u/adamkylejackson

Incredible. The lore about the mids and ATC is true. I don't mix or master, just listen to music and movies. These are end game and demoted the Genelec 8331s to home theater duty. I'm keeping the 8341s in the office calibrated with GLM and both 8341s and ATCs are using two Genelec 7370 subs with flat response down to 15 hz in my room. Ask me any questions for anyone who has been curious about either of these brands and what they sounds like. I don't have the best room but it's treated as good as it will get. less

Took a bunch of my pictures of my room. Turned ChatGPT into a fake LiDAR scanner to build a 3D Model. Applied rule of thirds, Cardas, ITU, etc and had ChatGPT calculate essentially an infinite number of room mode iterations which helped me place the subs and listening position while optimizing left and right to and from from front wall to closer to me. Ended up with 120hz crossover to clean up SBIR crap from pulling speakers out into the room. Subs aren't localizing at all and carrying the load. Left and Right flat 120hz+. Holographic image and soundstage now which I felt I lost with the speakers against the wall. System two Genelec 8341s and two 7370 subs. Have y'all found a significant tradeoff between image/soundstage and fighting SBIR?

Experimenting with different sharpening techniques to really fine tune and target the fine, medium, and large detail structures of the moon while leaving the Maria alone. It's not perfect yet and work in progress. I am using the Image Analysis script ExtractWaveletLayers to split the image into 4 levels of detail and 1 residual or luminance data channel. I then applied wavelets to each individual detail layer processing each specific to level of detail needed. I then recobined all the channels in Photoshop as layers and fine tuned with blending modes. This enabled me to process the color and luminance data without touching the detail layers. I'll keep perfecting and welcome anyone else's thoughts on selective sharpening best practices on high dynamic range and diversely textured target like the moon. Shot on Sony a7rv with Takahashi TSA-120 telescope with Vernonscope Dakin 2.4x tracked with ZWO AM5. 400 images aligned in PIPP, stacked in AutoStakkert 4, and processed best 30% in PixInsight, Wavesharp, and Photoshop.

Experimenting with different sharpening techniques to really fine tune and target the fine, medium, and large detail structures of the moon while leaving the Maria alone. It's not perfect yet and work in progress. I am using the Image Analysis script ExtractWaveletLayers to split the image into 4 levels of detail and 1 residual or luminance data channel. I then applied wavelets to each individual detail layer processing each specific to level of detail needed. I then recobined all the channels in Photoshop as layers and fine tuned with blending modes. This enabled me to process the color and luminance data without touching the detail layers. I'll keep perfecting and welcome anyone else's thoughts on selective sharpening best practices on high dynamic range and diversely textured target like the moon. Shot on Sony a7rv with Takahashi TSA-120 telescope with Vernonscope Dakin 2.4x tracked with ZWO AM5. 400 images aligned in PIPP, stacked in AutoStakkert 4, and processed best 30% in PixInsight, Wavesharp, and Photoshop.

Experimenting with different sharpening techniques to really fine tune and target the fine, medium, and large detail structures of the moon while leaving the Maria alone. It's not perfect yet and work in progress. I am using the Image Analysis script ExtractWaveletLayers to split the image into 4 levels of detail and 1 residual or luminance data channel. I then applied wavelets to each individual detail layer processing each specific to level of detail needed. I then recobined all the channels in Photoshop as layers and fine tuned with blending modes. This enabled me to process the color and luminance data without touching the detail layers. I'll keep perfecting and welcome anyone else's thoughts on selective sharpening best practices on high dynamic range and diversely textured target like the moon. Shot on Sony a7rv with Takahashi TSA-120 telescope with Vernonscope Dakin 2.4x tracked with ZWO AM5. 400 images aligned in PIPP, stacked in AutoStakkert 4, and processed best 30% in PixInsight, Wavesharp, and Photoshop.

Experimenting with different sharpening techniques to really fine tune and target the fine, medium, and large detail structures of the moon while leaving the Maria alone. It's not perfect yet and work in progress. I am using the Image Analysis script ExtractWaveletLayers to split the image into 4 levels of detail and 1 residual or luminance data channel. I then applied wavelets to each individual detail layer processing each specific to level of detail needed. I then recobined all the channels in Photoshop as layers and fine tuned with blending modes. This enabled me to process the color and luminance data without touching the detail layers. I'll keep perfecting and welcome anyone else's thoughts on selective sharpening best practices on high dynamic range and diversely textured target like the moon. Shot on Sony a7rv with Takahashi TSA-120 telescope with Vernonscope Dakin 2.4x tracked with ZWO AM5. 400 images aligned in PIPP, stacked in AutoStakkert 4, and processed best 30% in PixInsight, Wavesharp, and Photoshop.

First time shooting the moon with the Sony a7rv. Learning curve vs. the Nikon Z8. Shot with Takahashi TSA-120 and TeleVue 2x Powermate tracked on ZWO AM5. Shot 440 RAW images at ISO 100, 1/13s, and aligned in PIPP, stacked in Autostakkert, and sharpened and processed in Photoshop. Looking forward to really figuring this Sony combination out.

First time shooting the moon with the Sony a7rv. Learning curve vs. the Nikon Z8. Shot with Takahashi TSA-120 and TeleVue 2x Powermate tracked on ZWO AM5. Shot 440 RAW images at ISO 100, 1/13s, and aligned in PIPP, stacked in Autostakkert, and sharpened and processed in Photoshop. Looking forward to really figuring this Sony combination out.

First time shooting the moon with the Sony a7rv. Learning curve vs. the Nikon Z8. Shot with Takahashi TSA-120 and TeleVue 2x Powermate tracked on ZWO AM5. Shot 440 RAW images at ISO 100, 1/13s, and aligned in PIPP, stacked in Autostakkert, and sharpened and processed in Photoshop. Looking forward to really figuring this Sony combination out.

First time shooting the moon with the Sony a7rv. Learning curve vs. the Nikon Z8. Shot with Takahashi TSA-120 and TeleVue 2x Powermate tracked on ZWO AM5. Shot 440 RAW images at ISO 100, 1/13s, and aligned in PIPP, stacked in Autostakkert, and sharpened and processed in Photoshop. Looking forward to really figuring this Sony combination out.

Moon shoot with Nikon Z8 and Takahashi TSA-120 telescope with Vernonscope Dakin 2.4x barlow on ZWO AM5 mount. Using high frame rate mode, shot 5,400 RAW file images with manual trigger at 20 fps. Aligned in PIPP, stacked best 10% quality in AutoStakkert 4, sharpened in Wavesharp 3, and processed in Photoshop. Took single TIFF frame and animated in Adobe After Effects.

Moon Craters at the Terminator

I shot this moon photo with Nikon Z8 and Takahashi TSA-120 Tele. This image is a stack of 5,400 RAW files with the best 10% selected. These were stacked in AutoStakkert 4, sharpened in Wavesharp 3, and processed in Photoshop.

Moon Craters at the Terminator

I shot this moon photo with Nikon Z8 and Takahashi TSA-120 Tele. This image is a stack of 5,400 RAW files with the best 10% selected. These were stacked in AutoStakkert 4, sharpened in Wavesharp 3, and processed in Photoshop.

Moon Craters at the Terminator

I shot this moon photo with Nikon Z8 and Takahashi TSA-120 Tele. This image is a stack of 5,400 RAW files with the best 10% selected. These were stacked in AutoStakkert 4, sharpened in Wavesharp 3, and processed in Photoshop.

Shot with Nikon Z8 and Takahashi TSA-120 telescope with Vernonscope Dakin 2.4x barlow on ZWO AM5 mount. Stacked top 10% of 5400 frames in AutoStakkert first culled in PIPP. Processed in Photoshop.

Shot with Nikon Z8 and Takahashi TSA-120 telescope with Vernonscope Dakin 2.4x barlow on ZWO AM5 mount. Stacked top 10% of 5400 frames in AutoStakkert first culled in PIPP. Processed in Photoshop.

Shot with Nikon Z8 and Takahashi TSA-120 telescope with Vernonscope Dakin 2.4x barlow on ZWO AM5 mount. Stacked top 10% of 5400 frames in AutoStakkert first culled in PIPP. Processed in Photoshop.

I've been processing moon photos for years, watched multiple tutorials, and felt it was time for a second opinion on AutoStakkert for those that have more experience and expertise than me. I typically stack only a few frames in Photoshop. Based on this graph, would you consider this good data and what percentage would you select for the final stack of the moon? The context is these are 5,400 frames shot with Nikon Z8 and Takahashi TSA-120 telescope. Thanks in advance for your help!

Shot July 4, 2026 with Nikon Z8 and Takahashi TSA-120 telescope with Vernonscope Dakin 2.4x barlow on ZWO AM5 mount. 820 frames at ISO 64 1/40s pre-processed in Photoshop, exported to TIFF, aligned in PIPP, and stacked in AutoStakkert 4. Post processed and sharpened in Photoshop. All photos taken by me, Adam Jackson, a Houston, Texas based astrophotographer.