Original subtitles

You may think you need to burn a lot of

money on a big telescope to take photos

like this.

Think again, because I took that photo

using this very exact setup. A simple

tripod and a really cheap camera and

lens combo that costs about $200. And

I'm going to show you every step I did

to do [music] that. 2 and a half million

lightyears away is the Andromeda galaxy,

the most distant object visible to the

naked eye. This galaxy is a classic

example of a spiral galaxy. Here we can

see the companion galaxies. Now, this is

quite large in the sky and spans the

width of about six full moons. Before we

continue, do you like astrophotography

tutorials and want to be featured here

on my YouTube channel? If yes, feel free

to tag my Instagram account on your

posts. I would love to take a look and

see how my videos are helping others.

Let's get back to the video and first

talk about the gear. The gear I use for

this project [music] is a simple tripod

plus a Canon Rebel T6 paired with a 50

mm lens or the nifty50 as we call it. I

like to use this because it's a fast

lens.

Well, fast in a sense that it has a

large maximum aperture or a low f-stop.

And coming in at about $60 used, this

lens is a great budget lens for

astrophotography, which is why I like to

call it the thrifty50. Now, you don't

have to use a DSLR. You can use a

mirrorless, and you don't have to use

the nifty50 lens. In short, you'll need

a lens with a low f-stop, a digital

camera, and a tripod. Let's talk next

about the location. Remember how I said

the Andromeda galaxy is really bright?

[music] That's the best part because

unlike other deep sky objects, you don't

have to go to a dark sky site to image

it. If you can, [music] it's ideal, but

not necessary. In fact, I shot this

photo in Bortalass 5 skies near my

house. To figure out what the light

pollution looks like in your area, go to

lightolutionmap.app.

Here you'll find a website where you can

see a map showing areas of the greatest

light pollution all the way down to the

areas of the lowest light pollution. To

figure out what the light pollution

looks like in your area, go to the top

right corner and click the search icon.

Here you'll enter your address and

you'll be able to see the specifics on

the light pollution in your area. Now,

unfortunately, light pollution does

change over time, but one of the nice

features about this particular [music]

website is in addition to seeing the

light pollution, you'll also be able to

see the light pollution trend [music]

over time. You'll also want to avoid

other sources of light pollution such as

street lamps and security lights as

these can wreak havoc on your images.

Let's talk next about the time. But

first, where exactly is the Andromeda

galaxy in the night sky? In the northern

sky is a constellation called Cassiopia.

It looks like a W or an M. [music] To

find Andromeda, start with this bright

star here, Shedar, and use the other two

stars to draw [music] an arrow. This

will point in the general direction of

the Andromeda galaxy. Both of these

rotate counterclockwise around the north

star, Polaris. In August, as the evening

begins, you will see these in the

northeastern sky to the right of

Polaris. As fall progresses into winter

and then into spring, Cassiopia and the

Andromeda galaxy will rotate to the

other side of Polaris in the

northwestern sky, which means the

Andromeda galaxy is visible many months

during the year in the mid-n northern

latitudes. You just might have to wake

up really early to see it. In the mid-n

northern latitudes, Polaris is higher in

the sky, so the Andromeda galaxy will be

as well. However, in the southern

latitudes, Polaris is not visible. So,

the Andromeda galaxy will be

significantly lower in the sky. Whether

you're in the northern or southern

hemisphere, August through November is

the best time to photograph this. You'll

also want to wait for a new moon, which

is when the moon is least illuminated.

Also, try to photograph the galaxy when

it is at its highest in [music] the

night sky. Let's talk next about your

camera settings. First, switch your

camera to manual mode. Then, turn on

manual focus. To calculate the exposure

length, we'll use the rule of 500, where

[music] we take 500 and divide it by two

variables. The first is called crop

factor. that measures the size of your

camera [music] sensor. For full-frame

cameras, it'll be one. And for smaller

sensor cameras like your crop sensors,

it will be greater than one. In my case,

it was 1.6. Then we'll look at focal

length. In my case, it's a 50 mm lens.

So, it will be 50. I then take 500

divided by the product of 1.6 * 50. That

equals about 6.25 seconds. These

exposures could have been longer. The

goal of all of this is to compensate for

the rotation of the Earth and avoid star

trails in your images. The exposure on

the left is too long. The stars are

trailing. The exposure on the right, the

stars are pinpoint, [music] and that's

what we're after. Next, you'll want to

open the aperture as wide as possible.

As far as the ISO, I chose 3200. You may

need to adjust this for light pollution.

You may also want a 2-cond delay on your

camera so your hand is off it while it's

shooting. I also decided to shoot in RAW

and large JPEG. Raw images will be the

ones we use for our final photo, and

JPEG can be used for the computer

preview. This example of a single photo

is a bit underwhelming, but don't worry,

we'll turn it into a masterpiece soon

enough. Next, let's talk about imaging.

Because we're shooting with such a wide

field lens, and because Cassiopia is

such a bright constellation, it won't be

hard for us to find it in a live view of

our camera, [music] even under light

polluted skies. The first thing you'll

want to do is use the digital zoom to

zoom in on a bright star. This is how

we'll achieve focus. Once you're zoomed

in, push your camera lens all the way to

infinity and then slightly back it off.

The goal is to have the star be the

smallest white dot. Purple fringe is

okay. That's expected with cheap lenses.

Then you'll want to zoom out and

refframe Cassiopia to where we can get

Andromeda galaxy in frame. Remember,

move the direction of the imaginary

arrow to find the Andromeda galaxy.

Here's the arrow, and here is where we

can expect to see the Andromeda galaxy.

Let's take a test shot and see what

happens. Here's

Cassiopia on the right and on the left

we can see the core of the Andromeda

galaxy.

Next, center your camera on the

Andromeda galaxy or about to where you

think it is. This may take several tries

and require several test shots.

Eventually, you'll want it looking like

this. After this, you'll take 250 light

frames or photos. Now, you will need to

reenter your camera every 10 to 15

images because of the rotation of the

Earth. An easy way to do this is use the

rectangle to reframe on a bright star.

As long as you keep that reference star

centered between sets, you'll be good.

Now, your camera sensor can be pretty

noisy. Wait, what? That's right. I don't

have to tell you that our technology

today is sometimes less than reliable

and not perfect. Here's a simple process

of an image I captured. And even just a

little bit of it reveals noise and

artifacts. Things like vignetting,

noise, and hot pixels. We can compensate

for these noise and artifacts by taking

three calibration frames. Dark frames,

which capture the thermal noise from the

sensor, bias frames, which capture the

sensor readout noise, and flat frames,

which capture any vignetting or dust

present. Still confused? Think of it

like this. You finally made it to that

scenic overlook and just as you

expected, it happens.

>> Main character

for real.

>> In our astrophotography images, we

expect to see noise and artifacts. Just

like when you're at that scenic

overlooked, you expect to see these

guys. Calibration frames can help to

isolate and identify noise and

artifacts. In short, the calibration

frames allow us to account for the

unwanted distractions in our images.

Now, it may sound a little like

cheating, but it's not. Even NASA uses

calibration frames. So, let's talk about

how to take calibration frames. Take

these after your actual photos so that

the dark frames are taken at the same

temperature as the photos and so you can

keep the same focus. For the dark

frames, you'll first want to replace the

lens cap, turn off the shutter delay,

and then shoot. You'll want to take

about 50 of these. For the bias frames,

you'll set the exposure length to the

shortest possible with the lens cap

still on and shoot about 50 photos. The

flat frames are a bit more involved.

You'll need first a white t-shirt or

paper sheet and an evenly lit

background. What do I mean by that?

No, I don't mean that. [music]

I mean an evenly lit sky or light

source, such as the dusk sky or ceiling.

I used my lights here to evenly light

the ceiling, and it worked best for me.

First, you'll remove your lens cap and

then switch to AV mode. Then, you'll

point the camera vertically at that

light source and place the t-shirt or

paper sheet over the lens, making sure

it's flat. Then you'll take the photos.

Let's rewind that real quick. Take a

look at the histogram. It's about 50%

exposed, [music] and that is what you

want to aim for. Take 30 of these flat

frames. Here is a quick review of the

details for each of these. Please feel

free to stop this video and take a

screenshot at this time so it's easier

for you to remember. After you have

those photos, I'd recommend taking them

off your camera, putting them in your

computer, and organizing them into

folders. It makes things a lot easier.

Let's talk next about stacking. Now, you

may be doing the math and be asking

yourself, "Why on earth did I take all

those photos?" I mean, isn't one photo

good enough? Not quite. See, space

photos have a secret. Even though

they're masquerading as one, they're

really a bunch of photos that have been

combined. They've been combined through

a process called stacking. Get it? Where

you take the individual photos,

integrate them together, and then you

get a finished image. We use the stars

in each of the photos to align the

images. The noise is fairly random

across the photos while the signal is

fairly consistent. So as we integrate

more individual photos into our final

image, we increase what is called the

signal to noise ratio and get a much

cleaner image. What we will do is

integrate the light frames, the dark

frames, the flat frames, and the bias

frames using a free online software

called Deep Sky Stacker. When you open

Deep Sky Stacker, it will look like

this. The first thing we'll do is upload

our light frames. And like I said,

organizing ahead of time really helps.

Go ahead and go to the lights folder and

make sure you're selecting the raw

files. Go ahead and select all those

files and then click open. Now, even

though we've imported these, we need to

check all the boxes. So, instead of

going down one at a time, you can select

all the files that have been imported.

And after doing so, rightclick and then

click check. Now, they are all imported.

Next, we'll import our dark frames using

the same approach. In this case, you

won't need to check these boxes. They're

already imported. Make sure again that

you are using the raw files. After the

dark files, we'll then go to the flat

files. We'll do the same thing again,

making sure we have the raw files, and

then we'll open. Lastly, we're going to

import the bias files, select them all,

and then click open. We now have each of

the light frames, dark frames, flat

frames, and bias frames imported. The

next thing we'll do is adjust the

register settings. I'd recommend setting

this to the best 95% photos. Next, we'll

want to make sure we have enough stars

in our images so they can align

properly. We can see we've got quite a

number. We can actually slide that

slider down so we don't have quite as

many. Let's run it again. And after

doing so, we've see that we've got a few

hundred. That should be good enough.

After that, we'll go to the recommended

settings. And as a general rule, the

recommended settings in blue beneath red

usually yield good results. For the

stacking setting, there are two options.

I used the Sigma clipping method that

worked best for me in my case. After

that, you'll click okay

and then click okay again. All of our

light frames have been uploaded for a

total of about 12 minutes of exposure

and we have all of our calibration

frames as well. Go ahead and click okay.

Depending on the computer you have, it

may take anywhere from 15 to 45 minutes.

Let's go ahead and jump ahead. This is

our final output image. And up here in

the top lefthand corner, you can see the

location of your file. Now that you have

your stacked image, we can move on to

the final part of this tutorial,

processing. In this case, I'll be using

Photoshop, and you can get a free 7-day

trial online. Now, if you have an

aversion to free trials and don't want

to put in credit card information, then

Photo P is a good alternative. In

addition to having a similar interface,

it has many of the same functionalities

as you'll find in Photoshop. But like I

said, we're going to do ours in

Photoshop. And the first thing we'll do

is save our file as a PSD or Photoshop

file. The next step is we'll go to image

down to mode and then 16 bit channel.

We're going to change the mode using the

exposure gamma settings and change it to

16 bit mode. Click okay. And now what

we're going to do next is duplicate the

layer. You can use the hotkeys J to do

this. I plan on renaming all of my

layers so that you can have a simple

reference to screenshot [music]

when you're doing your processing. The

next thing we're going to do is we need

to level out this background so it's

more gray. So we do ctr L to do a levels

adjust. Click the middle eyropper and

then click somewhere in the middle to

try to get a nice background that

matches. Once you've done that, you'll

click okay. Go ahead and do Ctrl L

again. And then we're going to grab the

leftmost slider and pull it towards the

histogram. Usually you wouldn't want to

clip off this part, but that's just an

artifact from the stacking and that's

okay. We'll address that later. pull it

a little bit more towards the center and

then click okay. Now to address those

artifacts, we're going to crop the image

in. So grab the crop tool and pull the

sides in slightly to get rid of that

weird framing artifact.

Now we can do ctr L again. And this time

you'll see that there's no artifacts in

the histogram. So go ahead and pull the

left slider over and then take the

middle one and pull it towards the

histogram. We're going to do this a few

more times. And as we're doing this,

you'll notice that we are revealing more

detail in the galaxy right here. Uh, but

we're also keeping the background a

little bit balanced. We'll go ahead and

do this one more time. Now, what you

start to notice is some of the

background changes as we're doing this.

So, what we'll need to do is go in and

grab the middle eyropper again to set

another gray point. The other thing that

we're going to do is we can actually

adjust the individual channels. We can

go through the red, green, and blue and

try to get them as balanced as possible.

So, we've got a nice flat background.

After this, create a new layer from the

visible by holding control shift alt E,

which is something we'll do throughout

this [music] process. Then, we will

continue to do a few more levels

adjusts. Open up levels again. Grab the

left slider and pull it towards the

center. Click okay. Open up levels

again. Make sure you do not pull it into

the histogram. This is called clipping

the data and it's not good. So, pull it

right up to the edge and then click

okay. Open up levels again and then pull

the center one towards the histogram as

well. Now we're really starting to see

the galaxy pop out in our image, [music]

which is great. We're going to do one

more levels adjust.

And that's looking pretty good in the

center here with the galaxy. We're going

to create a new layer from the visible.

Next, we'll do what's called a curves

adjust. So holdm [music] and the curves

window will pop up. This shows the

histogram from the black point all the

way to the white point. And what we're

going to do is stretch the data. So

we're going to click somewhere on the

histogram

right about here. And we can pull that

up slightly and pull the middle part of

it down. This is going to allow us to

have more contrast and reveal more

detail in the galaxy. We don't want to

do too much cuz we're starting to get

this nasty gradient over here. So we can

pull this back just slightly and then

pull the part down a little bit too.

It may take a little bit of playing with

it, but do your best to get something

that looks just about like this. Click

okay.

Now, as you can see, we have this nasty

gradient. So, after creating another new

layer from visible, what we are going to

do is use the linear gradient tool to

get rid of that. First, make sure you

save that project before you lose it.

Very important. Learned this one the

hard way. And then, we're going to

address the gradient. So, go to filter,

camera raw filter.

And what we're going to do first is zoom

out a little bit farther to something

that's maybe about 12%. Here you can see

the gradient is pretty bad. So, we're

going to go over to the circle icon and

create a new linear gradient. We'll go

to the side of the photo that has the

gradient. Click in the area that has the

most gradient and then pull towards the

area that does not. Now, you can

redirect the center and vector of the

gradient, but this looks pretty good.

Then when you go back to the right hand

side, you can toggle the amounts of the

exposure, the contrast, as well as any

number of other values to make sure it

meshes in well. After zooming in, we can

see that the gradient's looking a lot

better. If we go down, we can also

adjust the tint and the temperature, but

I'm pretty happy with the contrast and

exposure that we've landed on. And I

think this is looking pretty good. You

can really see how this simple process

took care of much of the gradient. And

as we zoom in on the galaxy, we can

really start to see some of the dust

lanes popping. You can even see some of

the young blue stars on the outer edges.

So, we'll create another new layer from

visible.

And after we've done that, we're going

to do yet another curves adjust. When

the curves windows open, you can

actually click with the eyropper tool

somewhere in the image and that value

will plot itself on the chart. This

makes it easy for adjusting just the

areas you want to focus on. We can zoom

in on the galaxy and you really start to

see the details popping even more with

that simple curve stretch. Next, we're

going to do a new layer from visible.

And then after that, we're going to

address these nasty blue halos around

the stars that were caused by our cheap

lens.

Go up to filter camera raw filter and

then go over here on the right hand side

to optics. Here we can set the purple

amount and purple hue we're choosing to

different. Don't pull it too far into

the blue or else you'll remove the blue

stars from the galaxy. So, really focus

on adjusting the purple amount to get to

where you want to go.

You might have to play around with it,

but that's okay. Do some guessing and

checking to make sure that [music] the

blue stars in the galaxy are remained.

After you click okay, you can really

start to see the big difference that you

made in the stars and how they look a

lot better than they did before.

After this, we'll do another new layer

from visible and then another levels

adjust.

We can see the background is starting to

look a little bit green up here. So,

we're going to go to the green channel

and slightly adjust some of the sliders

for that. We can pull the left-handed

one in, but you don't want to go too

far. It'll turn to red. Next, we'll go

to the red channel and we'll adjust that

one slightly as well.

And then we can click okay. We'll do

another levels adjust. And this time

we'll focus on the blue channel

and make sure that we don't move those

sliders too much. That looks pretty

good. Before we continue, go up to file,

save as, and then grab the drop down to

make sure that the Tiff is selected. We

need to save this file as a TIFF file

for Staret. I'm naming it something

including Staret so that I can make sure

I know where it's at. Once it's saved,

click okay and then click okay again.

What is Staret, you may ask? It's a free

program to remove stars from your photo.

So, you can take a photo like this and

turn it into one like this. This is what

the website looks like. And if you

scroll all the way to the bottom, you

can see the download for Windows. Now,

once you've downloaded it, you'll have

to make sure you rightclick it and

extract all the files. Now, what I'm

going to do is go back to that TIFF file

I saved and actually cut it and paste it

into the extracted file folder.

Then I'm going to go up to the Staret

GUI and doubleclick it. This will open

the interface for Staret. I can then

browse to the file that I just moved to

the folder. Here's even a test file they

provide. And then I can click on that

file. Once I've opened that, I then need

to make sure I change the output file

name. I'm going to change it to

something called Staret Output.

And then I'm going to click run.

Now, this will take some time.

But let's use some movie magic again.

Now that it's finished, we can see the

output file. And we're going to open

that in a separate Photoshop project.

[music]

[cheering]

The first thing we'll do when we open it

in a project is zoom in and look at that

detail that we can see now that we've

removed the stars. So, the first thing

we're going to do is we're going to

actually remove a lot of these artifacts

from the leftover stars that were not

removed. We're going to use a spot

healing brush tool on the left hand

side. As far as the brush tool settings,

I used something medium. And you want to

make sure you also have a low percentage

hardness for the brush. The normal mode

also works pretty well. And all you're

going to do is just click on each of the

stars and remove them. This may take

some time. Let's use that movie magic

again. Now that we're done, we're going

to create a new layer from visible.

And then again, we'll create another new

layer from the visible. Next, we'll do a

curves adjust. And we're going to do a

slight adjustment. Again, stretching the

data a little bit more. As we're doing

that, we want to make sure we're not

blowing out the core of the galaxy. So,

we want to be careful [music] with those

highlights.

Click okay. And things are looking a lot

better. We'll do another levels adjust

to make sure that things are balanced in

the background, going through each

channel as needed to where we can get

something that's nice and neutral.

We're going to create another new layer

from the visible

and then we're going to adjust the

vibrance and saturation for this

particular layer. So grab that

saturation slider and pull it up but not

too much.

If we zoom in, we can start to see some

of the detail in the outer edges and

some of that blue coming through nicely.

After we've created another new layer,

we're going to do another levels adjust.

We're going to set the gray point again

by clicking somewhere in the image and

then clicking okay. Now, one thing we

want to focus on is a selected color

range for focused saturation. So, we'll

click select color range and then we'll

use the eyropper to click somewhere in

the galaxy. You can adjust the fuzziness

to change the amount that's being

selected

and then click okay.

We've primarily selected the outer

edges. And then we'll click hue

saturation again to bump up that

saturation even more on the outer edges

of the galaxy.

Things are looking pretty good. And

after we create another new layer, we'll

do yet another levels adjust.

Now, as we continue to brighten this

image with these level adjusts, we want

to make sure that things are remaining

balanced. So, we can go into these

individual channels again and make sure

that things have a neutral background.

This is a constant iterative process

that you'll need to keep checking on

throughout your process.

If we zoom in on the galaxy now, we can

see things are looking really, really

good both in the core and the outer

edges.

What we're going to do now is Ctrl C and

Ctrl +V this starless image onto our

main project. Here you can see the

difference in terms of the amount of

galaxy we've revealed compared to how it

originally looked. After renaming this

layer, I'm actually going to copy the

layer that had the stars and place it on

top of the one that does not have the

[music] stars. Then I'm going to adjust

the opacity of the star layer on top to

80%. I'm then going to create a new

layer from visible. Now, there are many

different ways to combine starless and

star layers. This is just one really

quick option. Not necessarily the best,

but it can get the job done. Let's do a

quick comparison to the way things

looked before and the way things looked

after. We can see the stars are

significantly less bright and they're a

little bit smaller as well, which can

help our overall process. Zooming back

out, we'll turn on all of our layers

again. Create another new layer.

And then we're going to do another

curves adjust. clicking that eyropper

somewhere on the outer edge of the of

the galaxy and then pulling up to the

right. Then we'll click in the dark

space down below and we'll pull down.

As we do this, you'll really start to

see the difference between the starless

and star image. Notice that the stars

don't really change at all, but the

galaxy is that much more pronounced.

This is exactly what we are after. But

we also want to make sure that the core

of the galaxy is not blown out. And I

think we've done a pretty good job here

retaining that detail, especially in the

dust lanes.

After zooming back out and turning on

all of our layers, we can see that

there's a lot of unused space in this

image. Because of the sensitivity of our

camera, we can't pick up much of

anything else. So, what you can do as an

option is copy the top layer [music] to

a new Photoshop project, and then we're

going to crop it in from there. I don't

want to crop it in this layer because I

don't want to lose the processes I've

already worked on. So once we've pasted

it into a new project, we'll then use

the crop tool to bring it in to adjust

the area of focus, particularly around

the galaxy. This will make things

significantly easier when we're

processing.

After this, we'll do another new layer

and then we'll do another levels adjust.

Grab that middle eyropper and click

somewhere in the image.

Then click okay.

After creating another new layer, we're

going to adjust the vibrance and

saturation yet again for this image. Go

ahead and pull that vibrance up a good

amount. And then the saturation as well.

This is getting some of the details we

really want to start to see, especially

those blue stars on the outer edges.

But we don't want to do too much, so you

might have to back it off some.

We'll create another new layer. I know

you're probably tired of hearing me say

that.

We'll create another layer. And then

we'll do a curves adjust.

So, by clicking somewhere on the outer

edges of the galaxy and then pulling

that up and then pulling down the left

hand side, we can really really start to

see the outer edges of this galaxy

contrast against the darkness of space.

After creating another new layer and

naming both of these, you can do an

optional brightness adjust. If you feel

that the stars and the galaxy in your

image are perhaps a little bit too

washed out, what you can do is go to

adjustments, brightness, contrast, and

then turn down the brightness just a

little bit. You don't have to. I just

want to show you all some tools and

tricks you can use so that you can

develop your own process. When we create

a new layer, you can see the difference

and how things aren't quite as washed

out in the center, which is what we're

going for.

After creating another new layer, if you

zoom in on these stars, you can start to

see still some of the blue halo coming

back from earlier.

To address the saturation of the galaxy

without adding to this, we're going to

go to select color range

and then we'll click localized color

clusters. After that, grab your eyropper

and click somewhere in the center of the

galaxy and adjust the fuzziness to make

sure you're selecting just the galaxy in

the center. Make sure you pull that

range down so it's localized just to the

galaxy

and pull the fuzziness up so you get as

much of that core as possible. You may

have to play with it.

Then click okay. Now you can see we've

selected just the core of the galaxy.

And what we're going to do is another

saturation [music] and vibrance adjust

for the center of the galaxy.

As we pull these up, we can see that

color start to come through without

affecting the rest of our image.

After you create another new layer, we

can then do another curves adjust.

We're going to click somewhere on the

very outskirts of the galaxy and then

click over somewhere in empty space and

pull it even more.

Now, doing it way too much can make

things really grainy, so just make it

subtle. [music] It's a very iterative

process and it takes practice over time.

Toggling it on and off shows us yet

again how we're bringing out more of the

galaxy while managing the brightness of

the stars.

Now, if we zoom in, we can see those

pesky blue halos are back. So, what

we'll do is we'll create a new [music]

layer from visible

and then we'll go up here to filter

camera raw filter. We're going to use

that same def fringe optics tool that we

used earlier, but this time in addition

to adjusting purple, I'm going to slide

the purple hue [music] over to the left

to get into the blue. We'll use an

eraser tool to mask out this new layer

and make sure we don't remove the color

from the galaxy. Now, if we zoom in on

the galaxy, you can see how this action

actually removes some of the blue color

in the stars on the outer edges of the

galaxy, especially as we toggle on and

off these layers. So, what we're going

to do to bring this back is use an

eraser tool that's a small to medium

size with a very low percentage hardness

and a very low percentage opacity. and

clicking [music] on the top layer, we're

just going to erase the galaxy as it

appears. This will remove the part

underneath to where we can restore those

blue stars and maintain the color.

After that, we're going to create

another new layer and then we're going

to adjust the vibrance and saturation

one last time.

[music]

After one more layer, I promise it's the

last one, we'll do another levels adjust

to bring out a nice even background. In

[music] this case, I'm going to go to

the green channel and pull it to where I

see fit.

Now, you can repeat these processes

[music] again and again and do them in

different orders. There is no one exact

way to process the image, and there

never will be, but these are some of the

commonly recurring approaches and

techniques that you can use to achieve

the final image like I did. If you like

that video, please consider subscribing.

It really helps my channel. And if you

have any other ideas for other astro

tutorials, let me [music] know in the

comments. I would love to hear them.

Thank you so much again for watching.