Beginner in mono: How to combat lightpollution?

Rick VereginJon Rista
30 replies1.3k views
Tim Richter avatar
Hi AstroAddicts!

I am kinda new in mono astrophotography, as I found a ASi 1600MM GT on sale. This question is not about that camera in particular, but about mono photography in general. I previously worked with OSC cameras, and am familiar with lightpollution filters for those. The filters I now use for mono is a set from Optolong, 7nm SHO and broad LRGB. 

I am happy with the results from the narrowband filters, the Heart Nebula in Hubble palette looked great!

But when it comes to broadband targets, like Andromeda Galaxy, I am not sure how to proceed in terms of lightpollution supression. The RGB filters don't supress the usual LP wavelengths, the L doesn't either. My first guess is to use the Optolong L-Pro as Luminance filter, to combat at least some of that. I have the feeling that the RGB data pollutes most of the final image, since it does not supress lightpollution.

Is my reasoning flawed, or are there methods to supress lightpollution that I don't yet know about?

Edit: I live in a bortle 5-6.
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andrea tasselli avatar
Once you get your colors right using an LRGB technique and a L-Pro luminance you're set.
Byron Miller avatar
What are your exposure times when shooting LRGB?
What is your gain?

For me, I implement moon avoidance in my sequencer with LRGB and that does 99% of the work for me. I am in B1/B2 skies so that helps dramatically but when it was in my backyard, it was mostly post-processing removing of gradients and also greatly reducing my sub exposure time.

I never bothered with L-pro on mono as a replacement for Lum.

I'd recommend choosing targets that avoid moon, shoot much shorter with LRGB and longer integrations.  Sometimes you can take the bulk of your data at home, go remote to get some high quality subs and then fit the subs against your high quality ones to help finish them off. (or use a remote scope to do this)
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DavesView avatar
So here's a good chance for me to ask a question. Tim is using filters with a 7nm window. Does a filter with a 3nm window block more of the unwanted signal than a 7nm? 

I'm using Optolong SHO 3nm filters in B7-8 and it seems to work well enough. I'm new at mono and have only finished two images.

Also, when I shoot OSC and use an Optolong eXtreme at 7nm on a night where conditions aren't so favorable, I get lots of pollution, whereas if I use the Optolong Ultimate at 3nm, the results are considerably better.
andrea tasselli avatar
DavesView:
So here's a good chance for me to ask a question. Tim is using filters with a 7nm window. Does a filter with a 3nm window block more of the unwanted signal than a 7nm? 

I'm using Optolong SHO 3nm filters in B7-8 and it seems to work well enough. I'm new at mono and have only finished two images.

Also, when I shoot OSC and use an Optolong eXtreme at 7nm on a night where conditions aren't so favorable, I get lots of pollution, whereas if I use the Optolong Ultimate at 3nm, the results are considerably better.

Yes, all other things being equal.
AstroRBA avatar
Tim Richter:
Hi AstroAddicts!

I am kinda new in mono astrophotography, as I found a ASi 1600MM GT on sale. This question is not about that camera in particular, but about mono photography in general. I previously worked with OSC cameras, and am familiar with lightpollution filters for those. The filters I now use for mono is a set from Optolong, 7nm SHO and broad LRGB. 

I am happy with the results from the narrowband filters, the Heart Nebula in Hubble palette looked great!

But when it comes to broadband targets, like Andromeda Galaxy, I am not sure how to proceed in terms of lightpollution supression. The RGB filters don't supress the usual LP wavelengths, the L doesn't either. My first guess is to use the Optolong L-Pro as Luminance filter, to combat at least some of that. I have the feeling that the RGB data pollutes most of the final image, since it does not supress lightpollution.

Is my reasoning flawed, or are there methods to supress lightpollution that I don't yet know about?

Edit: I live in a bortle 5-6.

Hi Tim,

I use an L-Pro for my luminance here in my Bortle 8 backyard - It's still a trade off as LP can still overpower the faint regions and the new LED city lighting passes through LP filters anyway BUT with longer data batches the LP gradient changes which seems to help gradient correction in Pixinsight get a pretty decent balance. 

We will never get the signal that a B1 to B3 yeilds but the challange and result is extra rewarding !

Pete
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Rick Veregin avatar
Hi Tim,
In the OSC world with Bortle 8 skies, I have not liked the L-Pro at all for broadband targets, it was worse than straight RGB unfiltered. On the other hand I'm finding the UHC filter working well for me in my light pollution for my first galaxy attempt with it (will post my image soon, just working it up now.).

But of course it can depend on the extent of your light pollution and the particular light sources in your area. Based on my OSC experience, my own conclusion is that there should be an advantage for a luminance with the right LP filter, especially since a luminance in mono lets in even more light pollution than RGB unfiltered does on an OSC camera. I do have a mono camera, but have not tested this aspect yet with my UHC filter, it is in my plans though.

I do recommend you look at Thompson's work here where he does a very good job of experimentally comparing LP filters, and showing the benefits or not of particular filters on NB and BB targets. Note, he also finds the L-Pro to be worse than no filter for BB targets, with no contrast improvement while cutting out a lot of the signal. The UHC and CLC he shows have highest transmission of those he tested in this paper, and good contrast improvement for BB targets compared to the L-Pro. In fact, it was his work that convinced me to try the UHC filter.

By the way he has all sorts of other papers on filters on his Research Gate site, for many different types of filters--a wonderful resource.

Hope this helps.
Rick
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Marcelof avatar
The best way to combat light pollution with a mono camera is narrow band, you can use Ha and Sii without problems, even on a full moon. Oiii only on moonless night.

Regarding broadband, use a lot of short exposures, between 15s and 30s for each filter. And for a lot, a lot, ideally 1000 exposures per filter. And of course never when the moon is present.
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AstroRBA avatar
Rick Veregin:
Hi Tim,
In the OSC world with Bortle 8 skies, I have not liked the L-Pro at all for broadband targets, it was worse than straight RGB unfiltered. On the other hand I'm finding the UHC filter working well for me in my light pollution for my first galaxy attempt with it (will post my image soon, just working it up now.).

But of course it can depend on the extent of your light pollution and the particular light sources in your area. Based on my OSC experience, my own conclusion is that there should be an advantage for a luminance with the right LP filter, especially since a luminance in mono lets in even more light pollution than RGB unfiltered does on an OSC camera. I do have a mono camera, but have not tested this aspect yet with my UHC filter, it is in my plans though.

I do recommend you look at Thompson's work here where he does a very good job of experimentally comparing LP filters, and showing the benefits or not of particular filters on NB and BB targets. Note, he also finds the L-Pro to be worse than no filter for BB targets, with no contrast improvement while cutting out a lot of the signal. The UHC and CLC he shows have highest transmission of those he tested in this paper, and good contrast improvement for BB targets compared to the L-Pro. In fact, it was his work that convinced me to try the UHC filter.

By the way he has all sorts of other papers on filters on his Research Gate site, for many different types of filters--a wonderful resource.

Hope this helps.
Rick

I agree that the L-Pro is not great for OSC; I would also rather go filterless in B8, or use an L-Enhance; however I have found the L-Pro to be decent as a Lum filter for LRGB (also in Mississauga!)
Rick Veregin avatar
Interesting result. I will at some point try both the UHC and L-Pro with my mono camera and see how they compare.
Well Written
Jon Rista avatar
My opinion here is different than most. I think most generally recommend some kind of LP filter, with notches and passes to try and increase contrast. In my experience, measuring the total bandwidth of all notches vs. the total bandwidth of all passes, such filters usually cut out ~50% of the visible spectrum, if not much more. This loss of signal might help you improve contrast in some ways, but usually at non-trivial costs in other ways. 

If you are using a monochrome camera, my opinion is this. Just use a normal L filter, maybe the Astronomik L-3 filter (which cuts off a little bit of the deep blues and deep reds, which might be helpful if you have stellar bloat from those ranges). Then just suck down as much signal as you can. You'll pick up LP, but you'll also pick up a ton of broadband object signal. This can help improve contrast on the signals from space faster, without the quirky consequences that an LP filter can potentially introduce thanks to how they chop up the spectrum.

I've seen some pretty darn good black and white images of space from light polluted areas when only an L filter is used. Nice contrast, enough to render the differences between say dark nebula and brighter regions well. 

Color is a different story, and IMO color is where LP will become more problematic. That's a whole different can of worms though.
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Rick Veregin avatar
Jon Rista:
My opinion here is different than most. I think most generally recommend some kind of LP filter, with notches and passes to try and increase contrast. In my experience, measuring the total bandwidth of all notches vs. the total bandwidth of all passes, such filters usually cut out ~50% of the visible spectrum, if not much more. This loss of signal might help you improve contrast in some ways, but usually at non-trivial costs in other ways. 

If you are using a monochrome camera, my opinion is this. Just use a normal L filter, maybe the Astronomik L-3 filter (which cuts off a little bit of the deep blues and deep reds, which might be helpful if you have stellar bloat from those ranges). Then just suck down as much signal as you can. You'll pick up LP, but you'll also pick up a ton of broadband object signal. This can help improve contrast on the signals from space faster, without the quirky consequences that an LP filter can potentially introduce thanks to how they chop up the spectrum.

I've seen some pretty darn good black and white images of space from light polluted areas when only an L filter is used. Nice contrast, enough to render the differences between say dark nebula and brighter regions well. 

Color is a different story, and IMO color is where LP will become more problematic. That's a whole different can of worms though.

As someone who suffers from horrific Bortle 8 LP, I have done a lot of research and experiment to figure out the best setup--albeit with an OSC CMOS camera so far. The best reference I have found is from Thompson's work here where he does a very good job of experimentally comparing LP filters, and showing the benefits, or not, of particular filters on NB and BB targets. He looks at both OSC and mono CMOS cameras. 

For narrow band targets and mono cameras he finds LP filters are nearly as effective as true NB filters in increasing contrast by nearly a 1000X. It is true that the best LP filters pass about 35% of the light, but the increase in contrast has a mcuh greater effect. This is also why NB filters work so well, even when they pass less than 5% of the light, the provide that 1000X or more improvement in contrast.

I'm not sure why you feel OSC is more sensitive to gradients, if anything and OSC camera pass less light pollution than a mono camera with luminance filter, which has a wider total bandpass.  Thompson's conclusions appear to apply to both mono and OSC cameras.

I do agree great images can be made with any setup, but the amount of work required to do that decreases with the right filters.

I found his data really compelling, and so far, following his advice has worked for me.
CS
Rick
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James avatar
Everyone's skies are different.  Something that might work in B8 may not be needed in B5.  I'm in a B5 and have never used a light pollution filter.. I feel they block too much wanted signal in my skies.  Shooting in B8 would certainly change the story. 

OP, you say that you live in a B5/6.  I think you can get away without a light pollution filter of any kind with the mono set up.  Or, as an alternative you could skip the Lum all together and just run with the RGB.   I recommend experimentation and see what works best for you.
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Rick Veregin avatar
James:
Everyone's skies are different.  Something that might work in B8 may not be needed in B5.  I'm in a B5 and have never used a light pollution filter.. I feel they block too much wanted signal in my skies.  Shooting in B8 would certainly change the story. 

OP, you say that you live in a B5/6.  I think you can get away without a light pollution filter of any kind with the mono set up.  Or, as an alternative you could skip the Lum all together and just run with the RGB.   I recommend experimentation and see what works best for you.

Yes, for sure, experimentation with ones own equipment and environment is best--and generally LP filters are relatively inexpensive compared to NB filters.
Charles Hagen avatar
Tim Richter:
Hi AstroAddicts!

I am kinda new in mono astrophotography, as I found a ASi 1600MM GT on sale. This question is not about that camera in particular, but about mono photography in general. I previously worked with OSC cameras, and am familiar with lightpollution filters for those. The filters I now use for mono is a set from Optolong, 7nm SHO and broad LRGB. 

I am happy with the results from the narrowband filters, the Heart Nebula in Hubble palette looked great!

But when it comes to broadband targets, like Andromeda Galaxy, I am not sure how to proceed in terms of lightpollution supression. The RGB filters don't supress the usual LP wavelengths, the L doesn't either. My first guess is to use the Optolong L-Pro as Luminance filter, to combat at least some of that. I have the feeling that the RGB data pollutes most of the final image, since it does not supress lightpollution.

Is my reasoning flawed, or are there methods to supress lightpollution that I don't yet know about?

Edit: I live in a bortle 5-6.

The unfortunate reality is that with broadband imaging, you cannot effectively suppress light pollution. Even using something like the Optolong L pro or similar light pollution filters, you are generally not actually improving your signal to noise ratio. With the prevalence of broad emission LEDs in light polluted environments, there are no filters that can actually filter that light away. Your best option is to image with just a UV/IR cut, avoiding the LP filters. This will get you the best signal to noise ratio (which is what you care about when imaging) and the rest of the light pollution problems can be taken care of with careful flats and careful gradient / background extraction. 

The best way for actually limiting the effects of light pollution is to either use narrowband filters (which do effectively filter light pollution) or to simply travel to darker skies. Hope that helps.
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Jon Rista avatar
Rick Veregin:
Jon Rista:
My opinion here is different than most. I think most generally recommend some kind of LP filter, with notches and passes to try and increase contrast. In my experience, measuring the total bandwidth of all notches vs. the total bandwidth of all passes, such filters usually cut out ~50% of the visible spectrum, if not much more. This loss of signal might help you improve contrast in some ways, but usually at non-trivial costs in other ways. 

If you are using a monochrome camera, my opinion is this. Just use a normal L filter, maybe the Astronomik L-3 filter (which cuts off a little bit of the deep blues and deep reds, which might be helpful if you have stellar bloat from those ranges). Then just suck down as much signal as you can. You'll pick up LP, but you'll also pick up a ton of broadband object signal. This can help improve contrast on the signals from space faster, without the quirky consequences that an LP filter can potentially introduce thanks to how they chop up the spectrum.

I've seen some pretty darn good black and white images of space from light polluted areas when only an L filter is used. Nice contrast, enough to render the differences between say dark nebula and brighter regions well. 

Color is a different story, and IMO color is where LP will become more problematic. That's a whole different can of worms though.

As someone who suffers from horrific Bortle 8 LP, I have done a lot of research and experiment to figure out the best setup--albeit with an OSC CMOS camera so far. The best reference I have found is from Thompson's work here where he does a very good job of experimentally comparing LP filters, and showing the benefits, or not, of particular filters on NB and BB targets. He looks at both OSC and mono CMOS cameras. 

For narrow band targets and mono cameras he finds LP filters are nearly as effective as true NB filters in increasing contrast by nearly a 1000X. It is true that the best LP filters pass about 35% of the light, but the increase in contrast has a mcuh greater effect. This is also why NB filters work so well, even when they pass less than 5% of the light, the provide that 1000X or more improvement in contrast.

I'm not sure why you feel OSC is more sensitive to gradients, if anything and OSC camera pass less light pollution than a mono camera with luminance filter, which has a wider total bandpass.  Thompson's conclusions appear to apply to both mono and OSC cameras.

I do agree great images can be made with any setup, but the amount of work required to do that decreases with the right filters.

I found his data really compelling, and so far, following his advice has worked for me.
CS
Rick

The less of the spectrum you pass, the more problematic color becomes. If you are only passing 35%, then you are undoubtedly cutting out a lot of quality light that BROADBAND objects emit. A galaxy emits across the entire visible spectrum (and in fact, well beyond.) Cutting out 65% of that light is not, IMO, the best solution. Contrast is one thing, and contrast is certainly a good thing, but, not everything in space is a narrow band emitter, and the more light you cut out for broadband targets, the more the result is going to suffer. 

I don't doubt that LP filters can dramatically increase contrast. That isn't the problem, IMO. Color becomes ever more problematic the more light pollution you have, AND the more of the spectrum you cut out.

I actually never said anything specifically about OSC. I said color, not OSC. I think things become problematic for COLOR, regardless of whether its captured by RGB filters on a mono camera or by an OSC camera, the heavier your light pollution is. FWIW, color with OSC can become quite "muddy" under light polluted conditions, not because of the lack of an L filter, but because of how OSC filter bandpasses overlap. There are advantages to that, but under light pollutes skies, those overlaps can be a key disadvantage (I mean, for one, you could pick up photons from the most polluted bands more than once, since more than one color filter will pass them, sometimes up to 50% Q.E. or so!) Color will become increasingly troublesome the more LP you have, mono or OSC. Why? Because its not just a "gradient"...its a pollutant signal that pervades the field. Anyone who says gradients aren't a problem is missing that fact...sure, a simple gradient can be extracted. The more nuanced effects of the pollutant signals that have infected all your object signal data, is where the real problems begin. It is not that you couldn't run your heavily light polluted (and further still, data from a heavily notched out 35% pass LP filter) through a calibration routine and come out with consistent results. As I mentioned previously, once you know your limitations, you can certainly work within them. However, color does become problematic when pollutant signals are intermixed with your object signals, and even more problematic when you start lopping off large segments of the visible spectrum...and there WILL be limits on how deep, contrasty, accurate, realistic, vibrant, saturated and diverse your color CAN become. Doesn't matter what kind of camera. 

When people start asking how they bring out faint details, or why their images don't look like the best of the best that win awards...I think its because they don't necessarily fully understand what leads to a richly and accurately colored, deep, high contrast image that ISN'T missing significant portions of the visible spectrum (a key factor that leads to a broad range or diversity of color, something that is usually lacking in images that used LP filters, and often with images that had to resort to heavy gradient extraction). The answer as to where a heck of a lot of those award winning broadband images are getting their  quality...is simply the LACK of light pollution. Good color comes from good, DARK skies. Or, narrow band, which if your goal is to image emission objects, is another stellar way to nuke the LP. But for broadband...dark skies. They are incomparable.

So I think the best way to combat LP, is to find a way to get away from it. I also think that most people sadly and incorrectly believe the only way to get away from LP is to drive 100+ miles to a Bortle Black site. In fact, that isn't really true. A lot of the time, significantly better IMAGING skies can be found relatively close to home, maybe even within 30 minutes driving distance. The Bortle scale is a visual observing scale, and really has little to do with what skies are ideal for imaging. To find good imaging skies near you, you can use this LP map, with the VIIRS (NOT Atlas!!) overlay:

https://www.lightpollutionmap.info/#zoom=3.96&lat=38.5558&lon=-91.1836&state=eyJiYXNlbWFwIjoiTGF5ZXJCaW5nSHlicmlkIiwib3ZlcmxheSI6InZpaXJzXzIwMjMiLCJvdmVybGF5Y29sb3IiOmZhbHNlLCJvdmVybGF5b3BhY2l0eSI6NjAsImZlYXR1cmVzIjpbIlNRTSIsIlNRTUwiLCJTUU1MRSJdLCJmZWF0dXJlc29wYWNpdHkiOjg4fQ==

Anything green or darker is good for imaging. Yellow is where LP begins to become problematic, so if you can find green at enough of a distance from yellow or brighter to see at least a portion of the ski with your imaging system (and not be pointing into an LP bubble), then you can image and get excellent results there. Such places can sometimes be found as little as 10-20 minutes away if you are already somewhat rural. Even in the heart of a bright suburban or even urban area, quality imaging skies may only be 30 minutes away (my excellent 21.3mag/sq" dark site is ~35 minutes from my 18mag/sq" home.)
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Jon Rista avatar
Charles Hagen:
Tim Richter:
Hi AstroAddicts!

I am kinda new in mono astrophotography, as I found a ASi 1600MM GT on sale. This question is not about that camera in particular, but about mono photography in general. I previously worked with OSC cameras, and am familiar with lightpollution filters for those. The filters I now use for mono is a set from Optolong, 7nm SHO and broad LRGB. 

I am happy with the results from the narrowband filters, the Heart Nebula in Hubble palette looked great!

But when it comes to broadband targets, like Andromeda Galaxy, I am not sure how to proceed in terms of lightpollution supression. The RGB filters don't supress the usual LP wavelengths, the L doesn't either. My first guess is to use the Optolong L-Pro as Luminance filter, to combat at least some of that. I have the feeling that the RGB data pollutes most of the final image, since it does not supress lightpollution.

Is my reasoning flawed, or are there methods to supress lightpollution that I don't yet know about?

Edit: I live in a bortle 5-6.

The unfortunate reality is that with broadband imaging, you cannot effectively suppress light pollution. Even using something like the Optolong L pro or similar light pollution filters, you are generally not actually improving your signal to noise ratio. With the prevalence of broad emission LEDs in light polluted environments, there are no filters that can actually filter that light away. Your best option is to image with just a UV/IR cut, avoiding the LP filters. This will get you the best signal to noise ratio (which is what you care about when imaging) and the rest of the light pollution problems can be taken care of with careful flats and careful gradient / background extraction. 

The best way for actually limiting the effects of light pollution is to either use narrowband filters (which do effectively filter light pollution) or to simply travel to darker skies. Hope that helps.

Not improving signal to noise ratio with broadband. This is the key point I was trying to make earlier...I thought I stated it, but I guess I did not. ;) So thanks for picking up the slack. This is really KEY to the argument that sometimes, imaging with just a full pass L filter is good enough (and potentially superior to using an LP filter) for BROADBAND objects under light polluted skies.
Rick Veregin avatar
Jon Rista:
Rick Veregin:
Jon Rista:
My opinion here is different than most. I think most generally recommend some kind of LP filter, with notches and passes to try and increase contrast. In my experience, measuring the total bandwidth of all notches vs. the total bandwidth of all passes, such filters usually cut out ~50% of the visible spectrum, if not much more. This loss of signal might help you improve contrast in some ways, but usually at non-trivial costs in other ways. 

If you are using a monochrome camera, my opinion is this. Just use a normal L filter, maybe the Astronomik L-3 filter (which cuts off a little bit of the deep blues and deep reds, which might be helpful if you have stellar bloat from those ranges). Then just suck down as much signal as you can. You'll pick up LP, but you'll also pick up a ton of broadband object signal. This can help improve contrast on the signals from space faster, without the quirky consequences that an LP filter can potentially introduce thanks to how they chop up the spectrum.

I've seen some pretty darn good black and white images of space from light polluted areas when only an L filter is used. Nice contrast, enough to render the differences between say dark nebula and brighter regions well. 

Color is a different story, and IMO color is where LP will become more problematic. That's a whole different can of worms though.

As someone who suffers from horrific Bortle 8 LP, I have done a lot of research and experiment to figure out the best setup--albeit with an OSC CMOS camera so far. The best reference I have found is from Thompson's work here where he does a very good job of experimentally comparing LP filters, and showing the benefits, or not, of particular filters on NB and BB targets. He looks at both OSC and mono CMOS cameras. 

For narrow band targets and mono cameras he finds LP filters are nearly as effective as true NB filters in increasing contrast by nearly a 1000X. It is true that the best LP filters pass about 35% of the light, but the increase in contrast has a mcuh greater effect. This is also why NB filters work so well, even when they pass less than 5% of the light, the provide that 1000X or more improvement in contrast.

I'm not sure why you feel OSC is more sensitive to gradients, if anything and OSC camera pass less light pollution than a mono camera with luminance filter, which has a wider total bandpass.  Thompson's conclusions appear to apply to both mono and OSC cameras.

I do agree great images can be made with any setup, but the amount of work required to do that decreases with the right filters.

I found his data really compelling, and so far, following his advice has worked for me.
CS
Rick

The less of the spectrum you pass, the more problematic color becomes. If you are only passing 35%, then you are undoubtedly cutting out a lot of quality light that BROADBAND objects emit. A galaxy emits across the entire visible spectrum (and in fact, well beyond.) Cutting out 65% of that light is not, IMO, the best solution. Contrast is one thing, and contrast is certainly a good thing, but, not everything in space is a narrow band emitter, and the more light you cut out for broadband targets, the more the result is going to suffer. 

I don't doubt that LP filters can dramatically increase contrast. That isn't the problem, IMO. Color becomes ever more problematic the more light pollution you have.

I actually never said anything specifically about OSC. I said color, not OSC. I think things become problematic for COLOR, regardless of whether its captured by RGB filters on a mono camera or by an OSC camera, the heavier your light pollution is. FWIW, color with OSC can become quite "muddy" under light polluted conditions, not because of the lack of an L filter, but because of how OSC filter bandpasses overlap. There are advantages to that, but under light pollutes skies, those overlaps can be a key disadvantage (I mean, for one, you could pick up photons from the most polluted bands more than once, since more than one color filter will pass them, sometimes up to 50% Q.E. or so!) Color will become increasingly troublesome the more LP you have, mono or OSC. Why? Because its not just a "gradient"...its a pollutant signal that pervades the field. Anyone who says gradients aren't a problem is missing that fact...sure, a simple gradient can be extracted. The more nuanced effects of the pollutant signals that have infected all your object signal data, is where the real problems begin. It is not that you couldn't run your heavily light polluted (and further still, data from a heavily notched out 35% pass LP filter) through a calibration routine and come out with consistent results. As I mentioned previously, once you know your limitations, you can certainly work within them. However, color does become problematic when pollutant signals are intermixed with your object signals, and even more problematic when you start lopping off large segments of the visible spectrum...and there WILL be limits on how deep, contrasty, accurate, realistic, vibrant, saturated and diverse your color CAN become. Doesn't matter what kind of camera. 

When people start asking how they bring out faint details, or why their images don't look like the best of the best that win awards...I think its because they don't necessarily fully understand what leads to a richly and accurately colored, deep, high contrast image that ISN'T missing significant portions of the visible spectrum (a key factor that leads to a broad range or diversity of color, something that is usually lacking in images that used LP filters, and often with images that had to resort to heavy gradient extraction). The answer as to where a heck of a lot of those award winning broadband images are getting their  quality...is simply the LACK of light pollution. Good color comes from good, DARK skies. Or, narrow band, which if your goal is to image emission objects, is another stellar way to nuke the LP. But for broadband...dark skies. They are incomparable.

So I think the best way to combat LP, is to find a way to get away from it. I also think that most people sadly and incorrectly believe the only way to get away from LP is to drive 100+ miles to a Bortle Black site. In fact, that isn't really true. A lot of the time, significantly better IMAGING skies can be found relatively close to home, maybe even within 30 minutes driving distance. The Bortle scale is a visual observing scale, and really has little to do with what skies are ideal for imaging. To find good imaging skies near you, you can use this LP map, with the VIIRS (NOT Atlas!!) overlay:

https://www.lightpollutionmap.info/#zoom=3.96&lat=38.5558&lon=-91.1836&state=eyJiYXNlbWFwIjoiTGF5ZXJCaW5nSHlicmlkIiwib3ZlcmxheSI6InZpaXJzXzIwMjMiLCJvdmVybGF5Y29sb3IiOmZhbHNlLCJvdmVybGF5b3BhY2l0eSI6NjAsImZlYXR1cmVzIjpbIlNRTSIsIlNRTUwiLCJTUU1MRSJdLCJmZWF0dXJlc29wYWNpdHkiOjg4fQ==

Anything green or darker is good for imaging. Yellow is where LP begins to become problematic, so if you can find green at enough of a distance from yellow or brighter to see at least a portion of the ski with your imaging system (and not be pointing into an LP bubble), then you can image and get excellent results there. Such places can sometimes be found as little as 10-20 minutes away if you are already somewhat rural. Even in the heart of a bright suburban or even urban area, quality imaging skies may only be 30 minutes away (my excellent 21.3mag/sq" dark site is ~35 minutes from my 18mag/sq" home.)

You make some very good points, Jon, and I do apologize for missing your point on color. There is no question that LP filters do make it more challenging to get the right color, some filters more than others. Just as there is no question a dark site is the best option if that is in your DNA.

But as someone who images in Bortle 8, I can tell you LP filters, if you get the right one for your conditions, do help with S/N, gradients and over-all cleaner images. I know others who say the same thing.  Again, as someone imaging in Bortle 8, I don't expect my BB images to be award winning, but there are some who have done an awesome job with similar conditions.  And certainly with NB filters awards possible with many targets in super poor Bortle, there are many examples on AB. I agree, it takes more effort both in imaging and processing in high Bortle than with dark skies, so we learn to work with that.

But it is just as much effort or more to go to a darker site. And it is not the driving that is the killer. The biggest part is my gear is heavy and complex, and even with a short drive, setting it up, and then having to do the reverse at 3 AM, I would not even have started with this hobby. Our weather is fickle here too, can change in minutes. My setup is always setup, I simply roll it out, align and image, so I can take advantage of even a short window of good skies. Others are luck enough to have a backyard observatory, where the skies are now lit up more than in the past.

Your advice is good, but there are many of us (more and more with LP getting worse), where dark skies are not a great option. 
Clear dark skies
Rick
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Jon Rista avatar
Rick Veregin:
u make some very good points, Jon, and I do apologize for missing your point on color. There is no question that LP filters do make it more challenging to get the right color, some filters more than others. Just as there is no question a dark site is the best option if that is in your DNA.

I live in Bortle 8/9 (Red/White zone, or 17.8-18.5mag/sq") as well. I've been imaging here since 2013, and I've used plenty of LP filters (still have em, too.) 

I in all honesty, cannot say that the LP filters made anything better. I don't know that they really made anything easier. Every single LP filter I have ever used saps the color in such ways that I was never able to get a good result that I was truly satisfied with. The can be a way to get by when you have absolutely no other options, IF you are mostly interested in emission nebula. It may be a matter of taste, but I've never liked how my images looked when using LP filters. I ended up liking just doing broadband imaging unfiltered, but then, I was also always one to stick with my targets for as long as possible, and I would get 10 hours or more on each.

Getting lots of data...tens of hours, with or without LP filters. Well for one, there was NEVER enough data. You could get hundreds of hours from Bortle 8, and it would never be enough. But its not just about the amount of object signal you ultimately have, tons of heavily polluted data has its own problems. I threw around 40 hours once at an image of the Pleiades... And it was barely any better than 10 hours, and with so much data across so many nights, the LP "gradients" where in such a disastrous state that extracting the resulting mess of criss-crossing gradients of different intensities, shapes and colors that spanned months of different skies was more effort than it was worth. The problems I faced with pollutant signals shifted a bit, from right in the core of Pleiades, to all the softer structures interspersed among the primary stars, as well as the faint structures in the sky around them... Actually, I do remember the core still being a challenge, as properly neutraizing the LP gradients right in the core was practically impossible because of how much nebulous structure there was there. In the end, either I left some of the LP in, or ended up with a overtly dark, nearly black core once all the LP was extracted. It was a horrible mess, and I don't think I acquired quite that much data on any other object from my light polluted back yard again. 

Then....I visited a dark site, and had my first taste of what it was like to simply NOT HAVE the LP, at all. There is nothing like a dark site, which need not be hundreds of miles and countless hours away. It also doesn't need to be all that complicated from a setup standpoint either. Once you move away from polluted skies, OSC will perform remarkably well, if you want an easier time of it. There are also things you can do (speaking from experience, as I spent years driving out to dark sites) to make setup easier.  One, you can keep your mount stuff largely assembled, so there are only a couple of things to do to get the mount set up. Two, you can configure your telescope such that pretty much everything to make your system work, is on the scope. Acquisition PC (i.e. NUC), USB hub, power distribution, and necessary cabling, as well as the scope, focuser, filter wheel (if applicable), and anything else, including the necessary dovetail, can all be configured as a single unit that you keep assembled at all times. You then just have to drop the pre-assembled scope setup onto your mount when that's set up, plug a couple of cables in (data and power only, usually), and you are just about ready. Polar align, and you can go. Maybe you need to temporarily plug a portable monitor into your NUC to get things going, or maybe you can do it with your mobile wifi access point and a table or laptop. Regardless, once you get that figured out, its generally just a matter of kicking off your imaging sequence. With software as it is today, you can pre-configure that at home before you leave, and once you start the acquisition sequence it should take care of all the rest for you, right? 

Imaging at a dark site doesn't need to be hard or complicated. A SINGLE night at a dark site, with a couple/few hours on each object, could be worth MONTHS of many nights from a heavily polluted back yard site. Especially during the months with longer nights. If you put 3 hours into each target, you could potentially image say 3-5 objects each night, depending on whether its early or late spring/fall or winter. Even on a summer night, you could still potentially image two targets in a single night. Those two targets would have a quality of data unparalleled in comparison to dozens of nights in a light polluted back yard. So, is dark site imaging really more complicated? You could potentially visit your dark site, say, once or twice a month, and end up with high quality data on far more targets than a year or more in a light polluted back yard. 

And what if your dark site was just 30 minutes way, instead of 6-8 hours (or even a day+) drive away (like a Bortle blue, gray or black site might be)? 

Now, there is always that weather risk. Can't do much about that, but...if the risk is to drive 30 minutes to a nearby imaging dark site, and find an hour in that its gonna be a bust due to the weather, well...that isn't so bad. I have some other dark sites I don't use anymore (found early on in my foray into dark site imaging) that are MUCH farther away (the nearest of which is 80+ minutes out, the farthest several hours) where bad weather would be a raw deal indeed. The imaging site I use most often, however, is just 35 minutes away at the posted speed limits. So if a night ends up a bust (and many have over the years), its not as big a deal. Its a bit annoying to think its gonna be clear, set up, and actually get the sequences going...THEN have weather roll in. You can then certainly waste a couple of hours. Still...a SINGLE night out there, is SO much more productive than months in my back yard...I always felt it was worth the effort.

If you only image with really heavy gear, then that can indeed hamper getting going at a dark site. I wouldn't necessarily recommend lugging around say a 14" EdgeHD or something like that. If you wanted to benefit from mobile dark site imaging, then something smaller, and 8" or 9.25" EdgeHD instead? Or maybe a newt? Something lighter weight that can be set up and torn down easier. You can do higher resolution imaging from a dark site, if you really want to. If the only way to acquire the kind of images you like is with LARGE and HEAVY gear, though, then no, mobile dark site imaging is probably not for you. A permanent dark site observatory probably is, though. (Yes, I am well aware of how expensive that can be, and that its a hurdle, and that it won't work for everyone.)

I would challenge everyone who thinks they couldn't image at a dark site or that it wouldn't be as useful as a polluted back yard sky, to give it a try. At least if they have gear that is portable enough. Use the VIIRS mapping data from lightpollutionmap.info, find a CLOSE dark site that even just "might" work, and give it a try. Give it a few tries. I would be willing o bet that once everyone got the hang of how to get out there, set up, and get going quickly, that their dark site imaging trips would be VASTLY more productive than any of their time imaging from home. Which could then mean that, a once-a-month well-planned trip to the dark site (when you know with high confidence what the weather and wind will be) could be completely transformative to their imaging overall.
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Rick Veregin avatar
I hear you, Jon, and I am agreeing with the benefits of dark skies. And yes, my go to is NB filters with mostly emission nebula and PN, which gets me to the equivalent to Bortle 1 in terms of sky background. So certainly good, even great images, of many targets are possible in my Bortle. Of course one can get further benefit of NB in dark skies too. 

But for me personally, it is just not something I would do, to drive hours for a dark sky. For the total solar eclipse I took my smaller solar setup for the eclipse about two hours drive to get clear skies. It worked out well, I would not have missed it. But even with the smaller gear I had a car full of stuff, partially assembled to make it easier, but still needed my wifes help to load and unload due to weight and awkwardness.  I would do this again for an event of a lifetime, but not otherwise on any sort of routine basis, and not with my deep sky rig. For even a decently dark site it is probably 1.5 to 2 hrs drive, and those are closer to the lakes here, so cloud is much more likely. An hour with good traffic might get me to a slightly better Borte than I have, but of course, then with less benefit.

And yes, I believe in long focal length imaging, I thought of getting something smaller with wider FOV, but then LP gradients are much worse with a much wider field. And so many targets are small, even small for my longer FL.

I'm not trying to discourage anyone from trying a dark or darker site, just sharing what works for me and what wouldn't.

Fortunately, we all can enjoy this hobby in different ways.
CDS
Rick
Jon Rista avatar
Rick Veregin:
But for me personally, it is just not something I would do, to drive hours for a dark sky. For the total solar eclipse I took my smaller solar setup for the eclipse about two hours drive to get clear skies. It worked out well, I would not have missed it. But even with the smaller gear I had a car full of stuff, partially assembled to make it easier, but still needed my wifes help to load and unload due to weight and awkwardness.  I would do this again for an event of a lifetime, but not otherwise on any sort of routine basis, and not with my deep sky rig. For even a decently dark site it is probably 1.5 to 2 hrs drive, and those are closer to the lakes here, so cloud is much more likely. An hour with good traffic might get me to a slightly better Borte than I have, but of course, then with less benefit.

I just want to address this, as I guess I'm not communicating clearly enough. What I've tried to make clear in this thread so far, is that everything you said about about dark sites, is wrong, in most cases (there are some exceptions, and perhaps you live in one.) 

First, the Bortle scale is effectively meaningless for astrophotographers. Because the zones of the bortle scale (which have no "official" stellar magnitude ratings) are entirely based on VISUAL cues, and further because our vision has DYNAMIC response (compared to camera sensors which have a STATIC response) to light, the Bortle scale will push you MUCH farther from population centers than is usually necessary to find optimally dark skies for imaging purposes. Cameras don't care if there is an LP bubble on the horizon outside of their field of view. Human eyesight, however, WILL be affected by even fairly distant LP bubbles due to the dynamic nature of our eyesight and cone/rod senstivity. 

When you say you need to drive 1.5-2 hours to find a dark site, you then reference the Bortle scale. I suspect that a decent imaging dark site is far closer. As I mentioned beofre, if you use hte VIIRS map rather than the Bortle scal to guide you, you are most likely going to find a dark site viable for IMAGING (not visual observing) much closer to home. A bortle blue site for me, is a minimum of 80 minutes away, and depending on the exact location, it could be 120 minutes or more. A Bortle gray/black zone is easily 120+ minutes away. I've been out to those sites, and while my VISUAL observing is much better, and at a black site I can see the Zodiacal light and so many other things, my imaging is AT BEST MARGINALLY better, if it is any better at all. So instead of driving to a Bortle gray/black zone over two hours away, I drive to a Bortle bright green/dark yellow zone that is just 35 minutes away. My imaging there is 95-99% as good as at hte much, much fartehr Bortle gray/black zone. On the VIIRS map, my closer imaging site is the darkest color possible, with scattered pockets of green and cyan throughout the area. The Denver LP bubble is well off to the western horizon, and its bright thre...it messes with my ability to SEE a lot with my own eyes. But from an imaging standpoint? There is effectively no differenc between the site 35 minutes away and over 120 minutes away. 

I first found the lightpollutionmap.info site back around January 2015 or thereabouts, and it was huge in my efforts to find a dark site I could use regularly. Since then, I've always been a bit saddend by the fact that Bortle scale maps make most imagers INCORRECTLY think that the only way they could find a dark site is if they drive hours ad hours to get to one. I have tried to help astrophotographers understand that if they use the VIIRS map from lpm.info, they are very likely to find a viable imaging site close enough to home that they could actually use it. It may not be perfect, and may not allow imaging ANYWHERE in teh nght sky on every night (i.e. there could be an LP bubble on the horizon still), it could still be totally transformative to their imaging, without as much of the hassle of trying ot use a "pristine" dark site in a BLACK zone. 

Anyway. If you live in the heart of NYC, or say Tokyo, or Bangkok, or something like that, then yes...you might need to drive a few hours. (Although, NYC actually has pockets of some real dark areas that aren't that far out, and although they offer limited ranges of pointing (i.e. to the east over the ocean), they are still, as far as the static sensitivity of a camera sensor, as good as a bortle blue when you point in the right direction! If you live smack in the middle of Tokyo, of all cities on earth, then you might indeed be limited to imaging only under heavily light polluted skies, and I certainly won't argue with you about that. Outside of megatropolis areas like that, though, I strongly engourage most imagers to check out the VIIRS map on lightpollutionmap.info, and look for areas of green...or darker. Find something within a half hour, and just give it a try...see how it goes.
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Rick Veregin avatar
I should have been more clear. I was actually using mag/square comparing my Bortle (which I have measured), with a dark site Bortle 1 mag/square. I wasn't actually using Bortle itself for that calculation.

And yes, I live in a huge metropolitan area, which has about 1/5 the population of Canada, over 7 million over 3000 sq/km plus some other cities, towns in various directions away from the wall to wall cities, grand total around here is probably 8.5 million. And my local RASC has some places people go, so I do know what it takes around here to find darker skies.

Again, I'm not trying to advocate in any way that a dark site doesn't have an advantage for S/N due to dark skies, easier gradients. But it is not going to work for me.
Rick
Jon Rista avatar
Rick Veregin:
I should have been more clear. I was actually using mag/square comparing my Bortle (which I have measured), with a dark site Bortle 1 mag/square. I wasn't actually using Bortle itself for that calculation.

And yes, I live in a huge metropolitan area, which has about 1/5 the population of Canada, over 7 million over 3000 sq/km plus some other cities, towns in various directions away from the wall to wall cities, grand total around here is probably 8.5 million. And my local RASC has some places people go, so I do know what it takes around here to find darker skies.

Again, I'm not trying to advocate in any way that a dark site doesn't have an advantage for S/N due to dark skies, easier gradients. But it is not going to work for me.
Rick

It still might not be that bad. Knowing Canada now, just looking at Toronto and Montreal:


https://www.lightpollutionmap.info/#zoom=8.56&lat=43.7089&lon=-79.2617&state=eyJiYXNlbWFwIjoiTGF5ZXJCaW5nSHlicmlkIiwib3ZlcmxheSI6InZpaXJzXzIwMjMiLCJvdmVybGF5Y29sb3IiOmZhbHNlLCJvdmVybGF5b3BhY2l0eSI6NjAsImZlYXR1cmVzIjpbIlNRTSIsIlNRTUwiLCJTUU1MRSJdLCJmZWF0dXJlc29wYWNpdHkiOjg4fQ==

https://www.lightpollutionmap.info/#zoom=8.56&lat=43.7089&lon=-79.2617&state=eyJiYXNlbWFwIjoiTGF5ZXJCaW5nSHlicmlkIiwib3ZlcmxheSI6InZpaXJzXzIwMjMiLCJvdmVybGF5Y29sb3IiOmZhbHNlLCJvdmVybGF5b3BhY2l0eSI6NjAsImZlYXR1cmVzIjpbIlNRTSIsIlNRTUwiLCJTUU1MRSJdLCJmZWF0dXJlc29wYWNpdHkiOjg4fQ==


No doubt there is plenty of LP there. With the VIIRS map, though, you don't have to get out into "the black"...if you got a ways into the green on these maps, and just found objects to image where you would be pointing AWAY from the brighter areas of the city... That would be only slightly worse, than driving way out into the black. I would bet there are some viable parks or other areas, within the belts of green around the yellow/orange/red city centers, that would be great for imaging. FWIW, Canada is actually awesome from an LP standpint. You guys keep your LP really corralled into these tight knots. Check out the entire eastern half of the US...endless LP, for miles and miles. Lot of it is green on VIIRS, and you can image there, but we are so much worse when it comes to LP... :'(

Anyway...
Rick Veregin avatar
Yes, overall Canada is great, because so many of us live in this one place….
Charlie Goldberg avatar
In my case, I started out with a backyard in a bright city suburb. I could take broadband images, but the colors were never right, and no matter how much integration time I got, I could never get the faint details I wanted. I tried using an LP filter (IDAS LPS D2, optimized for LED lighting) on top of my LRGB filters for mono imaging, but I quickly found that the filter removed too much blue from the objects I was imaging, so I stopped using any LP filter for broadband imaging. In a B5/B6, you should be in great shape to go without the LP filter, and as has been already mentioned, this will best preserve the natural colors of your objects.

As for the other discussion, eventually I moved to the American Southwest, where dark skies are never much more than 30 minutes away, and I was blown away by the results. If you look at my page, my first image of M33 took 21 hours of data, and it just looks...off. My second, newer image of M33  is from a single night of imaging from a dark site. I was instantly converted, and for the last 3 years, I have driven to a dark site on most weekends.

However, there is an important caveat here: It really all comes down to what you're willing to do to get images. After all this is a hobby, and if the effort overshadows enjoyment, it's no longer worth it.

Going to a dark site, even one that is 30 minutes away, takes a lot of effort, even if you become efficient at it. I have probably 100-150 pounds worth of gear that I need to load into the car, then set up at the site, then break down at 5 AM, then lug back into my apartment. Not to mention the fact that I need to bring a meal, plenty of water, and all the other trivialities of car camping. Now for me that's worth it, but I have to admit that I won't be able to do this forever, and I'm planning on getting back into narrowband imaging from a light polluted location. Especially because I have to balance this hobby with work and life, the best option for me will be to primarily shoot broadband from the city, and shoot from a dark site every month or two. For others though, something completely different might work. Again, it's all about enjoying the hobby and not letting it sap your energy.
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