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Cygnus super mosaic - part one

roundycat

By roundycat
in Imaging - Deep Sky

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roundycat

roundycat

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a work in progress this one. Several nights work to get about ten hours together in four parts. Artemis 11002 and FSQ guided with Atik and TMB 152 on AP 1200. I need to spend more time getting the balance between frames right but plenty of time for that when it starts raining.

Data reduction in Maxim and finished in PS. A five layer TIFF this size runs out at 300MB so the finished eight part job might turn out to be a bit of a nightmare. This one prints at A1 but the forum version loses a bit as it is reduced to 0.1% of the original size.

Finished with a faux selenium tone (which took 1.5GB!) so I'm not sure how to cope with the real biggy. Here's hoping the boring bits on the left will take on a new lease of life when joined up with the NA neb.

Dennis

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Aza

Aza

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Wow! Thats gonna be some piece of work! Great start :icon_rolleyes:

[iNSERT SHAMELESS PLUG HERE]I have my PC up for sale at a real cheap price, might go some way towards the processing power you need ;)[/END PLUG]

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roundycat

roundycat

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Rob, I started to learn PS about nine years ago when v5 was just out, I was using Limited Edition as it came with a printer. Several features were missing (deliberately) from LE, notably quickmask and some slightly fancy features not widely used, by me anyway. One thing that the full version had was a multitone facility which allowed you to add one, two or three extra colours to a mono image to add a discreet colour to it. This produces the kind of very high quality mono print reproductions you often see in expensively printed books such as the work of Ansel Adams.

Prior to stumping up the money for the upgrade I had a go at producing the multitone effect a different way. Basically converting the grey image to RGB, duplicating the layer and colourising it. Saturation to 100% and hue adjusted to a pure, cold blue for a gold toning effect, a deep purple for selenium and obviously yellow-brown for sepia.

The trick was in the blending mode, Overlay generally being the winner. Reduce the opacity of the colour layer to between 10-20% and you get the very weak colour effect in a way which seems to add colour to the mid range and shadows but not the highlights. Just like wet chemistry toning which was the effect I was trying to get.

When I eventually got the full version of PS I tried the multitones straight away and was mighty disappointed. Setting the colour weights is murderously difficult if you want to avoid over inking the paper. I have mono prints done like this that have distinct colour tones in different areas of tone in the print, my own method gave me no such problems.

Use this method before sending mono images to the printer and you can print an essentially mono picture in RGB without getting the colour cast that so often follows a mono image printed on an inkjet.

Dennis

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Les Tilly

Les Tilly

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Ok Dennis time for a lesson I took my gray image and converted to RGB then I duplicated the image and changed to overlay I then did ajustment Hue and saturation changed saturation to 100 and Hue to around 29 when the color looked Blue how do I find the other colors you mention ??

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roundycat

roundycat

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Les, just to be sure, duplicate the layer - not the image! Select Hue and Saturation and tick the colourise box, saturation to 100% and Hue to 32 for Sepia, 300 for Selenium and 240 for Gold. This is with CS but I believe v7 and v6 are the same. They changed from v5. The numbers are approximate and just in case you think I am going mad the colours relate to wet chemistry toning. Gold gives a very cold thin blue colour and full selenium gives a purple colour but it depends on the paper. Sepia is the only one that looks like what it says on the box.

Dennis

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