It’s been over 10 years since I’ve last had the luxury of observing an eclipse of the Moon from the comfort of home. Once again, a chase was needed.
During the post-midnight wee morning hours, the Moon was set to once again pass through the Earth’s shadow, this time presenting us with a deep partial eclipse, with 97% of the Full Moon’s disk immersed in the umbra and deep red.
Every lunar eclipse I’ve seen from Alberta since December 2010 I’ve had to chase to find clear skies. While the chases were all successful, this time I was hoping to stay home and enjoy the eclipse without a long drive to seek clear skies, and to then employ a telescope to shoot the Moon in close-up. In the days before the eclipse, the forecasts changed daily.
On the day before the eclipse, things looked bad, with high clouds forecast for home.
It looked like a trip to north-central Alberta was warranted, perhaps to Wainwright. But rather than book a motel, I decided to wait to see if the forecast might improve. And sure enough it did.
By the morning of eclipse day, prospect for clear skies from home looked better Or perhaps a short drive east would suffice. With luck!
But by the evening of the eclipse, clouds were not cooperating. The actual views from satellites showed lots of cloud over my area (as the view out the door confirmed!), and it didn’t look like the clouds were going away.
But as the previous forecasts called for, clear skies were to be found to the north. So at 11:30 pm, with the eclipse starting in less than an hour, I packed up the car and headed north to as far as I could get — and hopefully as far as I need to get — to be assured of clear skies.
It worked! The eclipse was well underway as I made my way north, stopping to check its progress and the state of the clouds. As expected, about 90 minutes north I drove out from under the clouds you can see to the south in the photo above, where I had come from.
I chose a side road and pull off near Rowley, Alberta. I had enough time to set up three cameras, two on polar-aligned trackers to take longer, wide-field images of the Moon amid the stars, plus the static camera for the selfies.
The red Moon below the blue Pleiades was the unique sight at this eclipse. It can only happen if an eclipse occurs in mid-November and that won’t happen for another 19 years, on November 18, 2040, in a total eclipse visible only from the eastern hemisphere.
After some mid-eclipse equipment woes — a tracker deciding to come loose from the tripod, and a lens that refused to focus — I also took some wider shots of the Moon among the stars of Taurus.
Despite writing an extensive blog on how to shoot this eclipse, it did prove to be more of a challenge than I had anticipated. The portion of the Moon outside the umbra, even at mid-eclipse, remained very bright, and overexposed and flared in the frames with long enough shutter speeds to record the stars. A full total eclipse is easier to shoot!
However, I can count this eclipse chase as a success. Of all the total (or near total in this case) lunar eclipses visible from my area of the world since 2001, I’ve seen them all. But almost all required a chase.
Will that be the case next year? We have two total lunar eclipses in 2022: on May 15 (with the Moon rising at eclipse time as seen from here in Alberta), and again six lunar cycles later on the morning of November 8, 2022, which is 12 lunar cycles after this most recent eclipse. We are in the middle of a nice run of 4 lunar eclipses, three total and one near-total.
On the night of November 18/19 eclipse fans across North America can enjoy the sight of the Moon turning deep red. Here’s how to capture the scene.
Seeing and shooting this eclipse will demand staying up late or getting up very early. That’s the price to pay for an eclipse everyone on the continent can see.
Also, this is not a total eclipse of the Moon. But it’s the next best thing, a 97% partial eclipse – almost total! So the main attraction — a red Moon — will still be front and centre.
CLICK ON AN IMAGE to bring it up full screen for closer inspection.
NOT QUITE TOTAL
At mid-eclipse 97% of the disk of the Full Moon will be within Earth’s dark umbral shadow, and should appear a bright red colour to the eye and even more so to the camera. A sliver of the southern edge of the Moon will remain outside the umbra and will appear bright white, like a southern polar cap on the Moon.
While some references will say the eclipse begins at 1:01 am EST, that’s when the Moon first enters the outer lighter penumbral shadow. Nothing unusual can be seen at that point, as the darkening of the Moon’s disk by the penumbra is so slight, you won’t notice any difference over the normally bright Full Moon.
It isn’t until the Moon begins to enter the umbra that you can see a dark bite being taken out of the edge of the Moon.
WHAT TO SEE
At mid-eclipse the Full Moon will look deep red or perhaps bright orange — the colours can vary from eclipse to eclipse, depending on the clarity of the Earth’s atmosphere through which the sunlight is passing to light the Moon. The red is the colour of all the sunsets and sunrises going on around the Earth during the eclipse.
The unique aspect of this eclipse is that for the 15 to 30 minutes around mid-eclipse we might see some unusual colour gradations at the edge of the umbral shadow, from sunlight passing through Earth’s upper atmosphere and ozone layer. This can tint the shadow edge blue or even green.
WHERE CAN THE ECLIPSE BE SEEN?
The last lunar eclipse six months ago on the morning of May 26, 2021 (see my blog here) was visible during its total phase only from western North America, and then only just. However, this eclipse can be seen from coast to coast.
Only from the very easternmost points in North America does the Moon set with the eclipse in progress, but during the inconsequential penumbral phase. All of the umbral phase is visible from the Eastern Seaboard, though the last stages will be in progress with the Moon low in the west in the pre-dawn hours. But that positioning can make for photogenic sight.
WHEN IS THE ECLIPSE?
The show really begins when the Moon begins to enter the umbra at 2:18 am EST (1:18 am CST, 12:18 am MST, 11:18 pm PST).
But note,these times are for the night of November 18/19. If you go out on the evening of November 19 expecting to see the eclipse, you’ll be sadly disappointed as you will have missed it. It’s the night before!
The eclipse effectively ends at 5:47 am EST (4:47 am CST, 3:47 am MST, 2:47 am PST) when the Moon leaves the umbra. That makes the eclipse 3 1/2 hours long, though the most photogenic part will be for the 15 to 30 minutes centred on mid-eclipse at 4:03 am EST (3:03 am CST, 2:03 am MST, 1:03 am PST).
WHERE WILL THE MOON BE?
The post-midnight timing places the Moon at mid-eclipse high in the south to southwest for most of North America, just west (right) of the winter Milky Way and below the distinctive Pleiades star cluster.
The high altitude of the Moon (some 60º to 70º above the horizon) puts it well above haze and murk low in the sky, but makes it a challenge to capture in a frame that includes the landscape below for an eclipse nightscape.
ASTRONOMY 101: The high altitude of the Moon is a function of both the eclipse timing in the middle of the night and its place on the ecliptic. The Full Moon is always 180° away from the Sun. So it sits where the Sun was six months earlier, in this case back in May, when the high Sun was bringing us warmer and longer days. Winter lunar eclipses are always high; summer lunar eclipses are always low, the opposite of what the Sun does.
From eastern North America the Moon appears lower in the west at mid-eclipse, making it easier to frame above a landscape. For example from Boston the Moon is 30º up, lending itself to nightscape scenes.
However, the sky will still be dark. To make use of the darkness to capture scenes which include the Milky Way, I suggest making the effort to travel away from urban light pollution to a dark sky site. That applies to all locations. Yes, that means a very long night!
PHOTO OPTIONS 1 — CAMERA ON A FIXED TRIPOD
With just a camera on a tripod, if you are on the East Coast (I show Boston here) it will be possible to frame the eclipsed Moon above a landscape with a 24mm lens (assuming a full frame camera; a cropped frame camera will require a 16mm lens).
What exposure will be best will depend on the level of local light pollution at your site. But from a dark site, 30 seconds at ISO 1600 and f/2.8 should work well. But without tracking, you will see some star trailing at 30 seconds. Also try shorter exposures at a higher ISO.
There’s lots of time, so take lots of shots. Include some short shots of just the Moon to blend in later, as the exposures best for picking up the Milky Way will still overexpose the Moon, even when it is darkest at mid-eclipse.
From western North America, including the landscape below will require wide lenses and a vertical format, with the Moon appearing quite small. But from a photogenic site, it might be worth the effort.
However, as my images above from the December 2010 eclipse show, if there’s any haze, the Moon could turn into a reddish blob.
You might be tempted to shoot with a long telephoto lens, but unless the camera is on a tracker, as below, the result will likely be a blurry mess. The sky moves enough during the long (over 1 second) exposures needed to pick up the reddened portion of the Moon that the image will smear when shot with long focal lengths. The solution is to use a sky tracker.
PHOTO OPTIONS 2 — CAMERA ON A TRACKER
Placing the camera on a motorized tracker that has been polar aligned to follow the motion of the stars opens up many more possibilities.
From a dark site, make use of the Moon’s position near the Milky Way to frame it and Orion and his fellow winter constellations. A 24mm lens will do the job nicely, in exposures up to 2 to 4 minutes long. But take short ones for just the Moon to layer in later.
A 50mm lens (again assuming a full frame camera) frames the Moon with the Pleiades and Hyades star clusters in Taurus.
Switching to an 85mm lens frames the clusters more tightly and makes the Moon’s disk a little larger. For me, this is the best shot to go for at this eclipse, as it tells the story of the eclipse and its unique position near the two star clusters.
But going with a longer lens allows framing the red eclipsed Moon below the blue Pleiades cluster, a fine colour contrast. A 200mm lens will do the job nicely (or a 135mm on a cropped frame camera).
Or, as I show here, the popular William Optics RedCat with its 250mm focal length will also work well. But such a lens must be on a polar-aligned tracker to get sharp shots. Use the Sidereal rate drive speed to ensure the sharpest stars over the 1 to 4 minutes needed to record lots of stars.
Take lots of exposures over a range of settings — long to bring out the deep sky detail and shorter to preserve detail in the reddened lunar disk. These can be layered and blended later in Photoshop, or in the layer-based image editing program of your choice, such as Affinity Photo or ON1 Photo RAW.
PHOTO OPTIONS 3 — THROUGH A TELESCOPE
While I think the tracked wide-field options are some of the best for this eclipse, many photographers will want frame-filling close-ups of the red Moon. While a telescope will do the job, unless it has motors to track the sky, your options are limited.
A phone clamped to the eyepiece of a telescope can capture the shrinking bright part of the eclipsed Moon as the Moon enters more deeply into the umbra. Exposures for the bright part of the Moon are short enough a motor drive on the telescope is not essential.
But if you haven’t shot the Moon with this gear before, eclipse night is not the time to learn. Practice on the Moon before the eclipse.
For shooting with a DSLR camera through a telescope you’ll need a special camera adapter nosepiece and T-ring for your camera. Again, if you don’t have the gear and the experience doing this, I would suggest not making the attempt at two in the morning on eclipse night!
For example, owners of typical beginner reflectors are often surprised to find their cameras won’t even reach focus on their telescope. Many are simply not designed for photography. Adding a Barlow lens is required for the camera to reach focus, though without a drive, exposures will be limited to short (under 1/15s) shots of the bright part of the Moon.
The challenge with this and all lunar eclipses is that the Moon presents a huge range of brightness. Short snapshots can capture the bright part of the Moon not in the umbra, but the dark umbral-shaded portion requires much longer exposures, usually over one second.
Your eye can see the whole scene (as depicted above) but the camera cannot, not in one exposure. This example is a “high dynamic range” blend of several exposures.
Plus as the eclipse progresses, longer and longer exposures are needed to capture the sequence as the Moon is engulfed by more of the umbra.
After mid-eclipse, the exposures must get progressively shorter again in reverse order. So attempting to capture an entire sequence requires a lot of exposure adjustments.
TIP: Bracket a lot! Take lots of frames at each burst of images shot every minute, or however often you wish to capture the progress of the eclipse for a final set. Unlike total solar eclipses, lunar eclipses provide lots of time to take lots of images.
PHOTO OPTIONS 4 — THROUGH A TRACKING TELESCOPE
If you want close-ups of the eclipsed red Moon, you will need to use a mount equipped with a tracking motor, such as an equatorial mount shown here. But for use with telephoto lenses and short telescopes, a polar-aligned sky tracker, as above, will work.
Exposures can now be several seconds long, and at a lower ISO speed for less noise, allowing the Moon to be captured in sharp detail and with great colour. Long exposures will even pick up stars near the Moon.
However, when shooting close-ups, use the Lunar drive rate (if your mount offers that choice) to follow the Moon itself, as it has a motion of its own against the background stars. It’s that orbital motion that takes it from west to east (right to left) through the Earth’s shadow.
Filling the camera frame with the Moon requires a surprising amount of focal length. The Moon appears big to our eyes, but is only 1/2º across.
Even with 800mm of focal length, the Moon fills only a third of a full frame camera field. Using a cropped frame camera has the advantage of tightening the field of view, but it still takes 1200mm to 1500mm of focal length to fill the frame.
But I wouldn’t worry about doing so, as longer focal lengths typically also come with slower f-ratios, requiring longer exposure times or higher ISOs, both of which can blur detail.
For close-ups, a polar-aligned equatorial mount is best. But if your telescope is a GoTo telescope on an alt-azimuth mount (such as a Schmidt-Cassegrain shown here), you should be able to get good shots.
The field of view will slowly rotate during the eclipse, making it more difficult to later accurately assemble a series of shots documenting the entire sequence.
But any one shot should be fine, though it might be best to keep exposures shorter by using a higher ISO speed. As always, take lots of shots at different settings.
You won’t be able to tell which is sharpest until you inspect them later at the computer.
TIP: People worry about exposures, but the flaw that ruins many eclipse shots is poor focus. Use Live View to focus carefully on the sharp edge of the bright part of the Moon. Or better yet, focus on a bright star nearby. Zoom up to 10x to make it easier to see when the star is in sharpest focus. It can be a good idea to refocus through the night as the changing temperature can shift the focus point of long lenses and telescopes. That might take moving the scope over to a bright star, which won’t be possible if you need to preserve the framing for a composite.
PHOTO OPTIONS 5 — HDR COMPOSITES
Using an equatorial mount tracking at the lunar rate keeps the Moon stationary. This opens up the possibility of taking a series of shots over the wide range of exposures needed to capture the Moon from bright to dark, to assemble later in processing. Take 5 to 7 shots in quick succession.
High dynamic range software can blend the images, or use luminosity masks created by extension panels for Photoshop such as Lumenzia, TK8 or Raya Pro. Either technique can create a final image that looks like what your eye saw. The key is making sure all the images are aligned. HDR software likely won’t align them for you very well.
Blending multiple exposures will also be needed to properly capture the eclipsed Moon below the Pleiades, similar to what I show here (and below) from the January 2019 eclipse when the Moon appeared near the Beehive star cluster.
PHOTO OPTIONS 6 — ECLIPSE TRACK COMPOSITES
Another popular form of eclipse image (though also one rife for laughably inaccurate fakes) is capturing the entire path of the Moon across the sky over the duration of the eclipse from start to end.
It can be done with a fixed camera on a tripod but requires a wide (14mm to 20mm) and properly framed lens, to capture the sequence as it actually appeared to proper scale, and not created by just pasting over-sized moons onto a sky to “simulate” the scene, usually badly. By the end of the day on November 19 the internet will be filled with such ugly fakes.
You could set the camera at one exposure setting (one best for when the Moon and sky are darkest at mid-eclipse) and let the camera run, shooting frames every 5 seconds or so. The result might work well as a time-lapse sequence, showing the bright sky darkening, then brightening again.
But chances are the frames taken at the start and end when the sky is lit by full moonlight will be blown out. It will still take some manual camera adjustments through the eclipse.
For a still-image composite, you should instead expose properly for the Moon’s disk at all times, a setting that will change every few minutes, then take a long exposure at mid-eclipse to pick up the stars and Milky Way. The short Moon shots are then blended into the base-layer sky image later in processing.
If the camera has been well-framed and was not moved over the 3.5 hours of the eclipse, the result is an accurate and authentic record of the Moon’s path and passage into the shadow, and not a faked atrocity!
But creating a real image requires a lot of work at the camera, and at the computer.
TIP: Shooting for composites is not work I would recommend attempting while also running other cameras. Focus on one type of image and get it right, rather than trying to do too many and doing them all poorly.
PHOTO OPTION 7 — ECLIPSE SHADOW COMPOSITE
One of the most striking types of lunar eclipse images is a close-up composite showing the Moon passing through the Earth’s umbral shadow, with the arc of the shadow edge on the Moon defining the extent of the shadow, which is about three times larger than the Moon.
Such a composite can be re-created later by placing individual exposures accurately on a wider canvas, using screen shots from planetarium software as a template guide.
But to create an image that is more accurate, it is possible to do it “in camera.” Unlike in the film days, we don’t have to do it with multiple exposures onto one piece of film.
We take lots of separate frames with a telescope or lens wide enough to contain the entire path of the Moon through the umbra. A polar-aligned equatorial mount tracking at the sidereal rate is essential. That way the scope follows the stars, not the Moon, and so the Moon travels across the frame from right to left.
Start such a sequence with the Moon at lower right if you are framing just the path through the shadow. Use planetarium software (I used Starry Night™ to create the star charts for this blog) to plan the framing for your camera, lens and site, so the Moon ends up in the middle of the frame at mid-eclipse. This is not a technique for the faint of heart!
An interesting variation would be using a 200mm to 250mm lens to frame the Moon’s shadow passage below the Pleiades, to create an image as above. That will be unique. Again, an accurately aligned tracker turning at the sidereal rate will be essential.
Acquiring the frames for any composite takes constantly adjusting the exposure during the length of eclipse, which can try your patience and gear during the wee hours of the morning.
I’ll be happy just to get a good set of images at mid-eclipse to make a single composite of the red Moon below the Pleiades.
TIP: It could be cold and lenses can frost over. A battery-powered heater coil on the optics might be essential. And spare warm batteries.
To test your equipment and your skills at focusing, you can use the waning crescent Moon in the dawn hours on the mornings of October 29 to November 2 or, after New Moon on November 4, the waxing crescent Moon on the evenings of November 6 to 10. While the crescent Moon isn’t as bright as the Full Moon, it will be a good stand in for the bright part of the eclipsed Moon when it is deep in the umbra.
Even better, the dark part of the crescent Moon lit by Earthshine is a good stand-in for the part of the Moon in the umbra. Like the eclipsed Moon, the crescent Moon’s bright and dark parts can’t be captured in one exposure. So it’s a good test for the range of exposures you’ll need for the eclipse, for practising changing settings on your camera, and for checking your tracking system.
The crescent Moon is also useful to test your manual focusing, though the sharp detail along the terminator (the line dividing the bright crescent from the earthlit dark part of the Moon) is much easier to focus on than the flat, low contrast Full Moon.
DON’T FORGET TO LOOK!
Amid all the effort needed to shoot this or any eclipse, lunar or solar, don’t forget to just look at it. No photo can ever quite capture the glowing nature of the eclipsed Moon set against the stars.
I wish you clear skies and good luck with your lunar eclipse photography. If you miss it, we have two more visible from North America next year, both total eclipses, on May 15/16 and November 8, 2022.
The tradition continued of chasing clear skies to see a lunar eclipse.
It wouldn’t be an eclipse without a chase. Total eclipses of the Sun almost always demand travel, often to the far side of the world, to stand in the narrow path of the Moon’s shadow.
By contrast, total eclipses of the Moon come to you — they can be seen from half the planet when the Full Moon glides through Earth’s shadow.
Assuming you have clear skies! That’s the challenge.
Of the 14 total lunar eclipses (TLEs) visible from here in Alberta since 2000, I have seen all but one, missing the January 21, 2000 TLE due to clouds.
But of the remaining 13 TLEs so far in the 21st century, I watched only three from home, the last home lunar eclipse being in December 2010.
I viewed three TLEs (August 2007, February 2008, and December 2011) from the Rothney Observatory south-west of Calgary as part of public outreach programs I was helping with.
In April 2014, I was in Australia and viewed the eclipsed Moon rising in the evening sky over Lake Macquarie, NSW.
A year later, in April 2015, I was in Monument Valley, on the Arizona-Utah border for the short total eclipse of the Moon at dawn.
But of the eclipses I’ve seen from Alberta since 2014, I have had to chase into clear skies for all of them — to Writing-on-Stone Provincial Park in both October 2014 and September 2015, to the Crowsnest Pass for January 2018, and to Lloydminster for January 2019.
The total lunar eclipse on the morning of May 26, 2021 was no exception.
Leading up to eclipse day prospects for finding clear skies anywhere near home in southern Alberta looked bleak. The province was under widespread cloud bringing much-needed rain. Good for farmers, but bad for eclipse chasers.
Then, two days prior to the eclipse a hole in the clouds was predicted to open up along the foothills in central Alberta just at the right time, at 4 a.m. The predictions stayed consistent a day later.
So trusting the Environment Canada models that had served me well since 2014, I made plans to drive north the day before the eclipse to Rocky Mountain House, a sizeable town on Highway 11 west of Red Deer, where the foothills begin. “Rocky” was predicted to be on the edge of the clearing, with a large swath of clear sky in the right direction, to the southwest where the Moon would be.
Fortunately, COVID restrictions are not so severe here as to demand stay-at-home orders. I could travel, at least within Alberta. Hotels were open, but restaurants only for takeaway.
This was going to be a tough eclipse even under the best of sky conditions, as for us in Alberta the Moon would be low and setting into the southwest at dawn. The Moon would be darkest and in mid-eclipse just as the sky was also brightening with dawn twilight.
However, a low eclipse offers the opportunity of a view of the reddened Moon over a scenic landscape, in this case of the eclipsed Moon setting over the Rockies. That was the plan.
Unfortunately, Rocky Mountain House wasn’t the ideal destination as it lies far from the mountains. I was hoping for a site closer to the Rockies in southern Alberta. But a site with clear skies is always the first priority.
The task is then finding a spot to set up with a clear view to the southwest horizon, which from the area around Rocky is tough — it’s all trees!
This is where planning apps are wonderful.
I used The Photographer’s Ephemeris (TPE) to search for a side road or spot to pull off where I could safely set up and be away from trees to get a good sightline to the horizon and possibly distant mountains.
A site not far from town was ideal, to avoid long pre- and post-eclipse drives in the wee hours of the morning. The timing of this eclipse was part of the challenge — in having to be on site at 4 a.m.
TPE showed several possible locations and a Google street view (not shown here) seemed to confirm that the horizon in that area off Highway 11 would be unobstructed over cultivated fields.
But you don’t know for sure until you get there.
So as soon as I arrived, I went to one site I had found remotely, only to discover power lines in the way. Not ideal.
I found another nearby side road with a clean view. From there I used the PhotoPills app (above) and its augmented reality “AR” mode to confirm, that yes, the Moon would be in the right place over a clear horizon at eclipse time the next morning.
Another app I like for site scouting, Theodolite, also confirmed that the view toward the eclipsed Moon’s direction (with an azimuth of about 220°) would be fine from that site.
As a Plan B — it’s always good to have a Plan B! — I also drove west along Highway 11, the David Thompson Highway, toward the mountains, in search of a rare site away from trees, just in case the only clear skies lay to the west. I found one, some 50 km west of Rocky, but thankfully it was not needed. The Plan A site worked fine, and was just 5 minutes south of town, and bed!
I set up two tripods. One was for the Canon R6 with an 85mm lens for a “time-lapse” sequence of the Moon moving across the frame as it entered the Earth’s umbral shadow.
The other tripod I used for closeups of just the Moon using the Canon 60Da and 200mm lens, then switched to the Canon Ra and a 135mm lens, then the longer 200mm lens once the Moon got low enough to also be in frame with the horizon. Those were for the prime shot of the eclipse over the distant mountains and skyline.
It all worked! The sky turned out to be clearer than predicted, a pleasant surprise, with only some light cloud obscuring the Moon halfway through the partial phases (the first image at top).
The other surprise was how dark the shadowed portion of the Moon was. This was a very short total eclipse, with totality only 14 minutes long. With the Moon passing through the outer, lighter part of the umbral shadow, I would have expected a brighter eclipse, making the reddened Moon stand out better in the blue twilight.
As it was, in the minutes before the official start of totality at 5:11 a.m. MDT, the Moon effectively disappeared from view, both to the eye and camera.
My best shots were of the Moon still in partial eclipse but with the umbral shaded portion bright enough to show up red in the images. The distant Rockies were also beginning to light up pink in the first light of dawn.
My last view was of a sliver-thin Moon disappearing into Earth’s shadow just prior to the onset of totality. I packed up and headed back to bed with technically the Moon still up and in total eclipse, but impossible to see. Still I was a happy eclipse chaser!
It was another successful eclipse trip, thwarted not so much by clouds, but by the darkness of our planet’s shadow, which might have been due to widespread cloud or volcanic ash in the atmosphere of Earth.
The other factor at play was that this was a “supermoon,” with the larger Moon near perigee entering more deeply into the umbra than a normal-sized Moon.
The next lunar eclipse is six months later, on the night of November 18/19, 2021 when the Moon will not quite fully enter Earth’s umbral shadow, for a 97% partial eclipse. But enough of the Moon will be in the dark umbra for most of the Moon to appear red, with a white crescent “smile” at the bottom.
As shown above, from my location in Alberta the Moon will appear high in the south, in Taurus just west of the Milky Way. The winter stars and Milky Way will “turn on” and fade into view as the eclipse progresses.
We shall see if that will be a rare “home” eclipse, or if it will demand another chase to a clear hole in the clouds on a chilly November night.
Two major eclipses of the Moon and a partial eclipse of the Sun over eastern North America highlight the astronomical year of 2021.
I provide my selection of three dozen of the best sky sights for 2021. I focus on events you can actually see, and from North America. I also emphasize events with the potential for good “photo ops.”
What I Don’t Include
Thus, I’m excluding minor meteor showers and ones that peak at Full Moon, and events that happen with the objects too close to the Sun.
I also don’t include events seen only from the eastern hemisphere, such as the April 17 occultation of Mars by the Moon — it isn’t even a close conjunction for us in North America. The August 15 rare triple transit of three Galilean moons at once on the disk of Jupiter occurs during daylight hours for western North America, rendering it very challenging to see. An outburst on August 31 of the normally quiet Aurigid meteor shower is predicted to happen over Asia, not North America.
I also don’t list the growing profusion of special or “supermoons” that get click-bait PR every year, choosing instead to limit my list to just the Harvest Moon of September as a notably photogenic Moon.
Good Year for Lunar Eclipses
But two Full Moons — in May and in November — do undergo eclipses that will be wonderful sights for the eye and camera. As a bonus, the Full Moon of May is the closest Full Moon of 2021, making it, yes, a “supermoon.”
The New Moon eclipses the Sun on June 10, bringing an annular eclipse to remote regions of northern Canada and the Arctic (including the North Pole!). Eastern North America and all of Europe can witness a partial solar eclipse this day.
For an authoritative annual guide to the sky and detailed reference work, see the Observer’s Handbook published each year in Canadian and U.S. editions by The Royal Astronomical Society of Canada. I used it to compile this list.
The RASC has also partnered with Firefly Books to publish a more popular-level guide to the coming year’s sky for North America, in the 2021 Night Sky Almanac, authored by Canadian science writer Nicole Mortillaro. It provides excellent monthly star charts.
However, feel free to print out my blog or save it as a PDF for your personal reference. To share my listing with others, please send them the link to this blog page. Thanks!
The year begins with a chance to see three planets together at dusk.
January 10 — Mercury, Jupiter and Saturn within 2 degrees (°)
Even three weeks after their much publicized Great Conjunction, Jupiter and Saturn are still close and visible low in the evening twilight. On January 10 Mercury joins them to form a neat triangle of worlds, but very low in the southwest. Clear skies and binoculars are a must!
NOTE: The red circle on this and most charts represents the 6.5° field of view of a typical 10×50 binocular. So you can see here how binoculars will frame the trio perfectly. All charts are courtesy the desktop app Starry Night™ bySimulation Curriculum.
January 14 — Thin waxing crescent Moon above line of Mercury, Jupiter and Saturn
Saturn disappears behind the Sun on January 23, followed by Jupiter on January 28, so early January is our last chance to see the evening trio of planets, tonight with the crescent Moon.
January 20 — Mars and Uranus 1.6° apart
Uranus will be easy to spot in binoculars as a magnitude 5.8 green star below red Mars, so this is your chance to find the seventh planet. The quarter Moon shines below the planet pair.
January 23 — Mercury at a favourable evening elongation
This and its appearance in May are the best opportunities for northern hemisphere observers to catch the innermost planet in the evening sky in 2021. Look for a bright magnitude -0.8 “star” in the dusk twilight.
This is a quiet month with Mars the main evening planet, but now quite small in the telescope.
February 18 — Waxing Moon 4° below Mars
The pairing appears near the Pleiades and Hyades star clusters high in the evening sky.
Mars shines high in evening sky in Taurus, while the three planets that were in the evening sky in January begin to emerge into the dawn sky.
March 1 — Zodiacal light “season” begins in the evening
From sites away from light pollution look for a faint glow of light rising out of the southwest sky on any clear evening for the next two weeks with no Moon.
March 3 — Mars 2.5° below the Pleiades
This will be a nice sight in binoculars tonight and tomorrow high in the evening sky, and a good target for tracked telephoto lens shots.
March 4 — Mercury and Jupiter just 1/2° apart
Close to be sure! But this pairing will be so low in the dawn sky it will be difficult to spot. They will appear equally close on March 5 should clouds intervene on March 4.
March 9 — Line of Mercury, Jupiter, Saturn and waning crescent Moon
Three planets and the waxing crescent Moon form a line across the dawn sky but again, very low in the southeast. The even thinner Moon will be below Jupiter on March 10. Observers at low latitudes (south of 35° N) will have the best view on these mornings.
March 20 — Equinox at 5:37 a.m. EDT
Spring officially begins for the northern hemisphere, autumn for the southern, as the Sun crosses the celestial equator heading north. Today, the Sun rises due east and sets due west for photo ops.
March 30 — Zodiacal light season again!
With the Moon out of the way, the faint zodiacal light can again be seen and photographed in the west over the next two weeks, but only from a site without significant light pollution on the western horizon.
The inner planets appear in the evening sky, while Mars meets M35.
April 6 — Milky Way arch season begins
With the waning Moon just getting out of view, this morning and for the next two weeks are good nights to shoot panoramas of the bright summer Milky Way as an arch across the sky, with the galactic core in view to the south. The moonless first two weeks of May, June and July will also work this year, but by August the Milky Way is reaching high overhead and so is difficult to capture in a horizontal landscape panorama.
April 24 — Mercury and Venus 1° apart
The two inner planets will be very low in the western evening sky tonight and tomorrow, but with clear skies this is a chance to catch both at once. Use a telephoto lens for the best image.
April 26 — Mars passes 1/2° north of M35 star cluster
This will be a fine scene for binoculars or a photo op for a tracked telephoto lens or telescope in a long enough exposure to reveal the rich star cluster Messier 35 in Gemini.
On May 26 a totally eclipsed Moon shines red in the west before sunrise for western North America.
May 12 — Venus and Moon 1.5° apart
Look low in the western evening sky this night for the pairing of the thin crescent Moon and Venus, and the next night, May 13, for the crescent Moon higher and 4° away from Mercury. These are good nights to capture both inner planets using a short telephoto lens.
May 16 — Mercury at a favourable evening elongation
With Mercury angled up high in the northwest this is the best week of the year to catch it in the evening sky from northern latitudes.
May 26 — Total Eclipse of the Moon
The first total lunar eclipse since January 20, 2019, this “TLE” can be seen as a total eclipse only from western North America, Hawaii, and from Australia and New Zealand. Totality lasts a brief 15 minutes, with the Moon in Scorpius not far from red Antares. The red Moon in a twilight sky will be beautiful, as it was for the April 4, 2015 eclipse at dawn over Monument Valley, Utah shown above.
Those in western North America will see the totally eclipsed Moon setting into the southwest in the dawn hour before sunrise, as depicted here. Over a suitable landscape this will be a photogenic scene, as even at mid-eclipse the Moon will be bright red because it passes so far from the centre of Earth’s umbral shadow.
Unfortunately, those in eastern North America will have to be content with a view of a partially eclipsed Moon setting in the morning twilight.
A bonus is that this is also the closest and largest Full Moon of 2021, with a close perigee of 357,311 kilometres occurring just 9 hours earlier. So the Full Moon that rises on the evening of May 25 will be the year’s “supermoon.”
See Fred Espenak’s EclipseWise.com page for details on timing and viewing regions. The dark region on this map does not see any of this eclipse.
May 26 — Comet 7/P Pons-Winnecke at perihelion
The brightest comet predicted to be visible in 2021 (as of this writing) is the short-period Comet Pons-Winnecke (aka Comet 7/P). It reaches its closest point to the Sun — perihelion — the night of the lunar eclipse and is well placed in Aquarius high in the southeastern dawn sky above Jupiter and Saturn.
But … it is expected to be only 8th magnitude, making it a binocular object at best, looking like a fuzzball, not the spectacular object depicted here in this exaggerated view of its brightness and tail length.
May 28 — Mercury and Venus less than 1/2° apart
Look low in the northwest evening sky for a very close conjunction of the two inner worlds. A telescope will frame them well, with Mercury a tiny crescent and Venus an almost fully illuminated disk.
While eastern North America misses the total lunar eclipse, two weeks later observers in the east do get to see a partial solar eclipse.
June 10 — Annular eclipse of the Sun
Should you manage to get yourself to the path of the Moon’s anti-umbral shadow you will see the dark disk of the Moon contained within the bright disk of the Sun but not large enough to cover the Sun completely. You see a ring of light, as above from a 1994 annular eclipse.
The Moon is near apogee, so its disk is about as small as it gets, in contrast to the perigee Moon two weeks earlier. During the maximum of 3 minutes 51 seconds of annularity the sky will get unusually dark, but none of the dramatic effects of a total eclipse will appear. The annulus of sunlight that remains is still so bright special solar filters must be used at all times, covering the eyes and lenses.
The region with the best accessibility to the path is northwestern Ontario north and east of Thunder Bay. However, the annular phase of the eclipse there occurs at or just after sunrise, so clouds are likely to obscure the view, as are trees!
The eastern seaboard of the U.S. and much of eastern Canada can see a partial eclipse of the Sun, as can most of Europe. For details of times and amount of eclipse see Fred Espenak’s EclipseWise website.
Summer officially begins for the northern hemisphere, winter for the southern, as the Sun reaches its most northerly position above the celestial equator. The Sun rises farthest to the northeast and sets farthest to the northwest, and the length of daylight is at its maximum.
June 22 — Mars passes through the Beehive star cluster
Mars, now at a modest magnitude +1.8, appears amid the Beehive star cluster, aka M44, tonight and tomorrow evening, but low in the northwest in the twilight sky. Use binoculars or a telescope for the best view.
Venus and Mars put on a show low in the western twilight.
July 2 — Venus passes through the Beehive star cluster
Venus (at a brilliant magnitude -3.9) follows Mars through the Beehive cluster this evening, but with the pairing even lower in the sky, making it tough to pick out the star cluster.
July 4 — Mercury at a good morning elongation
Though not at its best for a morning appearance from northern latitudes, Mercury should still be easy to spot and photograph in the pre-dawn sky in Taurus, outshining bright Aldebaran.
July 11 — Grouping of Venus, Mars and waxing crescent Moon
Look low in the evening sky for the line of the thin crescent Moon, bright Venus and dim Mars all in the same binocular field. Venus passes 1/2° above Mars on the next two nights, July 12 and 13.
July 21 — Grouping of Venus, Mars and Regulus
The two planets appear with bright Regulus in Leo, all within a binocular field, but again, low in the northwest twilight. The colour contrast of red Mars with white Venus and blue-white Regulus should be apparent in binoculars.
The popular Perseid meteors peak, and we can see (maybe!) the extremely close conjunction of Mercury and Mars.
August 1 — Milky Way core season opens
For southerly latitudes, the first two weeks of May and June are also good, but from the northern U.S. and much of Canada, the nights don’t get dark enough to see and shoot the bright galactic centre until August. The rich star clouds of Sagittarius now shine due south as it gets dark each night over the next two weeks.
August 2 — Saturn at opposition
Saturn is at its closest and brightest for 2021 tonight, rising at sunset and shining due south in Capricornus in the middle of the night.
August 12 — Perseid meteor shower peaks
The annual Perseid meteor shower peaks tonight with a waxing crescent Moon that sets early, to leave most of the night dark and ideal for watching meteors. Look for the crescent Moon 5° above Venus on August 10.
August 18 — Mars and Mercury only 0.06° apart!
Now this is a very close conjunction, with Mercury passing only 4 arc minutes from Mars (compared to the 6 arc minute separation of the Great Conjunction of Jupiter and Saturn on December 21, 2020). But the planets will be very low in the west at dusk and tough to sight. This will be a conjunction for skilled observers blessed with clear skies and a low horizon.
August 20 — Jupiter at opposition
Jupiter, now in Aquarius, reaches its closest and brightest for 2021 tonight, also rising at sunset and shining due south in the middle of the night. On the night of August 21/22, the Full Moon, also at opposition — as all Full Moons are — appears 4° below Jupiter, as shown above.
It’s Harvest Moon time, with this annual special Full Moon occurring close to the equinox this year for an ideal geometry, making the Moon rise due east.
September 5 — Zodiacal light “season” begins in the morning
With no Moon for the next two weeks, from sites away from light pollution look to the pre-dawn sky for a faint glow of light rising out of the east before twilight brightens the morning sky.
September 20 — Full “Harvest” Moon
Occurring two days before the equinox, this Full Moon will rise nearly due east (a little to the south of east) at sunset and set nearly due west at sunrise at dawn on September 21, for some fine photo ops.
September 22 — Equinox at 3:21 p.m. EDT
Autumn officially begins for the northern hemisphere, spring for the southern, as the Sun crosses the celestial equator heading south. Today, the Sun rises due east and sets due west for photo ops.
Mercury adorns the dawn while Venus shines bright but low at dusk.
October 4 — Zodiacal light “season” begins in the morning
With the Moon out of the way for the next two weeks, the zodiacal light will again be visible in the east in the pre-dawn hours.
October 9 — The Moon 2.5° from Venus
The crescent Moon passes close to Venus this evening, with the pair not far from the star Antares. The low altitude of the worlds lends itself to some fine photo ops. Look for a similar close conjunction on the evening of November 7.
October 25 — Mercury at its most favourable morning elongation
The high angle of the ecliptic — the path of the planets — on autumn dawns swings Mercury up as high as it can get in the morning sky, making this week the best for sighting Mercury as a “morning star” in 2021 from northern latitudes.
October 29 — Venus at its greatest angle away from the Sun
While now farthest from the Sun in our sky, its low altitude at this time of year makes this an unfavourable evening appearance of Venus.
The second lunar eclipse brings a mostly red Moon to the skies over North America.
November 3 — Moon and Mercury 2° apart, then a daylight occultation
Before dawn, with Mercury still well-placed in the morning sky, the waning crescent Moon shines 2° above the planet, with Mars below and the star Spica nearby. Later in the day, about noon to early afternoon (the time varies with your location), the Moon will occult (pass in front of) Mercury. This will be a challenging observation even with a telescope, with the pale and thin Moon only 14° east of the Sun. A very clear sky will be essential!
November 19 — 97% Partial Eclipse of the Moon
Though not a total eclipse, this is the next best thing: a 97% partial! And unlike the May 26 eclipse, all of North America gets to see this one.
Mid-eclipse, when the Moon is most deeply embedded in Earth’s umbral shadow, occurs at 4:04 a.m. EST (1:04 a.m. PST) on November 19. While not convenient timing, it ensures that all of the continent can see the entire 3.5-hour long eclipse. The partial umbral phase begins at 3:18 a.m EST (12:18 a.m. PST).
At mid-eclipse, the Moon will resemble Mars — a red world with a bright south “polar cap” caused by the small 3% of the southern edge of the Moon outside the umbra. Its position near the Pleiades and Hyades clusters will make for a great wide-field image.
Remember — this occurs on the night of November 18/19! So don’t miss it thinking the eclipse starts on the evening of November 19. You’ll be a day late!
The year ends with a chance to see four planets together at dusk.
December 4 — Total Eclipse of the Sun
I include this for completeness, but this total solar eclipse (TSE) could not be more remote, as the path of totality lies over Antarctica. Only the most intrepid will be there, in expedition ships and in aircraft. (I took this image over Antarctica at the November 23, 2003 total eclipse one 18-year Saros cycle before this year’s TSE.) Even the partial phases are visible only from southernmost Australia and Africa.
December 6 — Moon 2.5° below Venus
With Venus just past its official December 3 date of “greatest brilliancy” (at magnitude -4.7), the waxing crescent Moon appears close below it, with Saturn and Jupiter further along the line of the ecliptic in the southwest. The Moon appears below Saturn on December 7 and below Jupiter on December 8.
December 13 — Geminid meteor shower peaks
The most prolific meteor shower of the year peaks with a waxing 10-day-old gibbous Moon lighting the sky, so not great conditions. But with luck it will still be possible to see and capture bright fireballs.
December 21 — Solstice at 10:59 a.m. EST
Winter officially begins for the northern hemisphere, summer for the southern, as the Sun reaches its most southerly position below the celestial equator. The Sun rises farthest to the southeast and sets farthest to the southwest, and the length of daylight is at its minimum.
December 31 — Four planets in view
As the year ends the same three planets that adorned the evening sky in early January are back, with the addition of Venus. So on New Year’s Eve we can see four of the naked eye planets (only Mars is missing) at once in the evening sky.
On November 11, I traveled to the near-flung corners of my backyard to observe the rare transit of Mercury across the Sun.
History is replete with tales of astronomers traveling to the far corners of the Earth to watch dark objects pass in front of the Sun — the Moon in eclipses, and Mercury and Venus in transits.
On November 11, to take in the last transit of Mercury until 2032, I had planned a trip to a location more likely to have clear skies in November than at home. A 3-day drive to southern Arizona was the plan.
But to attend to work and priorities at home I cancelled my plans. Instead, I decided to stay home and take my chances with the Alberta weather, perhaps making a run for it a day’s drive away if needed to chase into clear skies.
As it turned out, none of that was necessary. The forecast for clear, if cold, skies held true and we could not have had a finer day for the transit. Even the -20° C temperatures were no problem, with no wind, and of course sunshine!
Plus being only steps from home and a warming coffee helped!
As it turned out, the site in Arizona I had booked to stay was clouded out for the entire event. So I was happy with my decision!
For my site in Alberta, as for all of western North America, the Sun rose with the transit in progress. But as soon as the Sun cleared the horizon there was Mercury, as a small, if fuzzy, black dot on the Sun.
As the Sun rose the view became sharper, and was remarkable indeed — of a jet black dot of a tiny planet silhouetted on the Sun.
I shot through two telescopes, my 4-inch and 5-inch refractors, both equipped with solar filters of course. I viewed through two other telescopes, for white-light and hydrogen-alpha filtered views.
I was able to follow the transit for three hours, for a little more than half the transit, until Mercury exited the Sun just after 11 a.m. MST. The view below is from moments before Mercury’s exit, or “egress.”
I shot still frames every 15 seconds with each of the two cameras and telescopes, for a time-lapse, plus I shot real-time videos.
At this transit Mercury passed closer to the centre of the Sun’s disk than it will for any other transit in the 21st century, making this event all the more remarkable. That point is recorded above, from a shot taken at 8:19 a.m. MST.
Stacking a selection of the time-lapse frames, ones taken 1-minute intervals, produced this composite of the transit, from just before mid-transit until Mercury’s egress.
I assembled all the best images and 4K videos together into a movie, which I narrated live at the telescope as the transit was happening. I hope this provides a sense of what it was like to view this rare event.
The Transit of Mercury from Alan Dyer on Vimeo.
We won’t see another until 2032, but not from North America. The next transit of Mercury viewable from here at home is not until 2049! This was likely my last transit, certainly for a while!
It took a chase but it was worth it to catch the January 20, 2019 total eclipse of the Moon in the winter sky.
While the internet and popular press fawned over the bogus moniker of “Super Blood Wolf” Moon, to me this was the “Cold Moon” eclipse. And I suspect that was true for many other observers and eclipse chasers last Sunday.
Total solar eclipses almost always involve a chase, usually to far flung places around the world to stand in the narrow shadow path. But total lunar eclipses (TLEs) come to you, with more than half the planet able to view the Moon pass through the Earth’s shadow and turn red for several minutes to over an hour.
The glitch is clouds. For several of the last TLEs I have had to chase, to find clear skies in my local area, creating pre-eclipse stress … and post-eclipse relief!
That was the case for the January 20, 2019 total lunar, as the weather predictions above, based on Environment Canada data, were showing east-central Alberta along the Saskatchewan border as the only clear hole within range and accessible.
The above is a screen shot from the wonderful app Astrospheric, a recommended and great aid to astronomers. In 2014, 2015, and 2018 the Environment Canada predictions led me to clear skies, allowing me to see an eclipse that others in my area missed.
So trusting the predictions, the day before the eclipse I drove the 5 hours and 500 km north and east to Lloydminster, a town where the provincial border runs right down the main street, Highway 17.
The morning of the evening eclipse, I drove up and down that highway looking for a suitable site to setup. Scenery was not in abundance! It’s farm land and oil wells. I settled for a site shown above, an access road to a set of wells and tanks where I would likely not be disturbed, that had no lights, and had a clear view of the sky.
The image above is from the iOS app Theodolite, another fine app for planning and scouting sites, as it overlays where the camera was looking.
Scenery was not a priority as I was mostly after a telephoto view of the eclipsed Moon near the Beehive star cluster. Wide views would be a bonus if I could get them, for use in further ebook projects, as is the plan for the image below.
The site, which was east of the border in Saskatchewan, served me well, and the skies behaved just as I had hoped, with not a cloud nor haze to interfere with the view. It was a long and cold 5-hour night on the Prairies, with the temperature around -15° C.
It could have been worse, with -25° not uncommon at this time of year. And fortunately, the wind was negligible, with none of the problems with frost that can happen on still nights.
Nevertheless, I kept my photo ambitions in check, as in the cold much can go wrong and running two cameras was enough!
Above was the main image I was after, capturing the red Moon shining next to the Beehive star cluster, a sight we will not see again for another 18-year-long eclipse “saros,” in January 2037.
But I shot images every 10 minutes, to capture the progression of the Moon through the shadow of the Earth, for assembly into a composite. I’d pick the suitable images later and stack them to produce a view of the Moon and umbral shadow outline set amid the stars.
Above is the final result, showing the outline of the circular umbral shadow of the Earth defined by the shadow edge on the partially eclipsed Moons. The umbra is about three times the size of the Moon. And at this eclipse the Moon moved across the northern half of the shadow.
So mission accomplished!
I usually try to take a “trophy” shot of the successful eclipse chaser having bagged his game. This is it, from mid-eclipse during totality, with the red Moon shining in the winter sky beside the Beehive.
With this eclipse I can now say I have seen every total lunar eclipse visible from my area of the world since May 2003. I’m not counting those TLEs that were visible from only the eastern hemisphere — I’m not so avid as to chase those. And there were a couple of TLEs in that time that were visible from North America, but not from Alberta. So I’m not counting those.
And a couple of TLEs that were visible from here I did not see from here in Alberta — I saw April 15, 2014 from Australia and April 4, 2015 from Utah.
With that tally I’ve seen all the locally visible TLEs over a full saros cycle, 18 years. The last local TLE I missed was January 20, 2000, exactly 19 years — a Metonic cycle — ago. It must have been cloudy!
The next total eclipse of the Moon is May 26, 2021, visible from Alberta as the Moon sets at dawn. I’d like to be in Australia for that one (depicted above in a screen shot from StarryNight™), to see the eclipsed Moon beside the galactic centre as both rise in the east, a sight to remember. Being late austral autumn, that will be a “cool Moon.”
On the evening of January 20 for North America, the Full Moon passes through the umbral shadow of the Earth, creating a total eclipse of the Moon.
No, this isn’t a “blood,” “super,” nor “wolf” Moon. All those terms are internet fabrications designed to bait clicks.
It is a totallunareclipse — an event that doesn’t need sensational adjectives to hype, because they are always wonderful sights! And yes, the Full Moon does turn red.
As such, on January 20 the evening and midnight event provides many opportunities for great photos of a reddened Moon in the winter sky.
Here’s my survey of tips and techniques for capturing the eclipsed Moon.
First … What is a Lunar Eclipse?
As the animation below shows (courtesy NASA/Goddard Space Flight Center), an eclipse of the Moon occurs when the Full Moon (and they can happen only when the Moon is exactly full) travels through the shadow of the Earth.
The Moon does so at least two times each year, though often not as a total eclipse, one where the entire disk of the Moon enters the central umbral shadow. Many lunar eclipses are of the imperceptible penumbral variety, or are only partial eclipses.
Total eclipses of the Moon can often be years apart. The last two were just last year, on January 31 and July 27, 2018. However, the next is not until May 26, 2021.
At any lunar eclipse we see an obvious darkening of the lunar disk only when the Moon begins to enter the umbra. That’s when the partial eclipse begins, and we see a dark bite appear on the left edge of the Moon.
While it looks as if Earth’s shadow sweeps across the Moon, it is really the Moon moving into, then out of, our planet’s umbra that causes the eclipse. We are seeing the Moon’s revolution in its orbit around Earth.
At this eclipse the partial phases last 67 minutes before and after totality.
Once the Moon is completely immersed in the umbra, totality begins and lasts 62 minutes at this eclipse, a generous length.
The Moon will appear darkest and reddest at mid-eclipse. During totality the lunar disk is illuminated only by red sunlight filtering through Earth’s atmosphere. It is the light of all the sunsets and sunrises going on around our planet.
And yes, it is perfectly safe to look at the eclipsed Moon with whatever optics you wish. Binoculars often provide the best view. Do have a pair handy!
At this eclipse because the Moon passes across the north half of the umbra, the top edge of the Moon will always remain bright, as it did above in 2010, looking like a polar cap on the reddened Moon.
Near the bright edge of the umbra look for subtle green and blue tints the eye can see and that the camera can capture.
Where is the Eclipse?
As the chart below shows, all of the Americas can see the entire eclipse, with the Moon high in the evening or late-night sky. For the record, the Moon will be overhead at mid-eclipse at local midnight from Cuba!
I live in Alberta, Canada, at a latitude of 50 degrees North. And so, the sky charts I provide here are for my area, where the Moon enters the umbral shadow at 8:35 p.m. MST with the Moon high in the east. By the end of totality at 10:44 p.m. MST the Moon shines high in the southeast. This sample chart is for mid-eclipse at my site.
I offer them as examples of the kinds of planning you can do to ensure great photos. I can’t provide charts good for all the continent because exactly where the Moon will be during totality, and the path it will take across your sky will vary with your location.
In general, the farther east and south you live in North America the higher the Moon will appear. But from all sites in North America the Moon will always appear high and generally to the south.
The latter two apps present the sightlines toward the Moon overlaid on a map of your location, to help you plan where to be to shoot the eclipsed Moon above a suitable foreground, if that’s your photographic goal.
When is the Eclipse?
While where the Moon is in your sky depends on your site, the various eclipse events happen at the same time for everyone, with differences in hour due only to the time zone you are in.
While all of North America can see the entirety of the partial and total phases of this eclipse (lasting 3 hours and 16 minutes from start to finish), the farther east you live the later the eclipse occurs, making for a long, late night for viewers on the east coast.
Those in western North America can enjoy all of totality and be in bed at or before midnight.
Here are the times for the start and end of the partial and total phases. Because the penumbral phases produce an almost imperceptible darkening, I don’t list the times below for the start and end of the penumbral eclipse.
PM times are on the evening of January 20.
AM times are after midnight on January 21.
Note that while some sources list this eclipse as occurring on January 21, that is true for Universal Time (Greenwich Time) and for sites in Europe where the eclipse occurs at dawn near moonset.
For North America, if you go out on the evening of January 21 expecting to see the eclipse you’ll be a day late and disappointed!
Picking a Photo Technique
Lunar eclipses lend themselves to a wide range of techniques, from a simple camera on a tripod, to a telescope on a tracking mount following the sky.
If this is your first lunar eclipse I suggest keeping it simple! Select just one technique, to focus your attention on only one camera on a cold and late winter night.
Then during the hour of totality take the time to enjoy the view through binoculars and with the unaided eye. No photo quite captures the glowing quality of an eclipsed Moon. But here’s how to try it.
Option 1: Simple — Camera-on-Tripod
The easiest method is to take single shots using a very wide-angle lens (assuming you also want to include the landscape below) with the camera on a fixed tripod. No fancy sky trackers are needed here.
During totality, with the Moon now dimmed and in a dark sky, use a good DSLR or mirrorless camera in Manual (M) mode (not an automatic exposure mode) for settings of 2 to 20 seconds at f/2.8 to f/4 at ISO 400 to 1600.
That’s a wide range, to be sure, but it will vary a lot depending on how bright the sky is at your site. Shoot at lots of different settings, as blending multiple exposures later in processing is often the best way to reproduce the scene as your eyes saw it.
Shoot at a high ISO if you must to prevent blurring from sky motion. However, lower ISOs, if you can use them by choosing a slower shutter speed or wider lens aperture, will yield less digital noise.
Focus carefully on a bright star, as per the advice below for telephoto lenses. Don’t just set the lens focus to infinity, as that might not produce the sharpest stars.
One scene to go for at this eclipse is similar to the above photo, with the reddened Moon above a winter landscape and shining east of Orion and the winter Milky Way. But that will require shooting from a dark site away from urban lights. But when the Moon is totally eclipsed, the sky will be dark enough for the Milky Way to appear.
The high altitude of the Moon at mid-eclipse from North America (with it 40 to 70 degrees above the horizon) will also demand a lens as wide as 10mm to 24mm, depending whether you use portrait or landscape orientation, and if your camera uses a cropped frame or full frame sensor. The latter have the advantage in this category of wide-angle nightscape.
Alternatively, using a longer 14mm to 35mm lens allows you to frame the Moon beside Orion and the winter Milky Way, as above, but without the landscape. Again, this will require a dark rural site.
If you take this type of image with a camera on a fixed tripod, use high ISOs to keep exposures below 10 to 20 seconds to avoid star trailing. You have an hour of totality to shoot lots of exposures to make sure some will work best.
If you have a sky tracker to follow the stars, as I did above, exposures can be much longer — perhaps a minute to pick up the Milky Way really well — and ISOs can be lower to avoid noise.
Option 1 Variation — Urban Eclipses
Unfortunately, point-and-shoot cameras and so-called “bridge” cameras, ones with non-interchangeable lenses, likely won’t have lenses wide enough to capture the whole scene, landscape and all. Plus their sensors will be noisy when used at high ISOs. Those cameras might be best used to capture moderate telephoto closeups at bright urban sites.
With any camera, at urban sites look for scenic opportunities to capture the eclipsed Moon above a skyline or behind a notable landmark. By looking up from below you might be able to frame the Moon beside a church spire, iconic building, or a famous statue using a normal or short telephoto lens, making this a good project for those without ultra-wide lenses.
Whatever your lens or subject, at urban sites expose as best you can for the foreground, trying to avoid any bright and bare lights in the frame that will flood the image with lens flares in long exposures.
Capturing such a scene during the deep partial phases might produce a brighter Moon that stands out better in an urban sky than will a photo taken at mid-totality when the Moon is darkest.
TIP: Practice, Practice, Practice!
With any camera, especially beginner point-and-shoots, ensure success on eclipse night by practicing shooting the Moon before the eclipse, during the two weeks of the waxing Moon leading up to Full Moon night and the eclipse.
The crescent Moon with Earthshine on the dark side of the Moon is a good stand-in for the eclipsed Moon. Set aside the nights of January 8 to 11 to shoot the crescent Moon. Check for exposure and focus. Can you record the faint Earthshine? It’s similar in brightness to the shadowed side of the eclipsed Full Moon.
The next week, on the nights of January 18 and 19, the waxing gibbous Moon will be closer to its position for eclipse night and almost as bright as the uneclipsed Full Moon, allowing some rehearsals for shooting it near a landmark.
Option 2: Advanced — Multiple Exposures
An advanced method is to compose the scene so the lens frames the entire path of the Moon for the 3 hours and 16 minutes from the start to the end of the partial eclipse.
As shown above, including the landscape will require at least a 20mm lens on a full frame camera, or 12mm lens on a cropped frame camera. However, these charts are for my site in western Canada. From sites to the east and south where the Moon is higher an even wider lens might be needed, making this a tough sequence to take.
With wide lenses, the Moon will appear quite small. The high altitude of the Moon and midnight timing won’t lend itself to this type of multiple image composite as well as it does for eclipses that happen near moonrise or moonset, as per the example below.
A still-image composite with the lunar disks well separated will need shots only every 5 minutes, as I did above for the September 27, 2015 eclipse.
Exposures for any lunar eclipse are tricky, whether you are shooting close-ups or wide-angles, because the Moon and sky change so much in brightness.
As I did for the image below, for a still-image composite, you can expose just for the bright lunar disk and let the sky go dark.
Exposures for just the Moon will range from very short (about 1/500th second at f/8 and ISO 100) for the partials, to 1/2 to 2 seconds at f/2.8 to f/4 and ISO 400 for the totals, then shorter again (back to 1/500 at ISO 100) for the end shots when the Full Moon has returned to its normal brilliance.
That’ll take constant monitoring and adjusting throughout the shoot, stepping the shutter speed gradually longer thorough the initial partial phase, then shorter again during the post-totality partial phase.
You’d then composite and layer (using a Lighten blend mode) the well-exposed disks (surrounded by mostly black sky) into another background image exposed longer for 10 to 30 seconds at ISO 800 to 1600 for the sky and stars, shot at mid-totality.
To maintain the correct relative locations of the lunar disks and foreground, the camera cannot move.
That technique works best if it’s just a still image you are after, such as above. This image is such a composite, of the April 4, 2015 total lunar eclipse from Monument Valley, Utah.
This type of composite takes good planning and proper exposures to pull off, but will be true to the scene, with the lunar disk and its motion shown to the correct scale and position as it was in the sky. It might be a composite, but it will be accurate.
That’s in stark contrast to the flurry of ugly “faked” composites that will appear on the web by the end of the day on January 21, ones with huge telephoto Moons pasted willy-nilly onto a wide-angle sky.
Rather than look artistic, most such attempts look comically cut-and-pasted. They are amateurish. Don’t do it!
Option 3: Advanced — Wide-Angle Time-Lapses
If it’s a time-lapse movie you want (see the video below), take exposures every 10 to 30 seconds, to ensure a final movie with smooth motion.
Unlike shooting for a still-image composite, for a time lapse each frame will have to be exposed well enough to show the Moon, sky, and landscape.
That will require exposures long enough to show the sky and foreground during the partial phases — likely about 1 to 4 seconds at f/2.8 and ISO 400. In this case, the disk of the partially-eclipsed Moon will greatly overexpose, as it does toward the end of the above time-lapse from September 27, 2015..
But the Moon will darken and become better exposed during the late stages of the partial eclipse and during totality when a long exposure — perhaps now 10 to 20 seconds at f/2.8 and ISO 800 to 1600 — will record the bright red Moon amid the stars and winter Milky Way.
Maintaining a steady cadence during the entire sequence requires using an interval long enough throughout to accommodate the expected length of the longest exposure at mid-totality, with similar camera settings to what you’ve used for other Milky Way nightscapes. If you’ve never taken those before, then don’t attempt this complex sequence.
After totality, as the Moon and sky re-brighten, exposures will have to shorten again, andsymmetrically in reverse fashion for the final partial phases.
Such a time-lapse requires consistently and incrementally adjusting the camera over the three or more hours of the eclipse on a cold winter night. The high altitude of the Moon and its small size on the required wide angle lenses will make any final time lapse less impressive than at eclipses that occur when the Moon is rising or setting.
But … the darkening of the sky and “turning on” of the Milky Way during totality will make for an interesting time-lapse effect. The sky and scene will be going from a bright fully moonlit night to effectively a dark moonless night, then back to moonlit. It’s a form of “holy grail” time lapse, requiring advanced processing with LRTimelapse software.
Again, do not move the camera. Choose your lens and frame your camera to include the entire path of the Moon for as long as you plan to shoot.
Even if the final movie looks flawed, individual frames should still produce good still images, or a composite built from a subset of the frames.
Option 4: Simple — Telephoto Close-Ups
The first thought of many photographers is to shoot the eclipse with as long a telephoto lens as possible. That can work, but …
The harsh reality is that the Moon is surprisingly small (only 1/2-degree across) and needs a lot of focal length to do it justice, if you want a lunar close-up.
You’ll need a 300mm to 800mm lens. Unfortunately, the Moon and sky are moving and any exposures over 1/4 to 2 seconds (required during totality) will blur the Moon badly if its disk is large on the frame and all you are using is a fixed tripod.
If you don’t have a tracking mount, one solution is to keep the Moon’s disk small (using no more than a fast f/2 or f/2.8 135mm to 200mm lens) and exposures short by using a high ISO speed of 1600 to 3200. Frame the Moon beside the Beehive star cluster as I show below.
Take a range of exposures. But … be sure to focus!
TIP: Focus! And Focus Again!
Take care to focus precisely on a bright star using Live View. That’s true of any lens but especially telephotos and telescopes.
Focus not just at the start of the night, but also more than once again later at night. Falling temperatures on a winter night will cause long lenses and telescopes to shift focus. What was sharp at the start of the eclipse won’t be by mid totality.
The catch is that if you are shooting for a time-lapse or composite you likely won’t be able to re-point the optics to re-focus on a star in mid-eclipse. In that case, be sure to set up the gear well before you want to start shooing to let it cool to ambient air temperature. Now focus on a star, then frame the scene. Then hope the lens doesn’t shift off focus. You might be able to focus on the bright limb of the Moon but it’s risky.
Fuzzy images, not bad exposures, are the ruin of most attempts to capture a lunar eclipse, especially with a telephoto lens. And the Moon itself, especially during totality, is not a good target to focus on. Use a bright star. The winter sky has lots!
Option 5: Advanced — Tracked Telescopic Close-Ups
If you have a mount that can be polar aligned to track the sky, then many more options are open to you.
You can use a telescope mount or one of the compact and portable trackers, such as the Sky-Watcher Star Adventurer (I show the Mini model above) or iOptron Sky Tracker units. While these latter units work great, you are best to keep the payload weight down and your lens size well under 300mm.
That’s just fine for this eclipse, as you really don’t need a frame-filling Moon. The reason is that the Moon will appear about 6 degrees west of the bright star cluster called the Beehive, or Messier 44, in Cancer.
As shown above, a 135mm to 200mm lens will frame this unique pairing well. For me, that will be the signature photo of this eclipse. The pairing can happen only at lunar eclipses that occur in late January, and there won’t be any more of those until 2037!
That’s the characteristic that makes this eclipse rare and unique, not that it’s a “super-duper, bloody, wolf Moon!” But it doesn’t make for a catchy headline.
Exposures to show the star cluster properly might have to be long enough (30 to 120 seconds) that the Moon overexposes, even at mid-totality. If so, take different exposures for the Moon and stars, then composite them later, as I did above for the December 20, 2010 eclipse near the Messier 35 star cluster in Gemini.
If really you want to shoot with even more focal length for framing just the Moon, a monster telephoto lens will work, but a small telescope such as an 80mm aperture f/6 to f/7 refractor will provide enough focal length and image size at much lower cost and lighter weight, and be easier to attach to a telescope mount.
But even with a 500mm to 800mm focal length telescope the Moon fills only a small portion of the frame, though cropped frame cameras have the advantage here. Use one if it’s a big Moon you’re after!
No matter the camera, the lens or telescope should be mounted on a solid equatorial telescope mount that you must polar align earlier in the night to track the sky.
Alternatively, a motorized Go To telescope on an alt-azimuth mount will work, but only for single shots. The rotation of the field with alt-az mounts will make a mess of any attempts to shoot multiple-exposure composites or time-lapses, described below.
Whatever the mount, for the sharpest lunar disks during totality, use the Lunar tracking rate for the motor.
Assuming an f-ratio of f/6 to f/8, exposures will vary from as short as 1/250th second at ISO 100 to 200 for the barely eclipsed Moon, to 4 to 20 seconds at ISO 400 to 1600 for the Moon at mid-totality.
It’s difficult to provide a precise exposure recommendation for totality because the brightness of the Moon within the umbra can vary by several stops from eclipse to eclipse, depending on how much red sunlight manages to make it through Earth’s atmospheric filter to light the Moon.
TIP: Shoot for HDR
As I did above, during the deep partial phases an option is to shoot both long, multi-second exposures for the red umbra and short, split-second exposures for the bright part of the Moon not yet in the umbra.
Take 5 to 7 shots in rapid succession, covering the range needed, perhaps at 1-stop increments. Merge those later with High Dynamic Range (HDR) techniques and software, or with luminosity masks.
Even if you’re not sure how to do HDR processing now, shoot all the required exposures anyway so you’ll have them when your processing skills improve.
Option 6: Advanced — Close-Up Composites and Time-Lapses
With a tracking telescope on an equatorial mount you could fire shots every 10 to 30 seconds, and then assemble them into a time-lapse movie, as below.
But as with wide-angle time-lapses, that will demand constant attention to gradually and smoothly shift exposures, ideally by 1/3rd-stop increments every few shots during the partial and total phases. Make lots of small adjustments, rather than fewer large ones.
If you track at the lunar rate, as I did above, the Moon should stay more or less centred while it drifts though the stars, assuming your mount is accurately polar aligned, an absolutely essential prerequisite here.
Conversely, track at the sidereal rate and the stars will stay more or less fixed while the Moon drifts through the frame from right to left (west to east) as I show above in a composite of the October 27, 2004 eclipse.
But such a sequence takes even more careful planning to position the Moon correctly at the start of the sequence so it remains “in frame” for the duration of the eclipse, and ends up where you want at the end.
In the chart below, north toward Polaris is at the top of the frame. Position the Moon at the start of the eclipse so it ends up just above the centre of the frame at mid-eclipse. Tricky!
As I show above, for this type of “Moon-thru-shadow” sequence a focal length of about 400mm is ideal on a full frame camera, or 300mm on a cropped frame camera.
From such a time-lapse set you could also use several frames selected from key stages of the eclipse, as I did in 2004, to make up a multiple-image composite showing the Moon moving through the Earth’s shadow.
Again, planetarium software such as Starry Night I used above, which can be set to display the field of view of the camera and lens of your choice, is essential to plan the shoot. Don’t attempt it without the right software to plan the framing.
I would consider the telescopic time-lapse method the most challenging of techniques. Considering the hour of the night and the likely cold temperatures, your best plan might be to keep it simple.
It’s what I plan to do.
I’ll be happy to get a tracked telephoto close-up of the Moon and Beehive cluster as my prime goal, with a wide-angle scene of the eclipsed Moon beside Orion and the Milky Way as a bonus. A few telescope close-ups will be even more of a bonus.
However, just finding clear skies might be the biggest challenge!
Try the Astrospheric app for astronomy-oriented weather predictions. The Environment Canada data it uses has led me to clear skies for several recent eclipses that other observers in my area missed.
It’ll be worth the effort to chase!
The next total eclipse of the Moon anywhere on Earth doesn’t occur until May 26, 2021 in an event visible at dawn from Western North America. The next total lunar eclipse visible from all of North America comes a lunar year later, on May 15, 2022.
Total Lunar Eclipse from Alan Dyer on Vimeo.
I leave you with a music video of the lunar eclipse of September 27, 2015 that incorporates still and time-lapse sequences shot using all of the above methods.
Prospects looked bleak for seeing the January 31 total eclipse of the Moon. A little planning, a chase, and a lot of luck made it possible.
A mid-winter eclipse doesn’t bode well. Especially one in the cold dawn hours. Skies could be cloudy. Or, if they are clear, temperatures could be -25° C.
I managed to pull this one off, not just seeing the eclipse of the Moon, but getting a few photos.
The secret was in planning, using some helpful apps …
Because this eclipse was occurring before dawn for western North America the eclipsed Moon was going to be in the west, setting.
To plan any shoot the first app I turn to is the desktop planetarium program Starry Night™.
Shown above, the program simulates the eclipse with the correct timing, accurate appearance, and location in the sky at your site. You can set up indicators for the fields of various lenses, to help you pick a lens. The yellow box shows the field of view of a 50mm lens on my full-frame camera, essential information for framing the scene.
With that information in mind, the plan was to shoot the Moon over the Rocky Mountains, which lie along the western border of Alberta.
The original plan was a site in Banff on the Bow Valley Parkway looking west toward the peaks of the Divide.
But then the next critical information was the weather.
Not good! Home on the prairies was not an option. While Banff looked OK, the best prospects were from farther south in the Crowsnest Pass area of Alberta, as marked. So a chase was in order, involving a half-day drive south.
But what actual site was going to be useful? Where could I set up for the shot I wanted?
I needed a spot off a main highway but drivable to, and with no trees in the way. I did not know the area, but Allison Road looked like a possibility.
The TPE app shows the direction to the Sun and Moon to help plan images by day. And in its night mode it can show where the Milky Way is. Here, the thin blue line is showing the direction to the Moon during totality, showing it to the south of Mt. Tecumseh. I wanted the Moon over the mountains, but not behind a mountain!
With a possible site picked out, it was time to take a virtual drive with Google Earth.
The background map TPE uses is from Google Earth. But the actual Google Earth app also offers the option of a Street View for many locations.
Above is its view from along Allison Road, on the nice summer day when the Google camera car made the drive. But at least this confirms there are no obstructions or ugly elements to spoil the scene, or trees to block the view.
But there’s nothing like being there to be sure. It looks a little different in winter!
After driving down to the Crowsnest Pass the morning before, the first order of the day upon arrival was to go to the site before it got dark, to see if it was usable.
I used the mobile app Theodolite to take images (above) that superimpose the altitude and azimuth (direction) where the camera was aimed. It confirms the direction where the Moon will be is in open sky to the left of Tecumseh peak. And the on-site inspection shows I can park there!
There is one more new and very powerful app that provides another level of planning. From The Photographer’s Ephemeris, you can hand off your position to a companion mobile app (for iOS only) called TPE 3D …
It provides elevation maps and places you on site, with the actual skyline around you drawn in. And with the Moon and stars in the sky at their correct positions.
While it doesn’t simulate the actual eclipse, it sure shows an accurate sky … and what you’ll frame with your lens with the actual skyline in place.
Compare the simulation, above, to the real thing, below:
Zooming out with TPE 3D provides this preview of a panorama I hoped to take.
It shows Cassiopeia (the W of stars at right) over the iconic Crowsnest Mountain, and the stars of Gemini setting to the right of Tecumseh.
Here’s the real thing, in an even wider 180° view sweeping from south to north. Again, just as predicted!
Between the weather predictions – which proved spot on – and the geographical and astronomical planning apps – which were deadly accurate – we now have incredible tools to make it easier to plan the shot.
If only we could control the clouds! As it was, the Moon was in and out of clouds throughout the 70 minutes of totality. But I was happy to just get a look, let alone a photo.
The next total lunar eclipse is in six months, on July 27, 2018, but in an event visible only from the eastern hemisphere.
The next TLE for North America is a more convenient evening event on January 20, 2019. That will be another winter eclipse requiring careful planning!
The first total lunar eclipse in 2.5 years provides lots of opportunities for some great photos.
On the morning of January 31, before sunrise for North America, the Full Moon passes through the umbral shadow of the Earth, creating the first total eclipse of the Moon since September 27, 2015.
The pre-dawn event provides many photo opportunities. Here’s my summary of tips and techniques for capturing the eclipsed Moon.
But First … What is a Lunar Eclipse?
As the animation (courtesy NASA/Goddard Space Flight Center) shows, an eclipse of the Moon occurs when the Full Moon (and they can happen only when the Moon is exactly full) travels through the shadow of the Earth.
The Moon does so at least two times a year, though often not as a total eclipse, one where the entire disk of the Moon is engulfed by the umbra.
When the Moon is within only the outer penumbral shadow we see very little effect, with a barely perceptible darkening of the Moon, if that. I don’t even list the times below for the start and end of the penumbral phases.
It’s only when the Moon begins to enter the central umbral shadow that we see an obvious effect. That’s when the partial eclipse begins, and we see a dark bite appear on the left edge of the Moon. The shadow appears to creep across the Moon to darken more of its disk. While it looks like the shadow is moving across the Moon, it is really the Moon moving into, then out of, the umbral shadow that causes the eclipse.
At this eclipse the partial phases last about an hour before and after totality.
Once the Moon is completely immersed in the umbra, totality begins, and lasts 77 minutes at this eclipse, a generous length. However, in North America, only sites in the western half of the continent get to see all or most of totality.
Where is the Eclipse?
As the chart above shows, the Pacific area including Hawaii, Australia, and eastern Asia can see the entire eclipse with the Moon high in the evening or midnight sky.
Most of North America (my tips are aimed at North American photographers) can see at least some part of this eclipse.
From the eastern half of the continent the Moon sets at sunrise during either totality (from the central areas of North America), or during the first partial phases (from eastern North America). Those in the east can take advantage of interesting photo opportunities by capturing the partially eclipsed Moon setting in the west in the dawn twilight.
However, the most dramatic images of a deep red Moon in the western sky, such as above, will be possible only from the west. And even then, the further north and west you live, the better your view.
Even from the southwestern United States the Moon sets just after the end of totality, requiring a site with a low and clear horizon to the west in order to see the whole event.
I live in Alberta, Canada, and the diagrams I provide here are for my area, where the Moon sets during the final partial phase. I offer them as examples of the kinds of planning you can do to ensure great photos. But exactly where the Moon will be during totality, and where and when it will set on your horizon, will depend on your location.
The latter two apps present the sightlines toward the Moon overlaid on a map of your location, to help you plan where to be to shoot the eclipsed Moon setting behind a suitable foreground.
When is the Eclipse?
While where the Moon is in your sky depends on your site, the various eclipse events happen at the same time for everyone, with differences in hour due only to the time zone you are in.
Here are the times for the start and end of the partial and total phases.
Note that all times are A.M., in the early morning, before sunrise, on January 31. Go out at 6 P.M. on the evening of January 31 and you’ll be 12 hours too late. You missed it!
All times are A.M. on January 31. “—“ means the event is not visible; the Moon has set.
The time of moonset at your site will vary with your location. Use planning apps to calculate your local moonset time.
Picking a Site
No matter where you are in North America you want a site with a good view to the west and northwest, preferably with a clear view of a relatively unobstructed but photogenic horizon.
While having an eclipse occur at dawn (or at dusk) does limit the amount of eclipse we can see, it has the benefit of providing many more photo opportunities of the eclipsed Moon above a scenic landscape or foreground element.
From eastern North America you will have to be content with images of the partially eclipsed Moon setting, similar to the image above of a rising partially-eclipsed Moon.
From the centre of the continent, where the Moon sets during totality, the dim, reddened Moon is likely to disappear into the brightening sky. Remember, when the Moon is full it sets just as the Sun rises. So shots of a red Moon right on the horizon aren’t likely to be possible. The Moon will be too dim and the sky too bright.
From sites in the west, the Moon will set either just at the end of totality or shortly afterwards, making the Moon brighter and more obvious in the sunrise sky, as the foreground in the west lights up with red light from the Sun rising in the east.
It is that same red sunlight filtered by our atmosphere that continues on into our planet’s shadow and lights the Moon red during totality.
Picking a Technique
Lunar eclipses lend themselves to a wide range of techniques, from a simple camera on a tripod, to a telescope on a tracking mount following the sky.
What you use depends not only on the gear you have on hand, but also on your site. It might not be practical to set up loads of gear at a scenic site you have to trek into — especially when you have to set up in the wee hours of a cold winter morning.
You could set up earlier that night on January 30, but only if your site is safe enough to leave the gear unattended while you sleep.
Keep it simple!
Option 1: Simple Camera-on-Tripod
The easiest method is to take single shots with a moderate wide-angle or normal lens with the camera on a fixed tripod. No fancy trackers are needed here.
If the sky is bright with twilight, you might be able to meter the scene and use Auto exposure.
But earlier in the night, with the Moon in a darker sky, as I show above, use Manual exposure and try settings of 1 to 10 seconds at f/2.8 to f/4 at ISO 400 to 1600. That’s a wide range, to be sure, but it will vary a lot depending on when you shoot and where you are, factors that will affect how bright the sky is at your site. Just shoot, check, and adjust.
Option 2: Advanced Camera-on-Tripod
A more advanced method is to compose the scene so the lens frames the entire path of the Moon from the start of the partial eclipse until moonset.
As shown above, that will take at least a 35mm lens on a full frame camera, or 20mm lens on a cropped frame camera.
Take exposures every 15 to 30 seconds if you want to turn the set into a time-lapse movie. But a still-image composite with the lunar disks well separated will need shots only every 5 to 10 minutes.
Such a composite takes good planning and proper exposures to pull off, but will be true to the scene, with the lunar disk and its motion shown to the correct scale as it was in the sky. That’s in stark contrast to the flurry of ugly “faked” composites that will appear on the web by the end of February 1, ones with huge telephoto Moons pasted willy-nilly onto a wide-angle sky. Don’t do it!
Exposures for any lunar eclipse are tricky, whether you are shooting closeups or wide-angles, because the Moon and sky change so much in brightness.
For wide-angle composites, you can expose just for the bright lunar disk and let the sky go dark. Exposures for just the Moon will range from very short (about 1/500th second at ISO 100) for the partials, to 1 to 2 seconds at ISO 400 for the totals, then shorter again (1/15 to 1/2 second at ISO 400) for the end shots in twilight when the Moon and sky may be similar in brightness. That’ll take constant monitoring and adjusting throughout the shoot.
As I did below, you’d then composite and layer the well-exposed disks into another background image exposed longer for the sky, likely shot in twilight. To maintain the correct relative locations of the lunar disks and foreground, the camera cannot move.
That technique works best if it’s just a still image you are after, such as below.
The above image is a composite of the April 4, 2015 total lunar eclipse from Monument Valley, Utah. That eclipse occurred under similar circumstances as this month’s eclipse, with the eclipse underway as the Moon set in the west at sunrise.
By comparison, the composite here is made of a few selected frames out of hundreds I took at 15-second intervals, and with each frame exposed for the sky, for use in a time-lapse movie. In this case, the Moon became overexposed at the end as it emerged from the umbra.
Indeed, if it’s a time-lapse movie you want (see the video linked to below), then each frame will have to be exposed well enough to show the sky and landscape.
While this method will overexpose the partially-eclipsed Moon, the Moon will darken and become better exposed throughout totality when the same long exposure for the reddened Moon might also work for the sky, to pick up stars. Exposures will have to shorten again as the sky brightens with twilight.
Again, constant baby-sitting and adjusting the camera will be needed. So if it’s cold where you are prepare for a frigid multi-hour shoot. I doubt you’ll be able to leave the camera on Auto exposure to run on its own, not until at least bright twilight begins.
Option 3: Telephoto Close-Ups
The Moon is surprisingly small (only 1/2-degree across) and needs a lot of focal length to do it justice.
For an “in-your-face” close-up of the eclipse you’ll need a 300mm to 800mm (!) lens. Unfortunately, the Moon and sky are moving and any exposures over 1 to 2 seconds (required during totality) will blur the Moon badly if its disk is large on the frame.
If you don’t have a tracking mount, one solution is to keep the Moon’s disk small (using no more than a fast f/2.8 200mm lens) and exposures short by using a high ISO speed.
Or plan to shoot with a telephoto only when the Moon is low in the sky, as I did above, when you can include the horizon which you would want to be sharp anyway. Framing the Moon and horizon won’t need a super telephoto.
The sky will then also be brighter and require short exposures that don’t need to be tracked. However, how bright and obvious the Moon will be will again depend on your location. This may or may not be a practical option, certainly not if the Moon is setting during mid-totality where you are.
Option 4: Tracked Telescopic Close-Ups
If you have a mount that can be polar aligned to track the sky, then more options are open to you.
You can use a telescope mount or one of the compact and portable trackers, such as the Sky-Watcher Star Adventurer or iOptron Sky Tracker units. While these latter units work great, you are best to keep the payload weight down and your lens size under 300mm.
That’s just fine for this eclipse, as you really don’t need a frame-filling Moon. The reason is that the Moon will appear about 4 degrees away from the bright star cluster called the Beehive, or Messier 44, in Cancer. As shown above, a 200mm to 300mm lens will frame this unique pairing well.
Even so, exposures to show the cluster properly might have to be long enough that the Moon overexposes, even at mid-totality. If so, take different exposures for the Moon and stars and composite them later, as I did below.
If you do want to shoot with more focal length, a monster telephoto lens will work, but a small telescope such as an 80mm aperture f/6 to f/7 refractor will provide enough focal length and image size at much lower cost. But either way, the lens or telescope should be mounted on a solid equatorial telescope mount, and polar aligned to track the sky.
For the sharpest lunar disks, use the Lunar tracking rate.
Exposures will vary from as short as 1/500th second at ISO 100 to 200 for the barely eclipsed Moon, to 4 to 16 seconds at f/6 to f/8 and at ISO 400 to 1600 for the Moon at mid-totality.
As I did above, during the deep partial phases shoot both long exposures for the red umbra and short exposures for the bright part of the Moon not yet in the umbra. Merge those later with High Dynamic Range (HDR) techniques and software, or with luminosity masks.
Even if you’re not sure how to do this now, shoot all the required exposures anyway so you’ll have them when your processing skills improve.
Option 5: Time-Lapse Close-Ups
With a tracking telescope you could fire shots every 30 seconds or so, and then assemble them into a time-lapse movie.
But as with wide-angle time-lapses, that will take constant attention to gradually and smoothly shift exposures, ideally by 1/3rd-stop increments every few shots during the partial and total phases.
If you track at the lunar rate, as I did in the still image below and in the music video linked to at bottom, the Moon will stay centred while it drifts though the stars.
Track at the sidereal rate and the stars will stay more or less fixed while the Moon drifts through the frame from right to left (west to east). But that takes even more careful planning to position the Moon correctly at the start of the sequence so it remains “in frame” for the duration of the eclipse and ends up where you want at the end, which will occur with the Moon low in a bright sky.
Again, planetarium software such as Starry Night, which can be set to display a camera frame, is essential to plan the shoot.
Either way, do take care to accurately polar align your mount, or you’ll be confronted with the monumental task of having to manually align hundreds of images later. Trust me, I know!
I would consider the telescopic time-lapse method the most challenging of techniques.
Considering the hour of the night and the likely cold temperatures, your best plan might be to keep it simple. It’s what I plan to do. I’ll be happy to get a few good wide-angle still images, and perhaps a tracked telephoto close-up of the Moon and Beehive as a bonus.
While there is another total lunar eclipse (TLE) in six months on July 27/28, it is not visible at all from North America.
Our next TLE occurs 12 Full Moons, or one lunar year from now, on the night of January 20/21, 2019, when all of North America gets to watch totality at a more reasonable hour, though perhaps not at a more reasonable temperature.
I leave you with a music video of the last TLE, on September 27, 2015 that incorporates still and time-lapse sequences shot using all of the above methods.
I present the final cut of my eclipse music video, from the Teton Valley, Idaho.
I’ve edited my images and videos into a music video that I hope captures some of the awe and excitement of standing in the shadow of the Moon and gazing skyward at a total eclipse.
Totality over the Tetons from Alan Dyer on Vimeo.
The video can be viewed in up to 4K resolution. Music is by the Hollywood session group and movie soundtrack masters, Audiomachine. It is used under license.
Never before have I been able to shoot a total eclipse with so many cameras to capture the scene from wide-angles to close-ups, in stills, time-lapses, and videos, including 4K. Details on the setup are in the caption for the video on Vimeo. Click through to Vimeo.
I scouted this site north of Driggs, Idaho two years earlier, in April 2015. It was perfect for me. I could easily set up lots of gear, it had a great sightline to the Grand Tetons, and a clear horizon for the twilight effects. And I had the site almost to myself. Observing with a crowd adds lots of energy and excitement, but also distraction and stress. I had five cameras to operate. It was an eclipse experience I’ll likely never duplicate.
If you missed this eclipse, you missed the event of a lifetime. Sorry. Plain and simple.
If you saw the eclipse, and want to see more, then over the next few years you will have to travel far and wide, mostly to the southern hemisphere between now and 2024.
But on April 8, 2024 the umbral shadow of the Moon once again sweeps across North America, bringing a generous four minutes of totality to a narrow path from Mexico, across the U.S., and up into eastern Canada.
It will be the Great North American Eclipse. Seven years to go!
Thank you Idaho for providing the finest sky we could have hoped for on eclipse day.
After several days of predictions that went from good, to bad, to not so good, prompting worries about having to escape west to clearer skies, August 21 turned out to be wonderfully clear, both cloudless and smoke free.
My site was the one I had planned from a scouting trip in April 2015, off the West 5000 Road north of Driggs, Idaho. It had a sightline to the Tetons, a great horizon, and I could drive to it with my carload of gear, a rare opportunity.
I had never driven to any total solar eclipse before, allowing me to shoot with all the telescope and camera gear I could muster and handle. And I had the site almost all to myself, a first for any total solar eclipse.
This was only the fourth eclipse out of the 16 I have been to that I shot though a telescope.
The lead image is a composite of second and third contact images with a blended exposure composite of totality, taken with the telescope shown here. However, this was the first time I’ve shot a total solar eclipse with an equatorial mount that was accurately polar aligned (at 5 a.m. that morning!) and tracking the Sun.
This is a composite of a long exposure of totality with a short exposure of the third contact diamond ring just beginning to break out from behind the dark disk of the Moon, just before it overpowered the red prominences that lined the edge of the Sun that day. making for an amazing sight through binoculars or telescopes.
No single exposure can capture the huge range in brightness in the corona.
The image above is a blend of seven exposures, from 1/1000 second to 0.4 seconds, creating a view that better resembles what the eye saw – with the exception of the faint Earthshine on the Moon. It is so faint, I don’t think it is visible to the eye, but the camera picks it up.
Regulus is the star at left, with several other fainter stars in Leo also visible.
While I had a telescope at the ready inches from my eyes for just visual looks, as it so often is, the naked eye scene was so compelling I forgot to look through the telescope until the last few seconds of totality.
The scene above captures the wide view, of the eclipsed Sun over the Grand Tetons, as seen from the Idaho side. The dark blue at right is the shadow of the Moon.
I shot the wide scene with two cameras and wide-angle lenses for time-lapse sequences. I’ve compiled them into a short video here.
Moonshadows: Eclipse Sky Time-Lapses from Alan Dyer on Vimeo.
A more extensive music video is in the works.
For tips and techniques on how to process eclipse images, see my eBookon How to Photograph the Solar Eclipse. While most of the content is now past history, the chapter on processing images is more valuable than ever. The eBook is now just $2.99, on Apple, as a PDF, and on Amazon. Sorry for the shameless plug!
Thanks! It can now be cloudy for the next few months. It was clear when it needed to be!
However, while you can read all about how to shoot the eclipse, nothing beats actually shooting to ensure success. But how do you do that, when there’s only one eclipse?
Here are my “Top 10” suggestions:
Wide-Angle Shots – Shoot a Twilight Scene
The simplest way to shoot the eclipse is to employ a camera with a wide lens running on auto exposure to capture the changing sky colors and scene brightness.
Auto Exposure Check in Twilight
If you intend to shoot wide-angle shots of the eclipse sky and scene below, with anything from a mobile phone to a DSLR, practice shooting a time-lapse sequence or a movie under twilight lighting. Does your camera expose properly when set to Auto Exposure? If you are using a phone camera, does it have any issues focusing on the sky? How big a file does a movie create?
With Telephotos and Telescopes – Shoot the Filtered Sun
The toughest techniques involve using long lenses and telescopes to frame the eclipsed Sun up close. They need lots of practice.
Framing and Focusing
You’ll need to have your safe and approved solar filter purchased (don’t wait!) that you intend to use over your lens or telescope. With the filter in place, simply practice aiming your lens or telescope at the Sun at midday. It’s not as easy as you think! Then practice using Live View to manually focus on the edge of the Sun or on a sunspot. Can you get consistently sharp images?
Exposures of the filtered Sun will be the same as during the partial phases, barring cloud or haze, as above, that can lengthen exposure times. Otherwise, only during the thin crescent phases will shutter speeds need to be 2 to 3 stops (or EV steps) longer than for a normal Sun.
With the camera aimed away from the Sun (very important!), perhaps at a distant landscape feature, practice removing the filter quickly. Can you do it without jarring the camera and bumping it off target? Perhaps try this on the Moon at night as well, as it’s important to also test this with the camera and tripod aimed up high.
Ease of Use
With the Sun up high at midday (as it will be during the eclipse from most sites), check that you can still look through, focus, and operate the camera easily. Can you read screens in the bright daylight? What about once it gets darker, as in twilight, which is how dark it will get during totality.
If you are using an untracked tripod, check how much the Sun moves across your camera frame during several minutes. For videos you might make use of that motion. For still shots, you’ll want to ensure the Sun doesn’t move too far off center.
Aligning Tracking Mounts
If you plan to use a motorized equatorial mount capable of tracking the sky, “Plan A” might be to set it up the night before so it can be precisely polar aligned. But the reality is that you might need to move on eclipse morning. To prepare for that prospect, practice roughly polar aligning your mount during the day to see how accurate its tracking is over several minutes. Do that by leveling the mount, setting it to your site’s latitude, and aiming the polar axis as close as you can to due and true north. You don’t need precise polar alignment to gain the benefits of a tracking mount – it keeps the Sun centered – for the few minutes of totality.
Telephotos and Telescopes – Shoot Full Moon Closeups
Shoot the Full Moon around July 8 or August 7. If you intend to use Auto Exposure during totality, check how well it works on the Full Moon. It’s the same brightness as the inner corona of the Sun, though the Moon occupies a larger portion of the frame and covers more metering sensor points. This is another chance to check your focusing skill.
Telescopes and Telescopes – Shoot Crescent Moon Closeups
Shoot the waxing crescent moon in the evening sky during the last week of June and again in the last week of July. Again, test Auto Exposure with your camera in still or movie mode (if you intend to shoot video) to see how well the camera behaves on a subject with a large range in brightness. Or step through a range of exposures manually, from short for the bright sunlit crescent, to long for the dark portion of the Moon lit by Earthshine. It’s important to run through your range of settings quickly, just as you would during the two minutes of totality. But not too quickly, as you might introduce vibration. So …
In the resulting images, check for blurring from vibration (from you handling the camera), from wind, and from the sky’s east-to-west motion moving the Moon across the frame, during typical exposures of 1 second or less.
By practicing, you’ll be much better prepared for the surprises that eclipse day inevitably bring. Always have a less ambitious “Plan B” for shooting the eclipse simply and quickly should a last-minute move be needed.
However, may I recommend …
For much more detailed advice on shooting options and techniques, and for step-by-step tutorials on processing eclipse images, see my 295-page eBook on the subject, available as an iBook for Apple devices and as a PDF for all computers and tablets.
I present my Top 10 Tips for photographing the August 21 total eclipse of the Sun.
If the August total eclipse will be your first, then you could heed the advice of many and simply follow “Tip #0:” Just don’t photograph it! Look up and around to take in the spectacle. Even then, you will not see it all.
However, you might see less if you are operating a camera.
But I know you want pictures! To help you be successful, here are my tips for taking great photos without sacrificing seeing the eclipse.
TIP #1: Keep It Simple
During the brief minutes of totality, the easiest way to record the scene is to simply hold your phone camera up to the sky and shoot. Zoom in if you wish, but a wide shot may capture more of the twilight effects and sky colors, which are as much a part of the experience as seeing the Sun’s gossamer corona around the dark disk of the Moon.
Better yet, use an adapter to clamp your phone to a tripod. Frame the scene as best you can (you might not be able to include both the ground and Sun) and shoot a time-lapse, or better yet, a video.
Start it 2 or 3 minutes before totality (if you can remember in the excitement!) and let the camera’s auto exposure take care of the rest. It’ll work fine.
That way you’ll also record the audio of your excited voices. The audio may serve as a better souvenir than the photos. Lots of people will have photos, but nobody else will record your reactions!
Just make sure your phone has enough free storage space to save several minutes of HD video or, if your camera has that feature, 4K video.
TIP #2: Shoot Wide With a DSLR
For better image quality, step up to this hands-off technique.
Use a tripod-mounted camera that accepts interchangeable lenses (a digital single lens reflex or a mirrorless camera) and use a lens wide enough to take in the ground below and Sun above.
Depending on where you are and the sensor size in your camera, that’ll likely mean a 10mm to 24mm lens.
By going wide you won’t record details in the corona of the Sun or its fiery red prominences. But you can record the changing sky colors and perhaps the dark shadow of the Moon sweeping from right to left (west to east) across the sky. You can also include you and your eclipse group silhouetted in the foreground. Remember, no one else will record you at the eclipse.
TIP #3: Shoot on Auto Exposure
For wide shots, there’s no need to attend to the camera during the eclipse. Set the camera on Auto Exposure – Aperture Priority (Av), the camera ISO between 100 to 400, and your lens aperture to f/2.8 (fast) to f/5.6 (slow).
Use a higher ISO if you are using a slower lens such as a kit zoom. But shoot at ISO 100 and at f/2.8 if you have a wide lens that fast.
In Av mode the camera will decide what shutter speed to use as the lighting changes. I’ve used this technique at many eclipses and it works great.
TIP #4: Let the Camera Do the Shooting
To make this wide-angle technique truly hands-off use an intervalometer (either built into your camera or a separate hardware unit) to fire the shutter automatically.
Once again, start the sequence going 3 to 5 minutes before totality, with the intervalometer set to fire the shutter once every second. Don’t shoot at longer intervals, or you’ll miss too much. Shutter speeds won’t likely exceed one second.
Again, be sure your camera’s memory card has enough free space for several hundred images. And don’t worry about a solar filter on your lens. It’ll be fine for the several minutes you’ll have it aimed up.
Out of the many images you’ll get, pick the best ones, or turn the entire set into a time-lapse movie.
TIP #5: Shoot on Manual Focus
Use Auto Exposure and an intervalometer. But … don’t use Auto Focus.
Switch your lens to Manual Focus (MF) and focus on a distant scene element using Live View.
Or use Auto Focus to first focus on something in the distance, then switch to Manual and don’t touch focus after that. If you leave your lens on Auto Focus the shutter might not fire if the camera decides it can’t focus on the blank sky.
TIP #6: Shoot Raw
For demanding subjects like a solar eclipse always shoot your images in the Raw file format. Look in your camera’s menus under Image Quality.
Shoot JPGs, too, if you like, but only Raw files record the widest range of colors and brightness levels the camera sensor is capable of detecting.
Later in processing you can extract amazing details from Raw files, both in the dark shadows of the foreground, and in the bright highlights of the distant twilight glows and corona around the Sun. Software to do so came with your camera. Put it to use.
TIP #7: OK, Use a Telephoto Lens! But …
If you really want to shoot close-ups, great! But don’t go crazy with focal length. Yes, using a mere 135mm or 200mm lens will yield a rather small image of the eclipsed Sun. But you don’t need a monster 600mm lens or a telescope, which typically have focal lengths starting at 600mm. With long focal lengths come headaches like:
•Keeping the Sun centered. The Earth is turning! During the eclipse that motion will carry the Sun (and Moon) its own diameter across your frame from east to west during the roughly two minutes of totality. While a motorized tracking mount can compensate for this motion, they take more work to set up properly, and must be powered. And, if you are flying to the eclipse, they will be much more challenging to pack. I’m trying to keep things simple!
•Blurring from vibration. This can be an issue with any lens, but the longer your lens, the more your chances of getting fuzzy images because of camera shake, especially if you are touching the camera to alter settings.
An ideal focal length is 300mm to 500mm. But …
When using any telephoto lens, always use a sturdy tripod with a head that is easy to adjust for precise aiming, and that can aim up high without any mechanical issues. The Sun will be halfway, or more, up the sky, not a position some tripod heads can reach.
TIP #8: Use Auto Exposure, or … Shoot a Movie
During totality with your telephoto, you could manually step through a rehearsed set of exposures, from very short shutter speeds (as short as 1/4000 second) for the diamond rings at either end of totality, to as long as one or two seconds at mid-totality for the greatest extent of the corona’s outermost streamers.
But that takes a lot of time and attention away from looking. Yes, there are software programs for automating a camera, or techniques for auto bracketing. But if this is your first eclipse an easier option is to simply use Auto Exposure/Aperture Priority and let the camera set the shutter speed. Again, you could use an intervalometer to fire the shutter so you can just watch.
Don’t use high ISO speeds. A low ISO of 100 to 400 is all you need and will produce less noise. The eclipsed Sun is still bright. You don’t need ISO 800 to 3200.
Even on Auto Exposure, you’ll get good shots, just not of the whole range of phenomena an eclipsed Sun displays.
Or, once again and better yet – put your camera into video mode and shoot an HD or 4K movie. Auto Exposure will work just fine, allowing you to start the camera then forget it.
Place the Sun a solar diameter or two to the left of the frame and let the sky’s motion drift it across the frame for added effect. Start the sequence running a minute or two before totality with your solar filter on. Then just let the camera run … except …
TIP #9: Remember to Remove the Filter!
You will need a safe solar filter over your lens or telescope to shoot the partial phases of the eclipse, and to frame and focus the Sun. This cannot be a photo neutral density or polarizing filter. It must be a filter designed for observing and shooting the Sun, made of metal-coated glass or Mylar plastic. Anything else is not safe and likely far too bright.
But you do NOT need the filter for totality.
Remove it … when?
The answer: a minute or so before totality if you want to capture the first diamond ring just before totality officially starts. Set a timer to remind you, as visually it is very difficult to judge the right moment with your unaided eye. The eclipse will start sooner than you expect.
If you have your camera on Auto Exposure, it will compensate just fine for the change in brightness, from the filtered to the unfiltered view.
But don’t leave your unfiltered camera aimed at the Sun. Replace the filter no more than a minute or so after totality and the second diamond ring ends.
TIP #10: Focus!
Everyone worries about getting the “best exposure.” Don’t! You’ll get great looking telephoto eclipse close-ups with any of a wide range of exposures.
What ruins most eclipse shots, other than filter forgetfulness, is fuzzy images, from either shaky tripods or poor focus.
Focus manually using Live View on the filtered partially eclipsed Sun. Zoom up on the edge of the Sun or sharp tip of the crescent. Re-focus a few minutes before totality, as the changing temperature can shift the focus of long lenses and telescopes.
But you needn’t worry about re-focusing after you remove the filter. The focus will not change with the filter off.
TIP #1 AGAIN: Keep It Simple!
I’ll remind you to keep things simple for a reason other than giving you time to enjoy the view, and that’s mobility.
You might have to move at the last minute to escape clouds. Complex photo gear can be just too much to take down and set up, often with minutes to spare, as many an eclipse chaser can attest is often necessary. Keep your gear light, easy to use, and mobile. Committing to an overly ambitious and inflexible photo plan and rig could be your undoing.
By following both my “Ten Tips” advice blogs you should be able to get great eclipse images to wow your friends and fans, all without missing the experience of actually seeing … and feeling … the eclipse.
However … may I recommend …
For much more detailed advice on shooting options and techniques, and for step-by-step tutorials on processing eclipse images, see my 295-page eBook on the subject, available as an iBook for Apple devices and as a PDF for all computers and tablets.
The most spectacular sight the universe has to offer is coming to a sky near you this summer.
On August 21 the Moon will eclipse the Sun, totally!, along a path that crosses the continental USA from coast to coast. All the details of where to go are at the excellent website GreatAmericanEclipse.com.
If this will be your first total solar eclipse, you might want to just watch it. But many will want to photograph or video it. It can be easy to do, or it can be very complex, for those who are after ambitious composites and time-lapses.
To tell you how to shoot the eclipse, with all types of cameras, from cell phones to DSLRs, with all types of techniques, from simple to advanced, I’ve prepared a comprehensive ebook, How to Photograph the Solar Eclipse.
It is 295 pages of sage advice, gathered over 38 years of shooting 15 total solar eclipses around the world.
The book is filled with illustrations designed specifically for the 2017 eclipse – where the Sun will be, how to frame the scene, what will be in the sky, how the shadow will move, where the diamond rings will be, what lenses to use, etc.
Here are a few sample pages:
I cover shooting with everything from wide-angle cameras for the entire scene, to close-ups with long telephotos and telescopes, both on tripods and on tracking mounts.
I cover all the details on exposures and camera settings, and on focusing and ensuring the sharpest images. Most bad eclipse pix are ruined not by poor exposure but poor focus and blurry images – the Sun is moving!
A big chapter covers processing of eclipse images, again, from simple images to complex stacks and composites.
For example, I show how to produce a shot like this, from 2012, combining a short diamond ring image with a long-exposure image of the corona.
A final chapter covers “what can go wrong!” and how to avoid the common mistakes.
The ebook is available on the Apple iBooks Store for Mac and iOS devices. This version has the best interactivity (zoomable images), higher quality images (less compression), and easiest content navigation.
However, for non-Apple people and devices, the ebook can also be purchased directly from my website as a downloadable PDF, which has embedded hyperlinks to external sites.
I think you’ll find the ebook to be the most comprehensive guide to shooting solar eclipses you’ll find. It is up to date (as of last week!) and covers all the techniques for the digital age.
Many thanks, and clear skies on August 21, wherever you may be in the shadow of the Moon!
This is a video 37 years in the making, compiling images and videos I’ve shot of total solar eclipses since my first in 1979.
Though I’ve “sat out” on the last couple of total eclipses of the Sun in 2015 and 2016, I’m looking forward to once again standing in the shadow of the Moon in 2017 – on August 21.
If you have not yet seen a total eclipse of the Sun, and you live in North America, next year is your chance to. It is the most spectacular and awe-inspiring event you can witness in nature.
I hope my video montage relays some of the excitement of being there, as the Moon eclipses the Sun.
As always, click HD and enlarge to full screen.
My montage features images and movies shot in:
• Manitoba (1979)
• Chile (1994)
• Curaçao (1998)
• Turkey (1999)
• Zimbabwe (2001)
• Australia (2002)
• Over Antarctica (2003)
• South Pacific near Pitcairn Island (2005)
• Libya (2006)
• Over Arctic Canada (2008)
• South Pacific near the Cook Islands (2009)
• Australia (2012)
• Mid-Atlantic Ocean (2013)
Out of the 15 total solar eclipses I have been to, only the 1991 and 2010 eclipses that I did go to are not represented in the video, due to cloud. Though we did see much of the 1991 eclipse from Baja, clouds intervened part way through, thwarting my photo efforts.
And I only just missed the 2010 eclipse from Hikueru Atoll in the South Pacific as clouds came in moments before totality. Of course, it was clear following totality.
Cameras varied a lot over those years, from Kodachrome film with my old Nikon F, to digital SLRs; from 640×480 video with a Sony point-and-shoot camera, to HD with a DSLR.
I shot images through telescopes to capture the corona and prominences, and with wide-angle lenses to capture the landscape and lunar shadow. I rarely shot two eclipses the same way or with the same gear.
I hope you enjoy the video and will be inspired to see the August 21, 2017 eclipse. For more information about that eclipse, visit:
On May 9, a last-minute chase into clear skies netted me a view of the rare transit of Mercury across the Sun.
The forecast called for typical transit weather – clear the day before, and clear the day after. But the day of the transit of Mercury? Hopeless at home in Alberta, unless I chanced the prospects of some clearing forecast for central Alberta.
As the satellite image below, for 8:30 a.m. MDT on May 9, shows, that clearing did materialize. But I headed west, as far west as I needed to go to be assured of clear skies – to central BC. Kamloops in fact.
I stayed at the Alpine Motel, got a great room as the end, and set up in the parking lot away from traffic. Not the most photogenic of observing sites, but I was happy! I had my clear skies!
I set up two telescopes, above: a 130mm refractor to shoot through, and an 80mm refractor to look through. Both with dense solar filters!
Both worked great. However, low cloud prevented me seeing the Sun as soon as it cleared the eastern hills. So this was my first good look, below, at the transit as the Sun rose above the clouds.
There it was – the fabled “little black spot on the Sun today.” Mercury is the dot at lower left, with a sunspot group at upper right. This was the first transit of Mercury since November 8, 2006. We see only about 13 Mercury transits a century, so in a lifetime of stargazing (the Sun is a star!) even the most avid amateur astronomer might see only a handful. This was only my third transit of Mercury.
This was the view, above, a little later, as the Sun entered more assuredly clear skies. From about 7 a.m. PDT on, the Sun was in the clear most of the morning, with just occasional puffy clouds intervening now and then.
I shot still images every 30 seconds, to eventually turn into a time-lapse movie (after a ton of work hand registering hundreds of frames!).
But for now, I’ll be content with this composite of 40 frames, below, taken at 7-minute intervals. It shows the progress of Mercury across the Sun over the last 4.5 hours or so of the event, until egress at 11:38 a.m. PDT.
This motion is due to Mercury’s movement around the Sun. A transit is one of the few times you can easily see a planet actually orbiting the Sun.
In this composite, the disks of Mercury are not all perfect dots. The wobbly seeing conditions distorted the images from frame to frame. But I used the actual images taken at that moment, rather than clone some perfect image across the disk to simulate the path.
To wrap up, here’s Mercury Transit: The Movie! I shot several HD and zoomed-in “crop mode” movies at the beginning of the transit and again at the final egress. Commentary is from me talking live into the camera mic as I was shooting the clips. Background noise is courtesy Pacific Drive and the Trans-Canada Highway!
Enjoy, and do enlarge to HD and full-screen for the best look.
The next transit of Mercury is November 11, 2019. If you are hoping for a transit of Venus, good luck. The next is not until December 10, 2117!
My multiple-exposure composite shows the complete September 27, 2015 total lunar eclipse to true scale, with the Moon accurately depicted in size and position in the sky.
From my location at Writing-on-Stone Provincial Park in southern Alberta, Canada, the Moon rose in the east at lower left already in partial eclipse.
As it rose it moved into Earth’s shadow and became more red, while the sky darkened from twilight to night, bringing out the stars.
Then, as the Moon continued to rise higher it emerged from Earth’s shadow, at upper right, and returned to a brilliant Full Moon again, here overexposed and now illuminating the landscape with moonlight.
The disks of the Moon become overexposed in my composite as the sky darkened because I was setting exposures to show the sky and landscape well, not just the Moon itself. That’s because I shot these frames – and many more! – primarily for use as a time-lapse movie where I wanted the entire scene well exposed in each frame.
Indeed, for this still-image composite of the eclipse from beginning to end, I used just 40 frames taken at 5-minute intervals, selected from 530 I shot, taken at 15- to 30-second intervals for the full time-lapse sequence.
All were taken with a fixed camera, a Canon 6D, with a 35mm lens, to nicely frame the entire path of the Moon, from moonrise at lower left, until it exited the frame at top right, as the partial eclipse was ending.
In the interest of full disclosure, the ground comes from a blend of three frames taken at the beginning, middle, and end of the sequence, and so is partly lit by twilight and moonlight, to reveal the ground detail better than in the single starlit frame from mid-eclipse. Lights at lower left are from the Park’s campground.
The background sky comes from a blend of two exposures: one from the middle of the eclipse when the sky was darkest, and one from the end of the eclipse when the sky was now lit deep blue. The stars come from the mid-eclipse frame, a 30-second exposure.
MY RANT FOR REALITY
So, yes, this is certainly a composite assembled in Photoshop – a contrast to the old days of film where one might attempt such an image just by exposing the same piece of film multiple times, usually with little success.
However … the difference between this image and most you’ve seen on the web of this and other eclipses, is that the size of the Moon and its path across the sky are accurate, because all the images for this composite were taken with the same lens using a camera that did not move during the 3-hour eclipse.
This is how big the Moon actually appeared in the sky in relation to the ground and how it moved across the sky during the eclipse, in what is essentially a straight line, not a giant curving arc as in many viral eclipse images.
And, sorry if the size of the Moon seems disappointingly small, but it is small! This is what a lunar eclipse really looks like to correct scale.
By comparison, many lunar eclipse composites you’ve seen are made of giant moons shot with a telephoto lens that the photographer then pasted into a wide-angle sky scene, often badly, and pasted in locations on the frame that usually bear no resemblance to where the Moon actually was in the sky, but are just placed where the photographer thought would look the nicest.
You would never, ever do that for any other form of landscape photography, at least not without having your reputation tarnished. But with the Moon it seems anything is permitted, even amongst professional landscape photographers.
No, you cannot just place a Moon anywhere you like in your image, eclipse or no eclipse, then pass it off as a real image. Fantasy art perhaps. Fine. But not a photograph of nature.
Sorry for the rant, but I prefer accuracy over fantasy in such lunar eclipse scenes, which means NOT having monster-sized red Moons looming out of proportion and in the wrong place over a landscape. Use Photoshop to inform, not deceive.
I could not have asked for a more perfect night for a lunar eclipse. It doesn’t get any better!
On Sunday, September 27, the Moon was eclipsed for the fourth time in two years, the last in a “tetrad” of total lunar eclipses that we’ve enjoyed at six-month intervals since April 2014. This was the best one by far.
The timing was perfect for me in Alberta, with the Moon rising in partial eclipse (above), itself a fine photogenic site.
In the top image you can see the rising Moon embedded in the blue band of Earth’s shadow on our atmosphere, and also entering Earth’s shadow on its lunar disk. This was a perfect alignment, as lunar eclipses must be.
For my earthly location I drove south to near the Montana border, to a favourite location, Writing-on-Stone Provincial Park, to view the eclipse over the sandstone formations of the Milk River.
More importantly, weather forecasts for the area called for perfectly clear skies, a relief from the clouds forecast – and which did materialize – at home to the north, and would have been a frustration to say the least. Better to drive 3 hours!
This was the second lunar eclipse I viewed from Writing-on-Stone, having chased clear skies to here in the middle of the night for the October 8, 2014 eclipse.
I shot with three cameras: one doing a time-lapse through the telescope, one doing a wide-angle time-lapse of the Moon rising, and the third for long-exposure tracked shots during totality, of the Moon and Milky Way.
That image is above. It shows the eclipsed Moon at left, with the Milky Way at right, over the Milk River valley and with the Sweetgrass Hills in the distance.
The sky was dark only during the time of totality. As the Moon emerged from Earth’s shadow the sky and landscape lit up again, a wonderful feature of lunar eclipses.
While in the above shot I did layer in a short exposure of the eclipsed Moon into the long exposure of the sky, it is still to accurate scale, unlike many dubious eclipse images I see where giant moons have been pasted into photos, sometimes at least in the right place, but often not.
Lunar eclipses bring out the worst in Photoshop techniques.
Above is a single closeup image taken through the telescope at mid-totality. I exposed for 8 seconds to bring out the colours of the shadow and the background stars, as faint as they were with the Moon in star-poor Pisces.
I shot a couple of thousand frames and processing of those into time-lapses will take a while longer, in particular registering and aligning the 700 I shot at 15-second intervals through the telescope. They show the Moon entering, passing through, then exiting the umbra, while it moves against the background stars.
What a great site to watch the Moon turn red in a total eclipse.
I can’t recall a more scenic total eclipse of the Moon. I planned this site as best I could from Google maps and other apps, and the location proved ideal.
As the Moon went into the Earth’s shadow it set into the notch between the two peaks of this mesa at Monument Valley, Utah. It was a stunning celestial sight seen from one of the most dramatic scenic sites on the planet.
This was the total lunar eclipse on the morning of April 4, 2015, an eclipse that was barely total with just 4 minutes of totality with the Moon within Earth’s umbral shadow. The top of the Moon, grazing the edge of our planet’s shadow, always appeared bright white, as expected.
The lead image is a composite of many exposures: short ones for the partial phases that flank a longer exposure for the single image of totality and and even longer exposure for the sky and landscape, all taken over the course of 2.5 hours with a fixed camera – don’t bump the tripod!
I shot this image with the second camera riding on a tracking platform. It is a bend of three exposures: two long ones for the sky and ground and a short exposure to retain the Moon and avoid it turning into a white overexposed blob.
The long sky exposure was taken with the tracker on, to keep the stars as pinpoints, while for the ground exposure I turned the tracker motor off to keep the ground sharp. I layered and masked these with Photoshop.
The last image is a single image only, just one exposure, taken a few minutes after the end of totality as the sky was quickly brightening with the blue of dawn. It captures the naked-eye scene.
I shot all these from my B&B for the weekend, the Tear Drop Arch B&B, named for the arch on the mesa at left in these images. I chose the spot to provide a scenic foreground to the western-sky eclipse without having to drive miles in the pre-dawn hours. I was moments away from bed as the sun rose and the eclipsed Moon set.
Next lunar eclipse: September 27, 2015, in the evening for North America.
On the morning of April 4 (for North America) the Moon turns bright red in the third of four lunar eclipses in a row.
We’ve been enjoying a spate of total lunar eclipses over the last year. We had one a year ago on April 15 and again on October 8, 2014. This weekend, we can enjoy the third lunar eclipse in a year.
This Saturday, the Moon undergoes a total eclipse lasting just 4 minutes, making this the shortest total lunar eclipse since the year 1529. Typically, lunar eclipses last 30 to 60 minutes for the total phase, when the Full Moon is completely within Earth’s shadow.
But this eclipse is barely total, with the Moon grazing across the northern edge of the umbral shadow, as this diagram courtesy of SkyNews magazine illustrates. (Click on the image to enlarge it.)
• The partial eclipse begins at 4:15 a.m. Mountain Daylight Time on the morning of Saturday, April 4 for North America.
• Totality (when the Moon is reddest and darkest) is from 5:58 to 6:02 a.m. MDT.
• The partial eclipse ends at 7:44 a.m. MDT.
Add one hour for Central time, and subtract one hour for Pacific time.
This lunar eclipse is best from western North America where totality can be seen. From eastern North America, in the grey zones here, the Moon sets while in the initial partial phase and before totality begins. Those in Australia and New Zealand can also see the eclipse, but late on the night of April 4 into April 5. Europe and Africa miss out.
Even from western North America, the Moon will be eclipsed while it is setting into the west, and the sky is brightening with dawn twilight, presenting a view such as in the above photo, which I took in December 2011.
This eclipse occurs over the Easter and Passover weekend – and actually on Easter for some time zones. The last time we had a total lunar eclipse on Easter Sunday was March 23, 1913. The next to occur on Easter won’t be until April 14, 2340.
If you miss this eclipse, you have one more chance this year. On Sunday, September 27, conveniently timed for the evening in North America, we have the last in a “tetrad” series of four total lunar eclipses. After that, we wait until January 31, 2018.
The double star Beta Capricorni disappears in a wink behind the Earthlit edge of the Moon.
The evening of Wednesday, November 26 provided a bonus celestial event, the eclipse of a double star by the Moon.
The star is Beta Capricorni, also known as Dabih. I had a ringside seat Wednesday night as the waxing Moon hid the star in what’s called an occultation.
Dabih is a wide double star, composed of a bright magnitude 3 main star, Beta1 Capricorni, and a fainter magnitude 6 companion, Beta 2 Capricorni. You can see both in the still image view at top. Their wide separation makes them easy to split in binoculars.
In reality, they are separated in space by an enormous gap of 21,000 times the distance from the Earth to the Sun. By comparison, distant Pluto lies an average of just 40 times the Earth-Sun distance.
With such a wide separation Beta1 and Beta2 take an estimated 700,000 years to orbit each other.
Beta1 is a giant orange star 600 times more luminous than our own Sun and 35 times bigger. Beta2 is a blue subgiant 40 times more luminous that the Sun.
Adding to the complexity of the system, Beta2 is also a close double, while Beta1 is a tight triple star, making for a quintuple star system.
The movie below records each occultation, first of the fainter blue Beta2 star, then of the brighter Beta1 star.
Each occultation happens in an instant to the eye. However, stepping through the video shows that the brighter star took 4 video frames to dim, about 1/10th of a second. Whether this is real, due to the star’s giant size, or just an effect of the twinkling of the atmosphere, is questionable.
The still photo is a “high dynamic range” stack of 12 exposures from 4 seconds to 1/500th second, taken with the Canon 60Da camera at ISO 400, to capture the huge range in brightness, from the dark side of the Moon and stars, to the bright sunlit crescent. I used Photoshop’s HDR Pro module to stack the images and Adobe Camera Raw in 32-bit mode to do the tone-mapping, the process that compresses the brightness range into a final image.
I shot the video with the 60Da camera as well, setting it to ISO 6400, and using its video mode to record real-time video clips, both in HD 1920×1080 for the wide-field “establishing shots,” and in its unique 640×480 Movie Crop mode for the close-ups of the actual occultations. Those two clips appear as inset movies. I edited and processed the clips, plus added the titles, using Photoshop and its video capabilities.
All were shot from New Mexico with the TMB 92mm refractor at f/5.5.
The Hunter’s Moon of 2014 turned deep red during a total lunar eclipse.
It wouldn’t be an eclipse without a chase!
To see and shoot this total eclipse of the Hunter’s Moon I had to chase clear skies, seeking out the only clear area for hundreds of miles around, requiring a 3-hour drive to the south of me in Alberta, to near the Canada-US border, at Writing-on-Stone Provincial Park.
It was worth the midnight trek, though I arrived on site and got set up with just 10 minutes to go before the start of totality.
But I was very pleased to see the sky remain mostly clear for all of totality, with only some light haze adding the glow around the eclipsed Moon. Remarkably, the clouds closed in and hid the Moon just after totality ended.
This is a single 15-second exposure at ISO 400 with a Canon 60Da, shooting through an 80mm apo refractor at f/6 and on an equatorial mount tracking the sky at the lunar rate. I shot this shortly after mid-totality. It shows how the Moon’s northern limb, closest to the edge of the umbral shadow, remained bright throughout totality.
It shows lots of stars, with the brightest being greenish Uranus at the 8 o’clock position left of the Moon, itself shining in opposition and at a remarkably close conjunction with the Moon at eclipse time.
More images are to come! But this is the result of fast processing after a dawn drive back home and an all-nighter chasing and shooting an eclipse.
‘Twas the night before the night before … an eclipse of the Moon.
This was the beautiful moonrise tonight, on Monday, October 6, two days – by calendar date – before the total lunar eclipse on October 8.
However, as the eclipse occurs at pre-dawn on October 8, it’s really just a day and half to go before the Moon turns red as it passes through Earth’s shadow.
I shot these as the gibbous Moon, waxing toward Full, rose over the harvested field to the east of home. The setting Sun nicely lit the clouds which partly hide the Moon.
Earlier in the evening, I grabbed this shot as the Moon appeared and two white-tailed deer ran through the yard and out into the field below the rising Moon. Moon deer!
This is the sequence that will happen early on October 8, in a diagram courtesy Fred Espenak at EclipseWise.com. The times are for Mountain Daylight, my local time zone. The eclipse will be total from 4:25 to 5:24 a.m. MDT (6:25 to 7:24 a.m. EDT) when the Moon will be immersed in the umbral shadow and will appear deep red.
Use binoculars for the best view of the colours. An eclipsed Moon looks wonderful, like a glowing red globe lit from within, but it’s really lit by the red sunlight from all the sunsets and sunrises going on around the world at once.
The next total lunar eclipses are April 4, 2015 (again pre-dawn) and September 27, 2015 (at convenient early evening hours), both visible from North America.