I've been holding off on upgrading my big workstation to Windows 10 because, quite frankly, I don't want to be constantly fighting with software and my operating system when I'm trying to do my images. It's hard enough getting everything right under the best of circumstances so adding in a balky new OS only makes things even more difficult. And, up until now, Windows 10 has been balky and strange. So I held off, staying with Windows 7 until the last moment. Well, yesterday was the moment. I really like Windows 7 but am not too enthused by the idea of spending $129 to upgrade to 10 after July 29th. It's always a toss up ... do I stay with what I have and am comfortable with or do I take the plunge and upgrade to the unknown. The real problem is compatibility ... I have tons of software that is really happy with 7 and much of it can't be simply upgraded without some serious expense or other issues (Adobe and the cloud SAAS they've foisted on everyone is one example). But I also don't want the headaches associated with an old, out of date OS either. The only redeeming policy from Microsoft is they made provision for going back to the old OS if I wanted to. That clinched the deal. So yesterday, after an overnight download of the install package, I bit the bullet and installed 10. No big issues with the install and I'm running on it as I type this post. It seems to be OK and all my software, so far, seems to be OK with it. I'll upgrade to the big bug release coming next month and see how everything is working. If there aren't any major issues I'll stay with 10 but still have a separate solid state drive with 7 just in case. This constant churn in technology drives me to distraction. Some of it is OK but the need to always come out with something new is really wearing over time.
Old Woman and the Night Sky
I was in Death Valley twice this trip. In mid-April I was on the salt taking sunsets but the full moon made it impossible to get any reasonable star photos so I went down toward LA for a few weeks and came back in early May. I spent a night on the salt and got some really spectacular Milky Way shots (including a long sequence of 268 images for an eventual time lapse clip).
There's a problem however. 268 shots of the salt are really boring. They had serious floods in Death Valley last fall and the old, interesting salt formations were all washed away. What's there now is really new and really white but there aren't any really fascinating shapes yet. Those will come over time if more flooding isn't in the works. And, to be really honest, a really nice time lapse of the Milky Way doesn't impress anyone anymore. What's needed (and demanded) is an interesting composition of the stars and a really impressive foreground structure. That's a wonderful idea, of course, but out on the salt there really aren't any cool foreground structures at the moment with the new, monotonous (did I say white ... really white) salt stretching out as far as the eye can see. So, enter the old woman.
If you head up the road from Badwater (and the salt) to Furnace Creek and keep going for a few more miles up 190 toward Stovepipe Wells you'll get to Mesquite Flat sand dunes. When you hit the parking lot you'll notice a small stand of dead trees, preserved by the extremely dry air and in amazing shape. One of those trees, the one most to the west, is the most interesting. Stand to the east and look at the tree and you'll see an old woman, her arms held out as if welcoming you to her embrace. She's truly a wonderful sight. I studied that tree for a long time, trying to find a way of incorporating it into a Milky Way sequence but I just couldn't see any angle that worked. First, to see the old woman you have to be facing west and everyone knows the Milky Way only shows due south so that's not going to work. On top of that, Tucki Mountain is due south of the dunes, cutting off any view of the rising galaxy. So I thought about all this for a while and realized that the only way I'd get the old woman and the Milky Way was to take shots of each one separately and then combine them in Photoshop. It took 3 days to make that happen. Mostly it was the building of the mask ... the black and white image that separates the tree from the background ... that took all the time. I had to break the process up into 8 separate areas because the bright background is too much like the tree to get a really strong contrast. The only way to get what I wanted was to work in individual areas and play with the contrast until I got enough separation to pick out the tree from the bright sky. There was a great deal of repair work even with all this isolation so it took 3 days to get everything right. But WOW, the result is really nice, don't you think? So I give you the old woman and the night sky. Isn't she spectacular?
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| Old Woman and the Night Sky - composite image, license CC BY-NC 4.0 |
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