Mike Taylor is an accomplished landscape astrophotographer and an instructor for night photography and post-processing. Taylor contributed this article to Space.com's Expert Voices: Op-Ed & Insights.
As a night photography instructor, I'm always encouraging students to integrate inspiring landscape elements in their photographs to create stunning night-sky compositions. During a recent trip to Utah, I came across an iconic, gnarly tree clinging to the top of the canyon wall at Dead Horse Point State Park, and I knew I had to incorporate it into some astrophotographs. While one of my cameras shot time-lapse footage of the Milky Way moving across the sky behind the tree, I set up another camera to capture a 16-image panorama that features the full Milky Way arc and covers 240 degrees of view from north (left) to south (right).
"Noctambulism" is another word for sleepwalking, and it seemed a fitting title for this picture.
I wanted to make sure the final image of the scene centered on this amazing tree, so I moved my gear around until I achieved the right composition. I made a few calculations to figure out how many shots it would take to capture the entire arc of the Milky Way galaxy, and then began photographing with my camera in portrait orientation. It took about 12 minutes to capture the 16 frames that make up the image, slowly moving from right to left.
When shooting panoramas like this, it's important to have quite a bit of overlap within each individual frame to make sure you can stitch them together correctly in post-processing. I decided to overlap each photo by 50% to ensure proper alignment. I shot each of the 16 frames with a Nikon D600 and 14-24 mm aspherical, wide-angle lens at 14 mm and the same settings: aperture at f/2.8, shutter speed of 30 seconds, ISO 4000 and the white balance dialed in at 3,570 kelvins (3,297 C; 5,966 F).
In the sky on that night, there was an incredible amount of green and a bit of maroon-colored airglow — faint light emitted by molecules in the atmosphere — and it made for dramatic hues in the scene. The man-made path around the edge of the canyon is visible on the right-hand side and just barely on the left. The La Sal mountain range is directly behind the tree, and the bright light to the left of the tree is light pollution coming from the town of Moab, which is about 10 miles away from that spot, as the crow flies. The light-colored "stripe" just to the left of the tree at the bottom of the canyon is one of the evaporation ponds at a potash mining facility just outside of Moab.