Nick, how do you get such beautiful space shots?
Astrophotography is the complete inverse of visual astronomy.
In visual astronomy it's the aperture & focal length that is king which returns enough light to your eye so you can see things properly.
In astrophotography ('AP') it's the mount that is king. The mount tracking accuracy (assuming an ideal polar alignment) governs the maximum focal length and the maximum exposure time before star trails appear and ruing the image. Not only must the mount be super accurate but the mount must maintain that accuracy with the scope+cameras etc at a steady rate without wobbling. The accuracy required is far higher than is required for visual use.
For this reason it's worth going for an equatorial mount.
The 'speed' of the scope is important. Speed, or focal ratio, is given my focal length/aperture size. The higher the focal ratio, the dimmer the image is and therefore the longer the camera has to remain on target to take enough light in to make a photo. Having a f6 scope vs an f9 scope, for example, means a difference between minutes and hours to get the same image.
For AP aperture is less important than the mount.
You can image using a webcam and a dob with the moon, for planets use a webcam with a motorised mount but for deep space objects you need a proper mount and a fast scope.
My scope is a 105mm refractor that has a 675mm focal length (so that's f6.38) at on top of an equatorial mount (NEQ6 Pro).
The work flow:
1. align scope and allow it to acclimatise to the temperature.
2. find target
3. take multiple exposures of the target, called 'lights'. For example my andromeda has thirty 30 second exposures. Individually, they look noisy, dim and uninteresting.
4. take multiple exposures with the lens cap on (same length as the lights). This finds the noise from the camera. These are called 'darks'. I took ten 30 second exposures.
5. take multiple exposures with a uniform white light. This finds the aberrations in the image train (unfitness of the image field, dust motes etc). These are called 'flats'. I took twenty 2 second exposures.
Now you have your data, it's time to process it all. At this point I have 30+10+20 = 60 images.. all of 17MB each!
6. Make a master dark by stacking all the darks. This strengthens the signal, by removing random noise, of the constant camera noise so you have a picture of the noise you can subtract from any image.
7. Make a master flat by stacking all the flats. This strengthens the signal again for the constant aberrations caused by the lens, dust etc. This can be used to remove the effects of the aberrations from the any image.
8. Process each of the 30 lights using the master dark and master flat.
9. Stack the lights by aligning the stars so that resulting image signal is stronger than any remaining noise. Basically this makes the image brighter and brings out the faint details.
Luckily there are programs that help automate the batch processing.
Now you have your image.. well almost.
10. Use image processing to expand the range, adjust the histograms so that bright areas aren't burn out but faint areas are made visible. This is down to artistic taste. Personally I prefer an understated, natural look that doesn't use layering to process separate areas of the image differently. I also make a point of ensuring I'm not burning out the bright areas - if I have enough data (i.e. signal in the image) then there's no need to over process things.
Now you have your 'final' image.. well you can add more data as months/years go by to bring out further details.