddi t i on, I r e pl a c e d t he w i de - a ngl e l e ns t o
s hoot t he l a nds c a pe , w i t h t he hi l l i n f r ont of m y e ye s a s t he f or e gr ound unde r t he c om e t t ha t
m e e t s e ve r y 7,000 ye a r s , m a ki ng m e l ove t he m ys t e r i ous s pa c e of t he uni ve r s e e ve n m or e .
41
F i gur e 33: C om e t C / 2020 F 3 ( N E O W I S E )
42
F i gur e 34: C om e t C / 2020 F 3 ( N E O W I S E )
43
C o n c l u s i o n
T he pr a c t i c e of phot ogr a phi ng t he s ky a nd t he uni ve r s e a l l ow e d m e t o a c c um ul a t e e nough
t hi nki ng t i m e a nd di f f e r e nt i de a s . H um a ns a r e s o s m a l l a s t o be i gnor e d i n t he va s t ne s s of t he
uni ve r s e . T he l i f e s pa n of hum a n be i ngs , t he hi s t or y of hum a n c i vi l i z a t i on, a nd s om e de s i gns f or
t he f ut ur e , w he n vi e w e d i n f r ont of t he ga l a xi e s i n t he uni ve r s e , onl y e xi s t i n l e s s t ha n a bl i nk of
a n e ye . W e a r e us e d t o t hi nki ng a bout t he i nf i ni t e uni ve r s e w i t h l i t t l e i de a s . I f w e l e t go of our
i nhe r e nt t hi nki ng, hum a n c ogni t i on w i l l go f ur t he r . T he r e f or e , l i vi ng i n t he pr e s e nt a nd
c he r i s hi ng t om or r ow a r e t he goa l s a nd m e a s ur e s of hum a n de s t i ny. E s pe c i a l l y a f t e r s e e i ng t he
phe nom e na a nd na t ur e of t he uni ve r s e f r om a m a c r o pe r s pe c t i ve , I s houl d l i ve m or e c a l m l y a nd
not be e nt a ngl e d i n s m a l l t hi ngs . E ve r y t i m e I obs e r ve t he s t a r s a nd t he uni ve r s e , I ke e p s i l e nt ,
c a l m , a nd r e s pe c t f ul , a nd I r e c or d t he va s t ne bul a i n t he e ndl e s s uni ve r s e t hr ough t he l e ns a nd t he
phot os I t a ke . H um a n be i ngs a r e i ns i gni f i c a nt . F or t he uni ve r s e , hum a n l i f e i s a n i ns t a nt . A t t he
s a m e t i m e , I ha ve a ne w unde r s t a ndi ng of t he c onc e pt of t i m e . E ve r y da y i s br a nd ne w , s houl d be
c a r e f ul l y a r r a nge d, a nd e ve r y m i nut e , e ve r y s e c ond s houl d not be w a s t e d. W e a r e j us t pa s s i ng
t hr ough t he e ndl e s s t i m e of t he uni ve r s e . O ne da y, w e w i l l s a y goodbye t o e ve r yt hi ng. W i t h e a c h
ne w da y t ha t c om e s , w e ne e d t o e m br a c e our m om e nt i n t i m e . I f you w a nt t i m e t o l i ve up t o
you, you m us t f i r s t l i ve up t o t i m e .
L i ke a s t r onom i c a l t e l e s c ope s a nd c a m e r a l e ns e s , I w a nt t o l e a ve t he c ur r e nt e nvi r onm e nt
f r om a l ong- t e r m pe r s pe c t i ve a nd t e l l t he s pl e ndi d s t or y of l i f e w hi l e t ouc hi ng di s t a nt ga l a xi e s .
T i m e i s f a i r t o e ve r yone , a nd e ve r y da y i s br a nd ne w . W ha t w e c a n c he r i s h i s onl y t oda y.
44
Y e s t e r da y ha s pa s s e d, a nd t om or r ow ha s not ye t c om e . O nl y by gr a s pi ng t oda y c a n w e ha ve a
be t t e r t om or r ow .
45
B i b l i o g r a p h y
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2 0 0 2 .
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U n i v e r s i t y P r e s s , 2 0 0 6 .
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46
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Abstract (if available)

Abstract The city where I was raised had no light pollution and so I was able to see the stars in the night sky clearly. Even as a child I was attracted to the beautiful scenery. My love for star gazing did not go away as I got older and in fact it led me to think about the relationship humans have to the universe and the origin of the universe. I began to research and practice astrophotography with the desire to record these unreachable lights in the sky.
Astrophotography has a long history of development, from the original copper plate photography to today's digital images. Ordinary photographers can use digital cameras while professional fields such as NASA use high-definition telescopes or even spacecraft to shoot.
My thesis is about the practice of film photography and digital photography used to capture different celestial bodies and astronomical phenomena. Astrophotography is challenging. To capture an image the photographer must face harsh environments and have a detailed understanding of complex imaging and development methods. The practice of astrophotography requires great technical knowledge and a commitment to research and practice. Often it takes many failures and experiments to get the image.
My thesis work focuses on overcoming the hardships of the process, adding my design perspective and pursuing the creating memorable images that expand our knowledge of space and the place we hold within it.

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Asset Metadata

Creator Liu, Wangyu (author)

Core Title The application of photography technology in modern graphic design: the beauty of astrophotography

School Roski School of Art and Design

Degree Master of Fine Arts

Degree Program Design

Degree Conferral Date 2022-12

Publication Date 11/10/2022

Defense Date 10/31/2022

Publisher University of Southern California (original), University of Southern California. Libraries (digital)

Tag Astronomy,astrophotography,Cameras,OAI-PMH Harvest,photography,Stars

Format theses (aat)

Language English

Contributor Electronically uploaded by the author (provenance)

Advisor Wojciak, Ewa (committee chair), Ellenburg, Jason (committee member), O'Connell, Brian (committee member)

Creator Email 18800198168@163.com,wangyuli@usc.edu

Permanent Link (DOI) https://doi.org/10.25549/usctheses-oUC112417963

Unique identifier UC112417963

Identifier etd-LiuWangyu-11310.pdf (filename)

Legacy Identifier etd-LiuWangyu-11310

Document Type Thesis

Format theses (aat)

Rights Liu, Wangyu

Internet Media Type application/pdf

Type texts

Source 20221115-usctheses-batch-991 (batch), University of Southern California (contributing entity), University of Southern California Dissertations and Theses (collection)

Access Conditions The author retains rights to his/her dissertation, thesis or other graduate work according to U.S. copyright law. Electronic access is being provided by the USC Libraries in agreement with the author, as the original true and official version of the work, but does not grant the reader permission to use the work if the desired use is covered by copyright. It is the author, as rights holder, who must provide use permission if such use is covered by copyright. The original signature page accompanying the original submission of the work to the USC Libraries is retained by the USC Libraries and a copy of it may be obtained by authorized requesters contacting the repository e-mail address given.

Repository Name University of Southern California Digital Library

Repository Location USC Digital Library, University of Southern California, University Park Campus MC 2810, 3434 South Grand Avenue, 2nd Floor, Los Angeles, California 90089-2810, USA

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