Gear: Canon 6D, Zeiss F2 28mm lens, Manfrotto 190x tripod, Wireless Remote, and Night-Writer kit.
This night was unusual in light of the fires going on in Monterey County (Tassajara Fire), just North of the area we were camping at in Big Sur.
Smoke drifted South once the Sun had set and the smell of fire got stronger as I made my way North on the PCH - I pulled over at a spot I thought would be good for catching the Milky Way over the Pacific and captured this image of my light-skeletons looking out into the abyss.
The smoke gave an orangey-yellow hue to the densest part of the Milky Way - I had to do some tough edits on this file to pull out the detail along with some noise reduction.
A great app I've been using for getting rid of the noise is one called 'Noiseless' (for Mac) - it's not perfect, but it's the best I've come across yet.
For a quick tutorial on how to do composite shots like this - see my EDU section - Q5 - it's at the bottom of the page.
While there are photographers focusing on 'SOOC' - straight out of camera - a practice of light-art in which the image in the camera is untouched (shown as it was captured - not edited in any way). In regards to light art, I am not one of these people - I think technology should be taken advantage of in every aspect it can to give the viewer a better vision of what we as night-photographers are out trying to capture - our nocturnal perspectives.
If it means editing the file to pull out important details in RAW processing, so be it. That's what capturing in RAW format is for - more information contained within your images.
That said, I do not believe in adding things that are not there to begin with. My composites are always taken on location, using two images - taken at two different camera settings - I do this for the purpose of capturing the dynamic range between what's best for capturing the light art, and what's best for capturing the environment.