On November 11, 2025 the sky erupted with a swath of red Northern Lights seen over much of North America.
It is rare when those living at southerly latitudes can see Northern Lights. Instead of having to travel north to Arctic sites, the aurora comes south to them. That’s what happened on November 11, 2025 when one of the largest solar storms in recent years brought the aurora down over much of the North America.
This was the latest in a set of wonderful aurora shows we’ve enjoyed in the last two years, as the Sun reached the peak of its 11-year cycle of activity.
As I show below, the apps and indicators were registering extreme conditions, with the “Kp Index” peaking at 8 out of a maximum of 9, and the auroral “Ovation” oval lighting up red, indicating a major geomagnetic storm was underway. In the lingo of the local Alberta Aurora Chasers Facebook group, it was most definitely a “pants on” night!
Kp 8! Red Alert!
The source of the storm was two major flares on the Sun in quick succession. In only a day the high-speed “coronal mass ejections” they had unleashed reached Earth and lit up the sky.
As a result the ring of aurora borealis which usually circles the Arctic moved down over southern Canada and the northern United States. I was under that ring of lights!
This is a blend of two exposures, for sky and ground, both 8 seconds at f/2.8 with the TTArtisan 11mm full-frame fish-eye lens on the Canon R5 at ISO 1600.
As it got dark this night, large swaths of red were easily visible to the eye, especially to the northwest as above, and below.
A single 5-second exposure at f/2.8 with the TTArtisan 11mm lens on the Canon R5 at ISO 1600.
Early on a large curtain of red extended across the sky, from northwest to southeast. It is rare to see bright reds with the eye, and unusual to see the reds so extensive and sky-spanning.
This 360ยบ panorama is a stitch of 6 segments, 60ยบ apart, each 5-second exposures at f/2.8 with the TTArtisan 11mm full-frame fish-eye lens on the Canon R5 at ISO 1600, and in landscape orientation.
The reds are mostly from oxygen atoms, but can also come from nitrogen molecules, which require the input of a lot of energy to get excited and glow! They certainly were this night.
The reds mixed with the more common green light from oxygen to produce shades of yellow and orange, and with blues from nitrogen to produce vivid pinks and magentas. While the eye could see some of these subtle colours, a camera (with its longer exposure and wider aperture lens compared to the human eye) was best for picking up the full range of what this show had on display.
This 360ยบ panorama is a stitch of 10 segments, 36ยบ apart, each 4-second exposure at f/2.8 with the Laowa 10mm rectilinear wide-angle lens on the Nikon Z8 at ISO 1600, and in portrait orientation.
The panorama above taken about 2 hours after the previous all-sky scene, shows a quieter aurora but still with curtains covering the sky and converging to the “magnetic zenith,” a little south of the point straight overhead.
Such an all-sky show of aurora is among the sky’s finest spectacles.
A real-time video with the Nikon Z6III at ISO 25600 and Viltrox 16mm lens at f/1/8.
In the video above taken early in the evening I pan around the horizon over the full 360ยบ to take in the scene much as the eye did see it. Video uses shorter exposures more like the eye does. I narrate the video at the camera.
All single 4-second exposures at f/2.8 with the Laowa 10mm rectilinear wide-angle lens on the Nikon Z8 at ISO 1600.
When the aurora covers the sky it’s hard to take it all in and capture it on camera. The 10mm ultra-wide lens I used for the images above sweep up well past the zenith to show the converging curtains, forming shapes that kept changing by the minute.
In the video below I used the same lens with the camera turned to portrait orientation to create a “vertical video,” again narrated at the camera. It shows how the aurora was changing, but slowly this night. It did not have the rapid dynamics I’ve seen with other bright displays, despite the obvious high energies involved here to excite the reds.
Real-time video with the Laowa 10mm lens at f/2.8 and Nikon Z8 at ISO 25,600 & 1/4 second shutter.
Again, this real-time video captures the scene much as the unaided eye saw it. I’ve not processed either of these real-time videos, other than what the camera itself did.
This is a panorama of 12 segments, each 1 second at f/1.8 with the Viltrox 16mm lens on the Nikon Z6III at ISO 1600. Stitched in Adobe Camera Raw.This is a stitch of 6 segments, 60ยบ apart, each 4-second exposure at f/2.8 with the TTArtisan 11mm full-frame fish-eye lens on the Canon R5 at ISO 1600, in landscape orientation. Stitched in PTGui.
On a night like this, I try to shoot not only single still images and videos, but also multi-image panoramas, such as the circular images earlier and these two rectangular “panos” above. Both cover a full 360ยบ in width but don’t go up to the zenith.
Again, they record the range of colours that were on show on this Kp8 night, which were more visible and extensive than usual for an all-sky display.
I also shot two time-lapse sequences. These form the main visuals for this edited music video I produced around the time-lapses.
The link takes you to my Vimeo channel to watch the video. Do enlarge it to full screen!
A single 2.5-second exposure at f/1.8 with the Viltrox 16mm lens on the Nikon Z6III at ISO 1600.
I also always try to take some selfies at every great aurora show, with me often lit just by aurora light! They’re fun to use for talks and “bio pix.”
This is a single 4-second exposure at f/2.8 with the Laowa 10mm lens on the Nikon Z8 at ISO 1600.
As a final bonus this night, one of the fish-eye lens time-lapse frames happened to capture a bright meteor. You see it briefly in a flash in the music video above, but below is the single frame.
A single 4-second exposure at f/2 with the TTArtisan 7.5mm circular fish-eye lens on the Nikon Z8 at ISO 1600. Taken as part of a 780-frame time-lapse.
Because it is streaking away from the constellation of Taurus, this is likely a member of the annual Taurid meteor shower which was in its final nights of the long period it is active in late October and early November. In fact, there are two Taurid showers, Northern and Southern, active at once and coming from similar spots in Taurus. They are known to produce bright fireballs and this was certainly one!
While the Sun is now in the downward slope of its cycle, coming off “solar max” last year, we may still see more major storms and aurora shows like this. Historically, the biggest solar flares and aurora displays often occur in the 2 or 3 years after solar maximum.
So stay tuned! The sky may still light up red with Northern Lights!
Southern Saskatchewan is a fine place to capture nightscapes of the Milky Way over the grand prairie landscape.
In late August 2025 I took a short road trip around southwest Saskatchewan, taking advantage of a run of wonderfully clear nights to shoot “nightscapes” at some of my favourite locations.
Southern Saskatchewan, and more specifically Southwest Saskatchewan, is a stargazing paradise. The skies are dark and there’s nothing to get in the way of seeing them! Yet, the landscapes have their unique beauty.
And in the case of Grasslands National Park the landscape preserves the endangered realm of original short-grass prairie. It is what the land was like long ago, even including some bison at large.
Grasslands National Park
Technical: This is a blend of tracked and stacked sky exposures with a single untracked ground exposure: – 7 x 60 seconds at f/2 tracked and focused for the sky, plus – 1 x 4 minutes at f/2.8 untracked and focused for the foreground to bring out the details lit only by starlight. No light painting was employed here. – All with the Nikon Z8 at ISO 800 and Nikkor 20mm S lens, on the MSM Nomad tracker. And all from the same tripod position. However, the camera was reframed upward for the sky shots.
In fact, my main destination on my visit to Grasslands this year was to revisit a site I had intended to shoot from in 2019 โ the Bison Rubbing Stone overlooking the Frenchman Creek Valley, with the Milky Way as a backdrop.
This year I was assured the bison were in the outback, so I set up at their rubbing stone. This is one of the many glacial erratic boulders the Ice Age left scattered across the prairies. With no trees about, the bison have long loved to use them to scratch an itch. But the connection with the stars is that one legend of the sky told by Blackfoot First Nations describes the Milky Way as the “Buffalo Trail,” the dust left by a cosmic herd of bison.
I got the shot! Then all I had to do was turn the camera around to face north to get this scene.
Technical: This is a panorama of 5 segments, each 30 seconds untracked at f/2 with the Nikkor 20mm S-Line lens and Nikon Z8 at ISO 1600. Stitched with Adobe Camera Raw. I removed aircraft trails, but at left I retained the many faint satellite trails in the northwest still lit by twilight, as this was early at about 10:30 pm CST. I did not focus stack these frames. Nor was the camera tracking the stars.
A mild aurora appeared in a classic arc across the north, and framed between the hiking trail, with the Big Dipper to the left and the Milky Way rising to the right. This is the wonderful sky that awaits in the “big sky” country of Grasslands. On the horizon only 3 distant lights could be seen. Grasslands is a Dark Sky Preserve. May it always be so!
Technical: This is a blend of tracked and stacked sky exposures with a single untracked ground exposure: – 4 x 30 seconds at f/2 tracked for the sky, plus – 1 x 2 minutes at f/2.8 untracked for the ground to bring out the details lit by starlight, plus – A single 30-second tracked exposure through a Tiffen Double Fog 3 filter layered in, to add the star glows. – All with the Nikon Z8 at ISO 800 and Nikkor 20mm S lens, on the MSM Nomad tracker. And all from the same tripod position. The camera was not moved for the sky photos.
The night before I headed south out of the little town of Val Marie to a favourite spot high on the hill overlooking the Park. It is called Two Trees, but now only one tree remains! It made a fine foreground for the classic “lone tree and Milky Way” nightscape.
In August the galactic centre lies in the southwest quickly setting in the early evening. But from this latitude of 49ยบ N even with it at its highest, the Milky Way core lies low in the south, making for good compositions with foregrounds below.
Here I present a “landscape” version of the image above, in versions with and without labels to indicate all the rich nebulas and star clusters in this area of sky in Sagittarius the Archer, home of the Milky Way core. Tap on the images to bring them up full screen.
Similarly, below I present views looking east to the autumn constellations rising over the prairie. This was from the valley below Two Trees Hill, at the Riverwalk day use site. Here there were absolutely no lights visible, and hardly a sky glow on the horizon from towns and light pollution. This was paradise for a stargazing session.
The constellations in this area of sky are the ones made famous in the classic tale of the hero Perseus riding on Pegasus the Flying Horse to rescue the lovely Princess Andromeda from Cetus the Sea Monster, while vain Queen Cassiopeia looks on.
Here the sky was also tinted green, not with aurora but airglow, a natural effect caused by high-altitude oxygen fluorescing at night, giving off energy it has absorbed by day. It discolours the sky but it belongs there! It is visible only at dark sky sites.
The Great Sand Hills
From Grasslands I ventured north to the little town of Leader, Saskatchewan, one of the jumping off points to visit the Great Sand Hills nearby. You have to have a local map to find them, but the sand dunes are extensive, and an oddity on the prairie, another Ice Age relic.
They are not a Park but are an ecological reserve, with limited access. I shot from the main spot with parking for visitors and a trail off into the dunes.
Here is another pair of images with annotations, looking north from the main dune field toward Ursa Major and the Big Dipper.
An extensive display of airglow also tints the sky, at least I think that’s the source, and not aurora.
Technical: This is a blend of tracked and stacked sky exposures with a single untracked ground exposure: – A stack of 4 x 60 seconds at f/2 tracked for the sky, plus – 1 x 4 minutes at f/2.8 untracked for the ground, plus – A single 60-second tracked exposure through a Tiffen Double Fog 3 diffusion filter layered in, to add the star glows. – All with the Nikon Z8 at ISO 800 and Nikkor 20mm S lens, on the MSM Nomad tracker. And all from the same tripod position. However, the camera framing was changed for the sky and ground shots, tilting it up it to include more of the sky up the northern Milky Way.
Turning around to face south again frames the sweep of the summer Milky Way over the well-trodden dunes. Not quite the Saharan or Namibian scene you might want, but this is Saskatchewan and having even this scene on the prairies is unique. The only other dune fields are far up north and not readily accessible.
Technical: This is a blend of tracked and stacked sky exposures with a single untracked ground exposure: – A stack of 4 x 60 seconds at f/2 tracked for the sky, plus – 1 x 3 minutes at f/2.8 untracked for the ground to bring out the details lit only by starlight, plus – A single 60-second tracked exposure through a Tiffen Double Fog 3 diffusion filter layered in, to add the star glows. – All with the Nikon Z8 at ISO 800 and Nikkor 20mm S lens, on the MSM Nomad tracker. And all from the same tripod position. However, the camera framing was changed for the sky and ground shots, tilting it up it to include all the constellations in one frame but with just a sliver of ground in the frame.
Looking east from the dune again frames the mythological autumn constellations, with the “W” of Cassiopeia at top amid the Milky Way. The bright “star” at lower right is Saturn. The Pleiades are just rising at left.
The Cypress Hills
I had started my Saskatchewan journey in the Cypress Hills, another formation created by the Ice Age, or rather left untouched by the glaciers creating a high wooded oasis on the prairie. I was there for the annual Saskatchewan Summer Star Party, the subject of my previous blog here.
Technical: This is a blend of: – A stack of 4 x 1 minute exposures, tracked, for the sky with … – A stack of 2 x 1-minute exposures, untracked, for the ground, – All with the Canon RF 28-70mm lens at f/2 and set to 48mm, on the astro-modified Canon EOS R at ISO 1600, and on the MSM Nomad tracker. No filters were employed here. Masking and blending all the images, with the trees in the foreground was a challenge! The camera was not moved โ all images were from the same tripod position.
But on the first couple of nights, with the entire four nights of the Party promising to be clear, I left the Party and headed off on my own to shoot some nightscapes over the pine trees at Lookout Point, to again catch the photogenic galactic core in its last appearance for the season.
For the image below, I employed a special filter that isolates the deep red light emitted by the many hydrogen-gas nebulas toward the Milky Way core.
Technical: This is a blend of: – A single 2-minute exposure, untracked, for the ground, blended with โฆ – A stack of 5 x 1 minute exposures, tracked, for the sky, plus โฆ – An additional tracked 2-minute exposure layered in, taken at the end of the set through an Astronomik “narrowband” H-Alpha clip-in filter, to add the red nebulas. – All with the Canon RF 28-70mm lens at f/2 and set to 35mm, on the astro-modified Canon EOS R at ISO 1600 (3200 for the Ha shot), and on the MSM Nomad tracker. Masking and blending all the images, with the trees in the foreground was a challenge! The camera was not moved โ all images were from the same tripod position.
This is a technique borrowed from “deep-sky” imaging but now popular among nightscape photographers to create an even more enhanced night sky than a normal unfiltered view.
But even without the filter the long exposures used for the sky record far more detail and colours than even dark-adapted eyes could see. The filter takes that even further.
But those nebulas are there, and they do glow red. Just like the airglow that unaided eyes usually cannot see, the long exposures reveal the unseen, in this case some of the wonderful content of our Galaxy.
And that’s the attraction of astrophotography, to reveal the otherwise elusive or invisible structure of the sky, and in this case juxtaposed over familiar earthly landscapes below.
I can highly recommend Southwest Saskatchewan for anyone interested in stargazing and astrophotography. It’s always been one of my favourite destinations.
Amateur astronomers like nothing more than spending time under a dark night sky with a field of friends.
Star parties are a popular part of the hobby of amateur astronomy. They’re chances for stargazers to get under dark skies and meet up with others who love the night sky.
Each year I attend the biggest such event in my area in western Canada, the Saskatchewan Summer Star Party. It usually attracts about 320 sky lovers to the very dark skies of southwest Saskatchewan.
A light pollution map where grey = good!
The label marks the spot for the Party, in the Cypress Hills, and in the Cypress Hills Interprovincial Park, that straddles the border of Saskatchewan and Alberta. As per its name, the SSSP is held on the Saskatchewan side of the Park, in the Centre Block south of Maple Creek. (A complementary Southern Alberta Star Party is held on the Alberta side of the Cypress Hills, in September. I’ll be there!)
As the map shows, the Cypress Hills are far from any light pollution and offer “Bortle 2-class” skies โ 1 being the darkest, and 9 being downtown Las Vegas!
In fact, the Park is a Dark Sky Preserve, a designation awarded in 2004. Parks are increasingly aware of their role in not only conserving flora, fauna, and historical sites, but also the increasingly threatened night sky. As the saying goes, “Half the Park is after dark!”
The DSP Declaration
The Dark Sky Preserve designation, and efforts to refit what lighting is in the Park to “dark-sky friendly” fixtures, came about as a direct result of the Park, and Star Party, being the site of a comet discovery three years earlier.
It was at the Star Party in August 2001 that Regina amateur astronomer Vance Petriew discovered a comet, an observing feat that merits a comet being named for the discoverer.
This year, a new sign and plaque were unveiled commemorating the discovery, replacing a cairn that had fallen into disrepair over 20 years. Here is the unveiling โ
Park officials, fellow astronomers and Vance unveil the sign.
This was a fine event with all the star party folks in attendance, many of whom were there in 2001! โ including the now adult daughters of the Petriew family.
Click on the images below to bring the photos up full screen.
The Petriew FamilyThe comet scope in 2025.Comet Petriew plaque
While that was a highlight of the week, the real show was the sky above. The Milky Way was on display in a sky clearer and darker than we had seen it for many years. No clouds, no smoke, and little dew and bugs! The Cypress Hills are a mecca for stargazing!
The road into the Meadows Campground, home to the Saskatchewan Summer Star Party. The SSSP is organized by the Royal Astronomical Society of Canada centres in Regina and Saskatoon. Telescopes and tents under the Milky Wa.yA sky tour in the early evening with blue twilight.The Big and Little Dippers in the Cypress Hills
A popular part of this star party, as it is at many such events, is a laser-guided tour of naked-eye sights, where a guide points out the constellation patterns, and highlights objects that need nothing more than binoculars to see well.
In a slide show below, astronomer Ron Waldron from Saskatoon conducts the 2025 Friday night “star walk.” It’s BYOB โ Bring Your Own Binoculars!
Laser touring the sky
Yes, there was an aurora
Look up! Look way up!
Peering into the Galactic Core
While participants stay up until the wee hours to enjoy all that the sky has to offer, every star party offers a range of daytime activities (but not happening too early!). Star parties are great places to see fields of telescopes of every description. This year the program included a formal “show-and-shine” tour of some notable gear for all to admire. And there’s the ever-popular swap meet with bargains on offer.
The Swap Meet
Kevin’s astrophoto rig
Wade’s classic refractor
Ed’s super astrophoto scope
Nick’s astrophoto array
Dan’s super solar scope
We enjoyed several talks on a range of astronomy topics, not just stargazing, but also the latest in science research. We heard about a satellite being built in Saskatchewan by U of S and U of R students, and about how the Mars Perseverance rover collects samples, in a talk from one of the researchers involved with the NASA mission.
Kimberly Sibbald delivered the opening keynote on her amazing astrophotos.
Dr. Chris Herd from the U of A explained Mars sample collection.
And I gave a short talk about eclipses coming up.
A 3D model of the Sask Sat
And of course there were awards and door prizes to be won! Always to a capacity crowd at the Cypress Resort conference room.
The door prizes being handed out. You must be in the room to win!
It was a superb 4 days of astronomy and stargazing. If you are in the area, I highly recommend attending. Next year’s SSSP will be August 12 to 15 inclusive โ it’s always at New Moon. The website is here but won’t be updated for the 2026 event details until next year.
I won’t be there in 2026, as August 12 is the date of the next total eclipse of the Sun, which I discuss in my previous blog. I plan to be in Spain!
This is the new sign and plaque commemorating the discovery in 2001 of a comet here in the Cypress Hills Interprovincial Park by Vance Petriew.
But I highly recommend attending in 2026. As most people do, you may find yourself enjoying the weekend so much you make it an annual event in your calendar. I shall miss my annual August ritual of the SSSP in 2026 and in 2027 โ there’s an eclipse that August, too!
But 2025 was certainly a fine year to enjoy all that the Cypress Hills have to offer under the stars.
If you saw the total eclipse in 2024 (or you missed it!) you have three chances in the next three years to see another. But you will have to travel.
Typically, total eclipses of the Sun occur about 18 to 24 months apart. Unusually, in the next three years, we have a trio of total eclipses each only a year apart. Or to be precise, a lunar year โ 12 lunar phase cycles โ apart.
The map above (courtesy EclipseAtlas.com) plots the paths of all central solar eclipses (annulars, totals and hybrids) from 2021 to 2030. Included are the paths of the 2023 annular and 2024 total in North America you might have seen.ย
But the next total eclipse in populated North America is not until August 2044, then again in August 2045. To see a total eclipse in the next few years, those of us in the Americas will have to travel.
However, those in Europe can drive to the next eclipse, to their first total eclipse at home since August 1999.
A year from now as I write this, the Moonโs umbral shadow will intercept the Earth for the first time since April 8, 2024. The path of this next total eclipse is unusual in that it starts in northern Russia, travels north over the North Pole, then sweeps down from the north to cross eastern Greenland, nipping the west coast of Iceland, then crossing Spain, to end at sunset over the Balearic Islands of Spain.ย
Weather prospects are surprisingly good for the several cruise ships planning to be in a Greenland fjord. Iceland is iffy, but had the eclipse been this year (on August 12, 2025) many people would have seen it. Spain was the opposite โ statistically it has the best weather prospects along the 2026 path, but on August 12, 2025 most of the country was beset by storms.
From northern Spain, where I intend to be and as I show above, the Sun will be low in the west in the early evening sky, for a relatively short 1m40s of totality. A low eclipse can be spectacular, but riskier as thereโs a greater chance of clouds hiding a low Sun.ย
This and the other images of the Sunโs position at each eclipse are pages from my eclipse ebook, described below.
Twelve new Moons later, the lunar shadow again crosses the Earth, this time passing over North Africa where skies are almost always clear in summer. But the days are hot! The shadow crosses the Strait of Gibraltar and passes over Morocco, Algeria, Tunisia, Libya, Egypt, and Saudi Arabia. In addition to the good weather, the attraction is that this is the longest total eclipse for the rest of the 21st century.
The spectacular temples of Luxor, Egypt are at the point of maximum eclipse, with an unusual 6m23s of totality with the Sun high overhead. Even at Gibraltar, totality is 4m35s, seven seconds longer than the maximum in Mexico in 2024.
From Tunisia, as I show above, the Sun is 55ยบ high over the Mediterranean, and totality is a generous 5m44s.
Another 12 lunar months later, the Moon shadow sweeps across the southern hemisphere, for another generously long eclipse. Remote Western Australia enjoys 5m10s of totality on a winterโs day.
But millions lie in the path in New South Wales, where Sydneysiders can watch a total eclipse over Sydney Harbour lasting 3m48s. The sky scene is below, with a late afternoon winter Sun heading down in the west. From Farm Cove, the eclipsed Sun will be over the Opera House and Harbour Bridge, for a never-to-be-repeated photo op.
The South Island of New Zealand sees a sunset eclipse (the shadow passes over Milford Sound) that lasts 2m55s, longer than the 2017 eclipse in the United States.
Coincidentally, Australia also hosts the next total eclipse to follow, after a gap of 28 months, on November 25, 2030. And the lunar shadow crosses Australia on July 13, 2037 and December 26, 2038 โ a Boxing Day eclipse down under. So Australia is the place to be for the next decade or so.
But between 2026 and 2028, Spain is host to three eclipses, as the 2027 total crosses Spanish territory, and the January 26, 2028 annular eclipse ends at sunset in western Spain. At this eclipse the Moon is not large enough to completely hide the Sun, so at mid-eclipse we see a bright ring of light, similar to the annular eclipse here in North America on October 14, 2023.
My Plans
Where will I be? For 2026 I have signed onto a trip to Spain with the well-travelled photo tour company CaptureTheAtlas.com.
They are planning a very photo-centric tour to Spain for viewing the eclipse from a winery near Burgos. Iโll be one of the instructors, among a stellar line-up of eclipse veterans and astrophoto experts. I invite you to check out the details of the tour here at its webpage. Weโd love to have you join us!ย
For 2027 I am planning to be in Tunisia, on the Mediterranean coast, with a tour group from Astro-Trails.com.ย
The path of totality passes just a few kilometres from Coonabarabran, the โAstronomy Capital of Australia,โ as the Siding Spring Observatory is just down the Timor Road in the path. In July the Milky Way is at its best, with the centre of the Galaxy high overhead at nightfall. Thatโs a sight equal to an eclipse for bucket-list spectacle.
My EBook
The cover of my new 400-page ebook
For 2017โs eclipse I prepared an ebook on how to photograph it. It proved popular, and so for the 2023 and 2024 eclipses I revised it to cover both the annular and total eclipses.
Its popularity prompted me to revise it again, this time to cover the coming trio of eclipses, plus I included pages on the January 2028 annular, as many who visit Spain for the totals may plan to return for the sunset annular (low annulars are also the most spectacular!).
My new ebook is 40 pages larger than the previous edition, with most of the added content in the 100-page chapter on processing eclipse images, from wide-angles, to time-lapses, and to blended exposures of totality close-ups.ย I include lots of information on choosing the right gear โ filters, camera, lenses, telescopes, and tracking mounts.
The slide show above presents images of sample pages.ย Do page through the gallery for a look at the content.
But for all the details and links to buy the book (from Apple Books or as a PDF for all platforms) see its webpage at my website. ย
It will be a busy three years for eclipse chasers, as rarely do we get three-in-a-row like this. The diversity of locations and eclipse circumstances make this an exciting trio to chase. But you can just go back to Spain to see most of them!
Join me in a guided tour of the famous (and not so well known!) constellations of the northern spring sky.
The northern spring sky lacks the splendour of bright patterns such as winter’s Orion or summer’s Cygnus, but it is still well worth getting to know. The Milky Way is out of sight, and in its absence we are left with fewer bright stars to dazzle us at night. But we are treated to the year’s best views of famous constellations such as Ursa Major, Leo and Virgo.
Now, I am talking about the sky of the northern hemisphere, where April and May brings spring, and places the Big Dipper high overhead. While some of these constellations can be seen from the southern hemisphere, they appear to the north, low and “upside-down” from the views I present here. And April and May are autumn months.
Let’s start with the “big picture.” (Tap on images to bring them up full screen.)
NOTE: I shot all these images during a run of fine nights in mid-April 2025 with a 15-35mm zoom lens on a Canon EOS R camera, and on a Star Adventurer tracker. Separate exposures through a Tiffen Double Fog 3 filter added the star glows.
This image, in labeled and unmarked versions, presents a wide view of the spring sky from horizon to well past the zenith overhead. The key pattern to look for is the Big Dipper, at its highest in northern spring. In the UK and Europe it is known as the Plough or Wagon. Look way up to find it first.
Its Pointer Stars in the Bowl famously point north to Polaris. But here I show the other pointer line off the Bowl, to the south, to Leo the Lion. It is well known as one of the constellations of the Zodiac. Leo is marked by one of the brightest spring stars, Regulus.
Use the Handle of the Dipper to arc downward, to locate the brightest star of spring, Arcturus, shining with a yellow light. Keep that line going south and you’ll come to a dimmer and bluer star shining in the south. That’s Spica, the brightest star in Virgo, the Zodiac constellation east of Leo.
Now let’s take a closer look at selected areas.
Ursa Major, Leo and Boรถtes
This is still a wide view, looking up and high in the south. There’s the Big Dipper/Plough at top. It is not a constellation. It is an “asterism” of seven stars within the large constellation of Ursa Major, the Great Bear. With a little imagination you can join the dots to make a bear (many northern cultures did so). Except we draw him with a long tail, which bears do not have!
The paws of the Bear are marked by a trio of double stars: Alula Borealis and Australis, Tania Borealis and Australis, and Talitha and Talitha Australis. The names come from Arabic words for “first,” “second,” and “third” as these sets of double stars are collectively called the Three Leaps of the Gazelle in Arabic sky lore. Once you see them you’ll be surprised at how distinctive they are.
Below Ursa Major is Leo, a pattern that does look a little like a sitting cat. Its bright star Regulus was named by Copernicus, from a Latin word for “little king.” But Regulus has long been known as the heart of the Lion.
To the east lies brighter Arcturus, a name that means “bear watcher,” as it and its host constellation Boรถtes, the Bear Herdsman, are tied to Ursa Major and Minor in Greek mythology.
Leo, Cancer and flanking clusters
Here I frame Leo, but also two of the constellations that flank him: Cancer the Crab to the right (or west) and Coma Berenices to the left (or east). Each contains a bright naked eye cluster of stars:
Messier 44 or the Beehive cluster in Cancer, the faint Zodiac pattern west of Leo. When I shot this image in mid-April 2025 red Mars was just entering Cancer.
and Melotte 111 in Coma Berenices. At one time this clump of stars easily visible to the naked eye was considered part of Leo, as the tuft on the end of his tail. The area was broken off as its own constellation in the 3rd century BCE, and named for Queen Berenice of Egypt, and for her legendary hair (“coma”).
Together, the obvious pattern of Leo and the star clusters that flank him form one of the spring sky’s most notable sights.
Leo and Leo Minor
The head of Leo is marked by a curving arc of stars popularly called The Sickle. Or it is thought of as backwards Question Mark, with Regulus the dot at the bottom. Leo is one of the oldest constellations, as there are records of this pattern dating back to 4000 BCE in Mesopotamia.
More modern is the obscure pattern above it, Leo Minor, the Little Lion. It was invented by 17th century star chart maker Johannes Hevelius, to fill in a blank area of sky. Even in a dark sky, it is tough to make out its innocuous pattern between Leo and Ursa Major.
Canes Venatici, Coma Berenices and Boรถtes
Another obscure pattern created by Hevelius lies below the Handle of the Big Dipper. A sparse pattern of stars marks Canes Venatici, the Hunting Dogs that belong to Boรถtes to help him herd bears! While not much to look at with the naked eye, Canes Venatici does have superb targets for telescopes, such as the double star Cor Caroli and very red star La Superba.
Below the Dogs lies Berenices’ Hair, home to the star cluster Mel 111, but also the North Galactic Pole (NGP). This is the point 90ยบ away from the plane of the Milky Way and the Galactic Equator seen in our winter and summer skies. But in spring we look straight up out of our Galaxy, to many other telescopic galaxies that inhabit Coma and Virgo, our next stop.
Virgo, Corvus, Crater and Hydra
Below Leo and Boรถtes lies the Zodiac pattern of Virgo, usually thought of as the reclining Greek goddess of agriculture and the harvest. Spica is easy to see, but the sprawling pattern of the rest of Virgo is not so obvious. It takes a dark sky to pick out the other fainter stars of the goddess.
Easier to see, despite its low altitude from northern latitudes (it skims my horizon), is the quadrilateral pattern of Corvus the Crow, a constellation that dates from the 2nd century CE and the star catalogue of Ptolemy. The Crow sits on the tail of Hydra the Water Snake, a long zig-zag line of stars that is only partly contained here. The head of Hydra, off frame to the right here, is in the earlier image of Leo and Cancer.
Another pattern riding the back of Hydra is Crater the Cup, associated with Corvus and Hydra in a Greek myth in which the Crow is sent to fetch water for Apollo but fails. Apollo flings the Crow, Cup and Snake into the sky. Angering the gods could get you immortalized in the sky!
Boรถtes, Corona Borealis and Hercules
Heading back north above Virgo, we return to the kite-shaped pattern of Boรถtes above Arcturus, the brightest star in the northern half of the sky. Coming up later on spring evenings, and to the left is a semi-circle of faint stars, the Northern Crown, or Corona Borealis, another of Ptolemy’s patterns from the 2nd century. The crown belongs to the princess Ariadne.
Astronomers have been watching Corona Borealis closely in recent months, waiting for a recurrent nova star to explode and add a new jewel to the Crown. So far, no luck. T CorBor remains stubbornly dim.
To the east of Corona is the H-shaped pattern of Hercules, the Roman name for the Greek hero Heracles. Among his many labours and conquests, he slewed Cancer the Crab and Leo the Lion.
Libra and Scorpius
Returning down south and scraping the horizon from my northern latitude late on spring nights are the next two constellations of the Zodiac east of Virgo: Libra the Scales and Scorpius the Scorpion.
Libra is a faint pattern but with the wonderfully named stars Zubeneschamali and Zubenelgenubi, meaning the northern and southern claws, as these stars were once considered part of the Scorpion. However, Libra has long been seen as a balance or scales for meting out justice. It is the only Zodiac constellation that is an inanimate object.
Scorpius is one of the few patterns that looks like what it is supposed to be, though here I see only the northern part of the constellation. His curving tail has yet to rise as the Milky Way comes into view low in the south just before dawn this night. The bright orange star is Antares, the heart of the Scorpion, set in an area rich in dark and colourful nebulas.
The appearance of Scorpius signals the return of the Milky Way to the sky, and the rise of the summer constellations.
But no astronomical life is complete without getting to know the patterns of spring. Clear skies and happy stargazing!
It took a last-minute chase, but I managed to capture the total eclipse of the Moon on March 14, 2025.
It would not be an eclipse without a chase. Solar eclipses of the total kind almost always involve travel, often to exotic locales around the world. But total lunar eclipses come to you, as they can be seen from an entire hemisphere of the planet.
Except there’s one problem โ clouds! Over the last decade since 2014, of the eight total lunar eclipses (TLEs) I was home in Alberta for, I had to chase into clear skies for all but one. A recounting of one such chase from January 2019 is here.
Only for the TLE before this most recent (on November 8, 2022) was I able to stay home to watch it. Though in that case a snowstorm the day before made the roads and travel poor, so I had to stay home. I recounted that eclipse story here. You’ll find links to my other lunar eclipse stories below.
Once again, for the March 13/14, 2025 TLE, weather prospects looked poor. Not just in my area but in many regions of the continent. But there was hope!
Astrospheric and Environment Canada cloud forecast + Moon information
The forecast cloud cover showed home to be hopeless. But a clear area was supposed to be open in southwestern Alberta, marked by the red circle above. That’s Waterton Lakes National Park, just on the US border. It’s a favourite place of mine for nightscape photography anyway (see my blog from this past summer here).
The chart above from the app Astrospheric shows the clear hole, and the dark blue on the time-line indicates the period with no clouds. Note how it coincides with the wavy line below which shows Moon altitude, with the orange and red regions indicating when the eclipse would take place. Looks good! So I made my plan to chase.
I knew the area well enough to know the site would be a good one for the eclipse, and the Moon’s location to the south. But it pays to check. I use The Photographer’s Ephemeris as my main photo planning app.
TPE Plot of Sightlines
It showed the sightline toward the Moon during the eclipse as straight down Upper Waterton Lake. My chosen spot was on the lakeside Waterton Avenue, where I could set up both the wide-angle camera and a telescope without having to heft gear any distance. Winter road closures also limited my site choices. Indeed, in winter the Park is quiet, with only a few hotels and restaurants open, and many businesses boarded up.
TPE 3D Simulation
Switching to the companion app TPE 3D (above) showed a preview of the landscape and the Moon’s position in the sky relative to the scene below.
Compare the simulation to the real thing below! Pretty accurate, except for the scattered clouds that drifted through.
This is a blend of separate images for the sky and ground: a stack of two untracked images for 60 seconds each for the ground, then a third exposure for the sky and untrailed stars, taken immediately afterwards with the tracker motor on, for 30 seconds, all with the Canon RF15-35mm lens wide-open at f/2.8 and at 20mm, on the Canon R5 at ISO 1600. Separate shorter tracked exposures of 15, 8 and 4 seconds blended in kept the lunar disk from overexposing, showing it more as the eye saw it.
The above image is a blend of tracked exposures for the Moon and sky, with untracked exposures for the ground. I shot them just before mid-totality at 1 am MDT. That image was second in priority. First, was a panorama. That result is below.
This is a panorama of four segments at 30ยบ spacing, taken in two passes: first untracked for 30 seconds each, then a second pass immediately afterwards with the tracker motor on, also for 30 seconds each, all with the Canon RF15-35mm lens wide-open at f/2.8 and at 20mm, on the Canon R5 at ISO 1600, with the camera in landscape orientation. Separate shorter exposures of 15s, 10s, 5s and 2.5s at ISO 400 were blended in to preserve the lunar disk more as the eye saw it.
I shot this scene just as totality began, to ensure I got it. While the Moon was in clear sky before totality during the partial phase, sure enough as the Moon became fully eclipsed, the clouds wafting over the mountains threatened to move in and obscure the view.
Luckily, while they did hide the Moon now and then, they opened up enough for good views and images for a few minutes at a time throughout the eclipse.
For the panorama I processed the image for a more monochromatic look, to resemble the naked-eye view, but with the Moon appearing as a red globe in the sky, the only colour in the scene. (I shot the tracked shots with the MSM Nomad tracker I reviewed here.)
The site proved excellent, but it was a cold night! While the temperature was only just below freezing, the brisk Waterton wind off the lake made it a chilly experience watching the eclipse for two hours. I was actually being hit by ice pellets blowing off the lake.
I decided not to set up the telescope for close-ups; the wide-angle images were the priority anyway from such a scenic spot.
A single untracked 15-second exposure with the RF15-35mm lens at f/2.8 and 17mm on the Canon R5 at ISO 3200.
But I am not complaining. I got the eclipse, once again by chasing to where the weather predictions said it would be clear. The above is my requisite trophy shot.
Had I stayed home I would have been clouded out. Had predictions called for clear skies at home, I would not have made the trip to Waterton to enjoy the eclipse over its wonderful scenery.
The next total lunar eclipse is September 7, 2025, six months after this eclipse. But it is visible from the opposite hemisphere to this one, with no part of that eclipse visible from North America. I will not chase that far for a TLE!
The March 3, 2026 TLE from Alberta
After that, and after a passage of one lunar year (355 days or 12 lunar cycles) since the March 14, 2025 TLE, I have a chance for another total lunar eclipse from home, with western North America favoured. As I preview above, it’ll be an early morning event on March 3, 2026, with the eclipsed Moon setting in the west in the pre-dawn hours.
Sounds like another chase to a mountain site with the red Moon over the Rockies. That’ll be the plan!
I’ve been visiting Churchill, Manitoba during winter aurora season since 2014. But this was my last year for standing under its fabulous Northern Lights.
From February 21 to March 4, 2025 I was at the Churchill Northern Studies Centre for my annual visit serving as an instructor to visiting aurora tourists. I’d been doing the program for ten years, with a year off in 2021 when no one visited!
But I decided this was to be my last year, as it was time to “retire” and turn over the program to a new generation of instructors.
So here I present my last look at the Churchill auroras.
A 180ยบ panorama across the north during an all-night display of Northern Lights, from the Churchill Northern Studies Centre, in Churchill, Manitoba, on February 22, 2025. A panorama of 7 segments, each 13-second exposures with the Viltrox 16mm lens at f/2 on the Nikon Z6III at ISO 1600.
Churchill, Manitoba is on the shore of Hudson Bay at a latitude of 58ยบ North in the sub-Arctic.
It lies under the normal location of the “auroral oval,” the ring around the North Geomagnetic Pole where there is almost always some aurora happening, even on a quiet night. Churchill is as far south as the auroral oval appears in the world when the oval is in its normal state.
By visiting a site under the oval, aurora tourists are almost guaranteed a show, provided the sky is clear.
This is a 180ยบย panorama of the Northern Lights across the northern, eastern and southern sky on February 27, 2025 during a Kp4-level display. This is a panorama of 3 segments, each 13-second exposures at f/2.8 with the Laowa 10mm lens on the Nikon Z6III at ISO 1600.
In winter in Churchill, the cold usually brings clear skies. In a decade of conducting programs I’ve only ever had one group clouded out for all five nights of the program. That’s a far better average than locations such as Iceland.
This is a 120ยบย panorama of the Northern Lights across the northern sky on February 26, 2025 during a Kp3-level display. This shows some fine ray structure in the curtains. This is a panorama of 2 segments, each an 8-second exposure at f/2.8 with the Laowa 10mm lens on the Nikon Z6III at ISO 1600.
While several excellent travel companies and local businesses offer aurora tours to Churchill, signing up to one offered by the Northern Studies Centre offers some major advantages.
Notably, guests stay at the Centre, some 20 kilometres outside of Churchill on the site of the old Rocket Range. That makes the site dark and free of light pollution.
A panorama of the Northern Studies Centre. It has dorm rooms, a cafeteria, classrooms, lounges, a fitness room, library, and all the comforts needed for a great stay under the Lights.
And convenient. Guests sleep on site and need only dress up warm to quickly head outside when the “Lights are out!” call comes. Instructors wake up guests when the Lights don’t appear until late at night, as can often be the case. There’s no driving out to dark sites to wait for the Lights to appear.
A fish-eye 360ยฐ view of the fine display of Northern Lights on February 25, 2025, during a substorm outburst with bright curtains to the north. A single 2.5-second exposure with the TTArtisan 7.5mm fish-eye lens at f/2.
An option is also to head up to the CNSC’s rooftop aurora dome for viewing the Lights in warm shirt-sleeve comfort.
Aurora tourists enjoy the show at the Churchill Northern Studies Centre, February 26, 2025. This was the Learning Vacations tour group in late February 2025. This is a single 8-second exposure with the Laowa 10mm lens at f/2.8 and Nikon Z6III at ISO 1600.
But most guests opt to bundle up and brave the cold for the best experience and unobstructed views of the Lights filling the sky. A convenient option is the second floor observation deck, shown above, and in an image taken from the deck, below.
A photographer is capturing a bright display of Northern Lights at the Churchill Northern Studies Centre. This was the first night of a five-night session for aurora tourists from the Road Scholar education travel company. This is a single 4-second exposure with the Laowa 10mm lens at f/2.8 and Nikon Z6III at ISO 3200.
The program includes nightly science talks about the aurora and night sky. The daytime program includes dogsledding, snowshoeing, a tour of the old Rocket Range, and visits to sites in Churchill such as the murals and museums. It’s a very full five days of programming and learning.
A fish-eye 360ยฐ view of a dim and weak display of Northern Lights on February 24, 2025, showing a green diffuse band to the south and a dim red curtain overhead with rays to the east. This red aurora was just visible to the eye as a grey streak. A single long 30-second exposure with the TTArtisan 7.5mm fish-eye lens wide open at f/2 on the Nikon Z6III at ISO 1600.
The main attraction, the aurora, can vary from night to night. However, even when the aurora is weak, as it was this night, above, it can still put on a fine show for the camera, glowing in red colours that only long exposures reveal.
Aurora tourists from the Road Scholar travel company enjoy the show of Northern Lights at the Churchill Northern Studies centre in Churchill, Manitoba, March 1, 2025. This is a 6-second exposure at f/1.8 with the Viltrox 16mm lens on the Nikon Z6III at ISO 1600.
While I use high-end cameras and fast lenses, I’ve been impressed with how well today’s phone cameras can capture the Lights very simply and easily, as a guest is doing above, especially when the aurora is bright.
A band of bright green aurora appears here with some subtle red rays at right and magenta upper curtains at left, with the green glow lighting the snow green. A 10-second exposure with the Laowa 10mm lens at f/2.8 on the Nikon Z6III at ISO 1600.
When the aurora brightens, greens and sometimes pinks are visible to the eye, and not just to the camera. And the aurora exhibits rapid rippling and waving motions (check the video below).
A bright display of colourful curtains of Northern Lights at the Churchill Northern Studies Centre. This is looking northeast toward the direction of the midnight sector where the auroras usually brighten from. This is a single 8-second exposure with the Laowa 10mm lens at f/2.8 and Nikon Z6III at ISO 1600.
The finest sight is when the aurora curtains converge overhead at the zenith for a “coronal outburst.” The effect can be fleeting but the sight is unforgettable. It is one of the finest sights the sky can offer, ranking with a total eclipse of the Sun.
A fish-eye 360ยฐ view of the fine display of Northern Lights on February 25, 2025, with a complex of curtains passing overhead and across the sky from northeast (at lower left) to southwest (at upper right), with Venus setting at far right. Orion and Sirius are at bottom centre to the south. A single 10-second exposure with the TTArtisan 7.5mm fish-eye lens at f/2 on the Nikon Z6III at ISO 1600.
Indeed, on most nights the aurora, which might begin as a low arc across the north, moves south to fill the sky with swirling and curling curtains, as below.
This is a 180ยบย panorama of the Northern Lights across the northern sky on February 27, 2025 during a Kp4-level display. The field extends from the horizon up to well past the zenith. This is a panorama of 6 segments, each an 8-second exposure at f/2.8 with the Laowa 10mm lens on the Nikon Z6III at ISO 1600.
A gallery of my images from Churchill from this year and from past years is on my main AmazingSky.com website here.
A musical collage of still images and real-time videos I shot this year is viewable here on YouTube.
Click through to YouTube for more information about the video.
It’s been a great ten years taking in the wonderful Northern Lights in Churchill. While this was my last year, I encourage you to visit to see the sights for yourself.
Everyone goes away with great memories, able to check the aurora off their bucket list of experiences.
Amateur astronomers soon learn that spring is “galaxy season.” But so is autumn … if you know where to look.
Each season brings a different and rich set of targets to view through telescopes. Summer and winter skies are dominated by the Milky Way and its assortment of glowing nebulas and sparkling star clusters, objects not far away within our Galaxy’s spiral arms.
We live in a galaxy that is a flattened disk โ though, as shown in this artwork based on data from the European Space Agency’s recently concluded Gaia mission, that disk is warped.
Image courtesy ESA
In summer and winter, as viewed from our location halfway from the centre to the edge of our Galaxy, we look into its disk, to see our Galaxy as the “Milky Way,” the misty band across the night sky.
But in spring we look straight out of the disk, into intergalactic space filled with other distant galaxies. In northern hemisphere spring we look “up” in this illustration, out of the disk toward the North Galactic Pole, and the rich collections of galaxies in Coma Berenices, Leo, and Virgo.
In southern hemisphere spring โ and from the southern hemisphere โ we look “down” in the diagram, toward the assortment of galaxies around the South Galactic Pole, in and around the lesser-known constellations of Eridanus, Fornax and Sculptor.
A SkySafari chart showing some of the targets on the tour, low in the south from Arizona’s latitude in autumn.
But, as I show above, that area of sky is accessible from sites in the northern hemisphere, when it is autumn. (The marker for SGP is the South Galactic Pole.) As you can see, the galaxy-filled constellations lie low in the southern sky. It takes travelling to a site as far south as possible to see them well.
That’s what I did in October 2024, to a favourite spot just north of the Mexican border near Portal, Arizona (latitude 32ยบ N). I blogged about that trip earlier.
Here I provide a tour of some of the deep-sky delights I shot on that trip, during autumn “galaxy season,” the other galaxy hunting time. All these galaxies are bright, rivalling the better-known northern targets in the popular 18th-century Messier Catalogue. But French astronomer Charles Messier never observed from this far south to see them. And yet, some of these targets are large and bright enough to be visible in binoculars, ranking them as “showpiece” objects.
NOTE: You can tap or click on all images to bring them up full screen.
Galaxies Galore!
NGC 55 in Sculptor
This is a stack of 16 x 4 minute exposures with the Askar APO120 refractor at f/5.6 (with its 0.8x Reducer) and the Canon Ra at ISO 1000.
This bright (8th magnitude) edge-on galaxy is big, almost 1/2ยบ across (as wide as a Full Moon diameter โ the field here is 2ยบ by 3ยบ). NGC 55 lies on the border of the obscure southern constellations Sculptor and Phoenix.
The galaxy was discovered by James Dunlop from Australia in 1826. It is one of the brightest members of the Sculptor Group of galaxies near the South Galactic Pole, though some consider it a member of our own Local Group of neighbour galaxies. It has an asymmetrical shape and is crossed by dark dust lanes. It is classed as a barred spiral, though that shape is hard to discern; we’ll see better examples later in the tour.
NGC 247, the Dusty Spiral in Cetus
This is a stack of 16 x 4 minute exposures with the Askar APO120 refractor at f/5.6 with its 0.8x Reducer, and the Canon Ra at ISO 800.
This is the bright (9th magnitude) and moderately large spiral galaxy NGC 247 in southern Cetus, the Whale. It is known as the Dusty Spiral and is #62 in Sir Patrick Moore’s Caldwell Catalogue of notable non-Messier objects.
It is also a member of the Sculptor Group of nearby galaxies close to our own Local Group that surrounds the Milky Way. A group of tiny and faint 14th to 16th magnitude “PGC” galaxies (from the Principal Galaxies Catalogue) called Burbidge’s Chain lies just above NGC 247.
NGC 253, the Silver Coin, with NGC 288, a Pairing in Sculptor
This is a stack of 20 x 3-minute exposures with the APO120 refractor with its 0.8x Reducer for 560mm focal length and f/5.6, and the Canon Ra at ISO 1600. No filter was employed.
Here, sitting right next to the South Galactic Pole, we get a two-for-one field. This is the pairing of the bright and large edge-on spiral galaxy NGC 253 (upper right) with the large and loose globular star cluster NGC 288 (lower left). The latter is easily resolved into its constituent stars.
The two are just 1.75 degrees apart in Sculptor, but are actually 12 million light years apart in space, with NGC 288 belonging to our Milky Way, while NGC 253 is another galaxy altogether, one of the brightest in the sky (at magnitude 7) and a member of the Sculptor Group.
NGC 253 is also known as the Silver Coin Galaxy, and is Caldwell 65 on Sir Patrick Moore’s list. However, it was discovered by Caroline Herschel in 1783, from England! Her brother William discovered nearby NGC 288.
NGC 300, the Sculptor Pinwheel
This is a stack of 16 x 4 minute exposures with the APO120 refractor at f/5.6 with its 0.8x Reducer, and the Canon Ra at ISO 800.
This is the bright (8th magnitude) and moderately large (1/2ยบ across) spiral galaxy NGC 300, aka the Sculptor Pinwheel. It’s the southern equivalent of the popular Messier 33 spiral in Triangulum. NGC 300 is also Caldwell 70.
It, too, was discovered in 1826 by James Dunlop. NGC 300 may be a member of the Sculptor Group. Or it might lie closer to us than the Sculptor Group, along with NGC 55, at “only” 6.5 million light years away.
NGC 1097, a Barred Spiral in Fornax
This is a stack of 10 x 6 minute exposures with the APO120 refractor at f/7, with the Canon Ra at ISO 1600.
We trek farther east into the next constellation over from Sculptor, to Fornax the Furnace, to find NGC 1097. This is the realm of bright (magnitude 9.5 in this case) barred spiral galaxies. This class of galaxy has arms emanating from a long bar at the core. This area of sky is replete with bright barred spirals, far more so than any area we find “up north.”
NGC 1097 is also classified as a Seyfert galaxy, a type with an active quasar-like nucleus, housing a massive black hole. NGC 1097 is also Caldwell 67. Just on its northern edge sits the little companion galaxy NGC 1097A.
NGC 1316 in Fornax, also with a Black Hole
This is a stack of 15 x 4 minute exposures with the APO120 refractor at f/5.6 with its 0.8x Reducer, with the Canon Ra at ISO 800.
This bright (magnitude 8.5) elliptical galaxy is also catalogued by radio astronomers as Fornax A, because NGC 1316 is also a “bright” source of radio waves, thought to be generated by a supermassive black hole at its core.
Elliptical galaxies are notorious for being cannibal galaxies, eating others nearby. Sure enough, the galaxy is surrounded by faint tidal streams of stars, just recorded here, the result of collisions and mergers with unfortunate companions that wandered too close by. NGC 1316 is about 75 million light years away, and belongs to the Fornax 1 Galaxy Cluster. Despite its uniqueness and brightness, it is not in the Caldwell Catalogue.
Just above it is the smaller elliptical NGC 1318. At top is the trio of: the edge-on spiral NGC 1326A and companion NGC 1326B, and the barred spiral NGC 1326 with an odd ring shape.
NGC 1365 and NGC 1399, at the Heart of the Fornax Cluster
This is a stack of just 10 x 6 minute exposures through the APO120 refractor at f/7 and the Canon Ra at ISO 1600.
This frames the main members of the populous Fornax Galaxy Cluster, second only perhaps to the northern sky’s Coma-Virgo Galaxy Cluster, and its Markarian’s Chain area, for having the most bright galaxies in one low-power telescope field. (The field here is 1.6ยบ by 2.4ยบ.) It is a “must see” sight for galaxy fans.
The two brightest Fornax cluster members are: – the giant elliptical galaxy NGC 1399 at upper left, paired with smaller NGC 1404,ย – and the barred spiral galaxy NGC 1365 at lower right, considered one of the best barred spirals in the sky.ย There’s nothing quite like it up north. Like NGC 1399, it is 58 million light years away.
The odd shaped galaxy at left is the irregular galaxy NGC 1427A, with NGC 1427 itself at the far left edge. The elongated spiral galaxy at top is NGC 1380. Numerous other NGC and tiny, faint PGC galaxies populate the field, down to magnitude 15 or so.ย
Bonus Nebulas!
While autumn’s galaxy season has lots to offer the galaxy hunter, there are some wonderful nebulas down south as well. In my sampling, all are “planetaries.”
NGC 246, the Skull Nebula in Cetus
This is a stack of 16 x 4 minute exposures with the Askar APO120 refractor at f/5.6 with its 0.8x Reducer, with the Canon Ra at ISO 1600.
This is the nebula NGC 246, aka the Skull Nebula, in Cetus. It’s an example of a planetary nebula, so-called because this type of object with their small blue-green disks reminded William Herschel of the planet Uranus that he discovered in 1781. NGC 246 was discovered by Herschel four years later in 1785.
NGC 246 has a mottled disk, giving it its fanciful name, and a 12th magnitude central star that has ejected the nebula as part of its end-of-life eruptions, the origin of all planetaries. They have nothing to do with planet formation; they are the products of star death.
NGC 246 lies about 1,600 light years away. Just above it is the small galaxy NGC 255.
NGC 1360, the Robin’s Egg Nebula in Fornax
This is a stack of 10 x 6 minute exposures with the Askar APO120 refractor at f/7 and with the Canon Ra at ISO 1600.
This, too, is a planetary nebula, but an odd one, in that it is a more uniform disk than is usual for planetaries, lacking the ring or bi-polar shape of most such objects. It was only recently classified as a planetary, one with an 11th magnitude central star responsible for expelling the nebula.
NGC 1360 is bright (at 9th magnitude), large, and blue-green, giving it the nickname the Robin’s Egg Nebula. The barred spiral galaxy (there are lot of them down here!) NGC 1398 is at lower left.
NGC 7293, the Helix Nebula in Aquarius
This is a blend of: a stack of 24 x 8 minute exposures with no filter, with a stack of 20 x 12 minute exposures with an IDAS NBX narrowband filter to isolate just the green Oxygen III and red Hydrogen alpha light. All through the APO120 at f/7, taken over 2 nights as the object was not well-placed long enough for all the images to be taken in one night. Shot using the Canon Ra, at ISO 3200 for the filtered frames and ISO 1600 for the unfiltered shots.
This is the large and bright (magnitude 7.6) planetary nebula catalogued as NGC 7293, but better known as the Helix Nebula, in Aquarius. But the internet has also dubbed in “The Eye of God.”
While this target lies farther north than most of the objects here, making it easy to see from northern latitudes, William Herschel working in England missed it. His telescopes were too powerful! It wasn’t discovered until 1824 (or thereabouts) by Karl Ludwig Harding in Germany. It is #63 in the Caldwell Catalogue.
NGC 7293 is thought to be one of the closest planetary nebulas to us, at only 650 light years away, thus its large size, nearly 1/4ยบ across, half the size of the Moon’s disk. There’s an outer halo that is twice that size, but only the brightest portion of it is recorded here as a partial arc. It takes exposures of many hours, and more patience than I have, to pick up this nebula’s full extent.
The bright star at left is 5th magnitude star Upsilon Aquarii, which I composed to be in the frame and not on the edge if the Helix had been centered.
About the Images
As per the tech details in the captions, I shot all the images from southern Arizona during a wonderful marathon of astrophotography in October 2024, at the Quailway Cottage, a favorite spot of mine for an astronomy retreat.
I used an Askar APO120 refractor, at either its native f/7 for a focal length of 840mm, or with its 0.8x Reducer lens for a faster f/5.6 focal ratio and shorter 670mm focal length, yielding a wider field and shorter exposure times for each “sub-frame.” Most images have a similar “plate scale,” so the difference in object size is due to their actual size on the sky.
The camera was the astro-modified 30-megapixel Canon Ra. The mount was the venerable Astro-Physics AP400, which returned earlier in 2024 from its 20-year stay in Australia. I used the Lacerta MGEN3 stand-alone auto-guider, for app- and computer-free guiding which I prefer. The MGEN3 performs “dithering,” shifting the framing by a few pixels between each exposure, to aid elimination of thermal noise when stacking images.
While it looks impressive, the telescope is still not the best for small, detailed targets like the galaxies and planetaries here. They demand even more focal length (= bigger and heavier telescopes) than I prefer to shoot with.
Even so, I plan to take the same rig to New Mexico this year in May to shoot targets in the “other half of the sky,” during spring galaxy season.
2024 brought us a total eclipse of the Sun, superb auroras, and a naked-eye comet, three top highlights of a wonderful year of celestial attractions. Maybe the best!
In our book The Backyard Astronomerโs Guide (which we revised this year), Terence Dickinson and I created an Aah! Factor scale with various celestial sights ranked from:
โข 1, evoking just a smile, to โฆ
โข 10, a life-changing event!
Our book’s Aah! Factor Scale in Chapter 1
Coming in at an 8 is a naked-eye comet. Deserving a 9 is an all-sky display of an aurora. The only sight to rate a top 10 is a total eclipse of the Sun.
2024 brought all three, and more!
Hereโs my look back at what I think was one of the greatest years of stargazing.
NOTE: The images might take a while to all load. All can be enlarged to full screen. Just click or tap on them.
January
A Winter Moonrise to Begin the Year
The rising of the winter “Wolf” Moon, the Full Moon of January, over the frozen Crawling Lake Reservoir, in southern Alberta.
Now, this was not any form of rare event. But seeing and shooting any sky sight in the middle of a Canadian winter is an accomplishment. This is the rising of the Full Moon of January, popularly called the Wolf Moon, over a frozen lake near home in Alberta, Canada ๐จ๐ฆ.
It serves to bookend the collection with a Full Moon I captured eleven months later in December.
February
Auroras from Churchill, Manitoba
Had this been my only chance to see the Northern Lights fill the sky this year, I would have been happy. As we often see in Churchill, the aurora covered the sky on several nights, a common sight when you are underneath the main band of aurora borealis that arcs across the northern part of the globe.
This is a vertical panorama of the sky-filling aurora of February 10, 2024, as seen from the Churchill Northern Studies Centre, in Churchill, Manitoba.
I attended to two aurora tour groups at the Churchill Northern Studies Centre who both got good displays to check โseeing the Northern Lightsโ off their bucket list. Join me in 2025!
March
Under the Austral Sky
Ranking a respectable 7 on our Aah! Factor scale is the naked-eye sight of the galactic centre overhead, with the Milky Way arcing across the sky. Thatโs possible from a latitude of about 30ยฐ South. Thatโs where I went in March, back to Australia ๐ฆ๐บ for the first time since 2017.
This is a framing of the most spectacular area of the southern Milky Way, from Centaurus at left, to Carina at right, with Crux, the Southern Cross, at centre.
I wrote about it in my previous blog, where I present a tour along the southern Milky Way, and wide-angle views of the Milky Way (the images here are framings of choice regions).
This frames the southern Milky Way from Canis Major and its bright star Sirius at top, to Carina and its bright star Canopus at bottom, the two brightest stars in the night sky. The large red complex is the Gum Nebula.
It is a magical latitude that all northern astronomers should make a pilgrimage to, if only to just lie back and enjoy the view of our place in the outskirts of the Galaxy. I was glad to be back Down Under, to check this top sky sight off my bucket list for 2024.
April
A Total Eclipse of the Sun
No sooner had I returned home from Oz, when it was time to load up the car with telescope gear and drive to the path of the April 8 total solar eclipse, the first “TSE” in North America since 2017, which was the last total eclipse I had seen, in a trip to Idaho.
This is a composite of telescopic close-ups of the April 8, 2024 total eclipse, with a multi-exposure blend for the corona at centre, flanked by the diamond rings.
But where? I started south to Texas, my Plan A. Poor weather forecasts there prompted a hasty return to Canada, to drive east across the country to โฆ I ended up in Quรฉbec. My blog about my cross-continental chase is here. My final edited music video is linked to below.
It was gratifying to see a total eclipse from “home” in Canada, only the third time Iโve been able to do that (previously in 1979 โ Manitoba, and 2008 โ Nunavut). If the rest of the year had been cloudy except for this day I wouldnโt have complained. Much.
This definitely earned a 10 on the Aah! Factor scale. Total eclipses are overwhelming and addictive. Iโve made my bookings for 2026 in Spain ๐ช๐ธ and 2027 in Tunisia ๐น๐ณ.
May
The Skyโs On Fire
It had been several years since I had seen an aurora from my backyard with colours as vivid and obvious as they were this night. But on May 10, the sky erupted with a fabulous display of aurora that much of the world saw, as aurora borealis in the north and aurora australis in the south.
This is a 300ยบ panorama of the May 10, 2024 Northern Lights display, when the Kp Index reached 8 (out of 9), bringing aurora to the southern U.S.
This was the first of several all-sky shows this year. I blogged about the yearโs great auroras here, where there are links to the movies I produced that capture the Northern Lights as only movies can, recording changes so rapid it can be hard to take it all in. Check off a 9 here!
So not even half way through the year, I had seen three of the top sky sights: the Milky Way core overhead (7), an all-sky aurora (9), and a total eclipse of the Sun (10).
But there was more to come! Including an Aah! Factor 8.
June
World Heritage Nightscape Treks
This is a panorama of the arch of the Milky Way rising over the Badlands of Dinosaur Provincial Park, Alberta, with a sky tinted with twilight and airglow.
The sky took a break from presenting spectacles, allowing me to head off on short local trips, to favourite nightscape sites in southern Alberta, which we have in abundance. The Badlands of Dinosaur Provincial Park are just an hour away, the site for the scene above.
A panorama at sunset at Writing-on-Stone Provincial Park (รรญsรญnai’pi) in Alberta, with the Milk River below and the Sweetgrass Hills in the distance in Montana. Note the people at far right.
The rock formations of Writing-on-Stone Provincial Park are a bit farther, requiring a couple of days commitment to shoot. Clouds hid the main attraction, the Milky Way, this night, but did provide a fine sunset.
The Milky Way rises over Mt. Blakiston, in Waterton Lakes National Park, Alberta. This was June 10, 2024, so snow remains at high altitudes.
A little further west down the highway is Waterton Lakes National Park, another great spot I try to visit at least once each year.
All locations I hit this month are U.N. World Heritage Sites, thus the theme of my blog from June. People travel from all over the world to come here, to sites I can visit in a few hours drive.
July
Mountains by Starlight
In summer we now often contend with smoke from forest fires blanketing the sky, hiding not just the stars by night, but even the Sun by day.
The Andromeda Galaxy at centre is rising above Takakkaw Falls, in Yoho National Park. Above is the W of stars marking Cassiopeia.
But before the smoke rolled in this past summer I was able to visit a spot, Yoho National Park in British Columbia, that had been on my shot list for several years. The timing with clear nights at the right season and Moon phase has to work out. In July it did, for a shoot by starlight at Takakkaw Falls, among the tallest in Canada.
This is the Milky Way core and a bonus meteor over the peaks and valleys at Saskatchewan River Crossing, in Banff National Park, Alberta.
The following nights I was in Banff National Park, at familiar spots on the tourist trail, but uncrowded and quiet at night. It was a pleasure to enjoy the world-class Rocky Mountain scenery under the stars on perfect nights.
August
The All-Sky Auroras Return
In August I headed east to Saskatchewan and the annual Summer Star Party staged by the astronomy clubs in Regina and Saskatoon. It is always a pleasure to attend the SSSP in the beautiful Cypress Hills. The sky remained clear post-party for a trip farther east to the little town of Val Marie, where I stayed at a former convent, and had a night to remember out in Grasslands National Park, one of Canadaโs first, and finest, dark sky preserves.
The Northern Lights in a superb all-sky Kp6 to 7 display on August 11-12, 2024, in Grasslands National Park, Saskatchewan.
The plan was to shoot the August 11 Perseid meteor shower, but the aurora let loose again for a stunning show over 70 Mile Butte. My earlier blog has more images and movies from this wonderful month of summertime Northern Lights.
We are fortunate in western Canada ๐จ๐ฆ to be able to see auroras year-round, even in summer. Farther north at the usual Northern Lights destinations, the sky is too bright at night in summer.
September
Back to Deep Sky Wonders …
This is a framing of the rich starfield in Sagittarius and Serpens containing a mix of bright star clouds, glowing nebulas, and dark dust in the Milky Way.
September is the month for another astronomical party in the Cypress Hills, but on the Alberta side. At the wonderful Southern Alberta Star Party under its very dark skies, I was able to shoot some favourite deep-sky fields along the Milky Way with new gear I was testing at the time.
This frames the complex region of emission nebulas in central Cygnus near the star Gamma Cygni, at lower left. The Crescent Nebula is at centre.
And from home, September brought skies dark and clear enough (at least when there was no aurora!) for more captures of colourful nebulas (above and below) along the summer Milky Way.
This frames all the photogenic components of the bright Veil Nebula in Cygnus, a several-thousand-year-old supernova remnant.
We invest a lot of money into the kind of specialized gear needed to shoot these targets (and Iโm not nearly as โcommittedโ as some are, believe me!), only to find the nights when it all comes together can be few and far between.
… Plus, A Very Minor Eclipse of the Moon
I had to include this, if only for stark contrast with the spectacular solar eclipse six months earlier.
We had an example of the most minor of lunar eclipses on March 24, 2024, with a so-called โpenumbralโ eclipse of the Moon, an eclipse so slight itโs hard to tell anything unusual is happening. (So I’ve not even included an image here, though I was able to shoot it.)
Me at another successful eclipse chase โฆ to my backyard to capture the partial lunar eclipse on September 17, 2024. The Moon is rising in the southeast.
On September 17, we had our second eclipse of the Moon in 2024. This time the Earthโs umbral shadow managed to take a tiny bite out of the Full Moon. Nothing spectacular to be sure. But at least this eclipse expedition was to no farther away than my rural backyard. A clear eclipse of any kind, even a partial eclipse, especially one seen from home, is reason to celebrate. I did!
Of course, a total eclipse of the Moon, when the Full Moon is completely engulfed in Earthโs umbra and turns red, is what we really want to see. They rate a 7 on our Aah! Factor scale. We havenโt had a “TLE” since November 8, 2022, blogged about here.
We knew early in 2024 that the then newly-discovered Comet Tsuchinshan-ATLAS had the potential to perform this month. I planned a trip south to favourite spots in Utah and Arizona to take advantage of what we hoped would be a fine autumn comet.
This is Comet Tsuchinshan-ATLAS (C/2023 A3) at its finest in the evening sky, on October 14, two days after its closest approach to Earth, and with it sporting a 10ยบ- to 15ยบ-long dust tail, and a short narrow anti-tail pointed toward the horizon. The location was Turret Arch in the Windows area of Arches National Park, Utah.
It blossomed nicely, especially as it entered into the evening sky in mid-October, as above. Despite the bright moonlight, it was easy to see with the unaided eye, a celestial rarity we get only once a decade, on average, if we are lucky. My blog of my comet chase is here.
This is a panorama of Comet Tsuchinshan-ATLAS over Arches National Park, Utah, on a moonlit night, October 15, 2024, with the comet easy to see with the unaided eye.
A naked-eye comet ranks an 8 on our Aah! Factor scale. So now 2024 had delivered all four of our Top 4 sky sights.
This 360ยฐ panorama captures a rare SAR (Stable Auroral Red) arc across the Arizona sky in the pre-dawn hours of October 11, 2024. The SAR arc was generated in the high atmosphere as part of the global geomagnetic storm of October 10/11, 2024, with a Kp8 rating that night.
But … just as a bonus, there was another fabulous aurora on October 10, seen in my case from the unique perspective of southern Arizona, with an appearance of a bright “SAR” arc more prominent than I had ever seen before. So that view was a rarity, too, so unusual it doesn’t even make our Aah! list, as SARs are typically not visible to the eye.
November
Back to Norway for Northern Lights
2024 was notable for travel getting โback to normal,โ at least for me, with two long-distance drives, and now my second overseas trip. This one took me north to Norway ๐ณ๐ด, which I had been visiting twice a year as an enrichment lecturer during pre-pandemic years.
A green and red aurora appears over the coast of Norway, with Jupiter bright at right. This was from the Hurtigruten ship m/s Nordkapp on November 10, 2024, on a coastal cruise with a Road Scholar tour group.
The auroras were excellent, though nothing like the great shows of May and October. But the location sailing along the scenic coast and fjords makes up for any shortfall in the Lights. It was good to be back. I plan to return in 2025 for two cruises in October. Join me there, too!
December
A Winter Moonrise to End the Year
As I write this, December has been nothing but cloud. Almost. A clear hour on Full Moon night allowed a capture of the โCold Moon,โ with the Moon near Jupiter, then at its brightest for the year. So thatโs the other lunar bookend to the year, shot from the snowy backyard.
This is the Full Moon of December 14, 2024, near the planet Jupiter at lower right. Both were rising into the eastern sky in the early evening.
However, I did say after the clear total eclipse in April that if the rest of 2024 had been cloudy I wouldnโt complain. So Iโm not.
And thereโs no reason to, as 2024 did deliver the best year of stargazing I can remember. 2017 had a total solar eclipse. 2020 had a great comet. But we have to go back to 2003 for aurora shows as widespread and as a brilliant as weโve seen this year. 2024 had them all. And more!
After an absence of seven years it was great to be back under the fabulous sky of the Southern Hemisphere, home to the best deep-space splendours. Here’s my sky tour…
From 2000 to 2017, the year of my last previous trip Down Under, I had been travelling to the Southern Hemisphere, sometimes to Chile but most often to Australia, once a year or biennially. Thereโs just so much to see and photograph in the southern sky.
This is a panorama of the southernmost portion of the Milky Way, from the stars Alpha and Beta Centauri at far left, to Sirius, the brightest nighttime star, at far right. The second brightest star, Canopus, is at bottom. This is a panorama of 3 segments, each a stack of 10 to 20 sub-frames, each 4 minutes at ISO 800 with the Canon Ra and Canon RF28-70mm lens at f/2.
While the deep-south sky represents perhaps just 30 percent of the entire celestial sphere, it contains arguably the best of everything in the sky: the best nebulas, the best star clusters, the best galaxies, and certainly the best view of our own galaxy, the Milky Way.
No astronomical life is complete without a visit (or two or more!) to the lands south of the equator, ideally to a latitude of about 20ยฐ to 35ยฐ South. For the first time since 2017, I headed south this past March, in 2024. My belated blog takes you on a tour of the great southern sky.
NOTE: My blog is illustrated with lots of images, so it might take a while to load. Click or tap on an image to bring it up full screen. For the technically curious, I have included gear and exposure details in the captions.
Far Away in Australia
Yes, itโs long way to go โ a 15-hour-flight from Canada. But Australia is my favourite destination down under. I can speak the language (sort of!), and have learned to drive on the left. Even after a seven year absence, my brain took only a few minutes to adjust once again to most of the car, and opposing traffic, being on the โwrong sideโ of me.
After a visit with the โrelosโ (Aussie for โrelativesโ) in Sydney and on the Central Coast of New South Wales, I loaded up all the telescope gear my folks had been kindly storing for me for two decades, and headed inland. Not really Outback. And not really โbush.โ
My destination in March, as it usually has been on my many visits (this was my 12th time to Australia), was Coonabarabran in the Central West of NSW. It bills itself as the โAstronomy Capital of Australia.โ
And rightly so, as nearby is the Siding Spring Observatory, Australiaโs largest complex of optical telescopes (check the slide show above). I had a great tour again โ thanks, Blake! โ of the big 4-metre AAT that towers over the rest of the observatories on the mountain.
The Upside-Down Sky
A pano of Mirrabook Cottage, my astronomy retreat site.
My home for the first week in โCoona,โ as the waning Moon got out of the way, was the Mirrabook Cottage off Timor Road, ideal as an astrophoto retreat. The view to the east and south (the view above) is partly obscured by gum trees, but not enough to prevent shooting targets around the South Celestial Pole, such as the Magellanic Clouds, as I show below.
The scope came with me this time, but the mount had been in Oz for 20 years.
The first order of the day upon arriving was to sort out my gear, to see if it was all working. My main Oz telescope, a legendary Astro-Physics Traveler refractor that I had stored in Australia since the early 2000s, came home with me in 2017, for use at the 2017, 2023, and 2024 solar eclipses in North America (the links take you to blogs for those eclipses) .
So this year I brought another little refractor with me, the diminutive Sharpstar 61mm EDPH III. Many of the images I present here I shot with the Sharpstar, on the veteran Astro-Physics AP400 mount I show above, which had lived in Australia for two decades. It came home with me this time, to use the very next month at the April total eclipse in Quebec. My blog with the final music video from that eclipse is here.
But I also brought a little star tracker, an MSM Nomad, which I reviewed here, just in case the old iOptron tracker I had in Australia, but hadnโt used since 2017, did not work. I neednโt have feared. It was the new Nomad that had issues, with the iOptron serving me well as a back-up for wide-angle Milky Way images.
This is a wide-angle view of the constellations of the northern hemisphere winter, but seen from the southern hemisphere looking north on an austral autumn night, March 3, 2024. Shot on the MSM Nomad tracker, for a blend of 4 x 2-minutes tracked at ISO 1600 for the sky and 2 x 2-minutes untracked at ISO 800 for the ground.
From Mirrabook looking north affords a fine view of a sky familiar to us northerners โ if we stand on our heads! Orion and the stars of โwinterโ are there but upside-down for us, with the constellations that are overhead for us at home, now low in the north.
I shot all the images presented here during my two-week Oz astrophoto extravaganza. I had clear skies every night, bar for a couple that were welcome breaks!
This is a wide-angle view of the southern Milky Way, here from Carina and Crux at lower left up to Orion and Monoceros at upper right. On the MSM Nomad tracker, for a stack of 10 x 3-minute exposures at ISO 800 with the TTArtisan 11mm lens on the Canon Ra.
South of Orion, and overhead from Australia (as I show above), is the dimmer section of the Milky Way passing through constellations once part of the huge celestial ship Argo Navis, now broken into Puppis the Aft Deck, Vela the Sails, and Carina the Keel, the latter containing the second brightest star in the night sky, Canopus, second only to Sirius nearby in Canis Major.
Puppis and Vela
Though somewhat obscure and hard to pick out as distinctive patterns, Puppis and Vela are filled with deep-sky wonders.
The biggest is so vast it covers as much sky as a hand length, held at armโs length. But it is totally invisible to the eye, even aided by optics.
This is a framing of the vast Gum Nebula in the southern Milky Way, that sprawls over the constellations of Vela and Puppis. This is a stack of 12 x 5 minutes at ISO 1600 and f/2 with the Astronomik 12nm H-alpha clip-in filter, blended onto the base unfiltered images from a stack of 14 x 3 minutes at f/2.8, all with the Canon RF28-70mm lens at 28mm on the red-sensitive Canon Ra camera, and on the MSM Nomad tracker.
This is the huge Gum Nebula, discovered in 1955 by Australian astronomer Colin Gum, working at the Mt. Stromlo Observatory near Canberra. It might be a star-forming nebula shaped by stellar winds, or it might be the exploded debris of a nearby supernova star.
Within the Gum Nebula in Vela is a smaller complex of arcs and fragments I show below. This definitely is a supernova remnant, one that exploded about 11,000 years ago some 900 light years away. But it, too, is large, making it a perfect target for the little refractor, and a telephoto lens, with both versions below.
This frames most of the intricate arcs and loops of the Vela Supernova Remnant (SNR). This is a stack of 8 x 10-minute exposures shot through an IDAS NBZ dual narrowband filter to bring out the nebulosity, blended with a stack of 12 x 5-minute exposures with no filter. All with the filter-modified Canon EOS R camera, on the Sharpstar 61 EDPH III refractor at f/4.4. This is the large Vela Supernova Remnant in a stack of 15 x 2-minute exposures with the Canon RF135mm lens at f/2 on the Canon Ra at ISO 1000. With a broadband filter.
The area is also home to rich fields of bright star clusters (two are below), many intertwined with wreaths of star-forming nebulosity. These rival or exceed the more famous northern targets of the Messier Catalogue compiled between 1774 and 1781 by Charles Messier. It took several more decades before astronomers from the north catalogued the sky to the south.
This is the bright, large and colourful naked-eye star cluster NGC 2516 in Carina, aka the Southern Beehive Cluster, near the bright star Avior (Epsilon Carinae) in Carina. This is a stack of 8 x 5 minute exposures with the Sharpstar 61mm refractor at f/4.4 and the Canon R at ISO 800.This frames a pair of contrasting and superb star clusters in Puppis: rich NGC 2477 on the left and sparse but bright NGC 2451 on the right, the latter centred on the orange star c Puppis. This is a stack of 8 x 5 minute exposures with the Sharpstar 61mm refractor at f/4.4 and the modified Canon R at ISO 800.
Carina and Crux
Continuing deeper down the Milky Way we come to its most southerly portion rich in nebulas and clusters that outclass anything up north. This is also the brightest part of the Milky Way after the Galactic Centre.
This is the showpiece nebula of the southern skies, the Carina Nebula. The bright and rich Football Cluster, aka the Black Arrow Cluster or Pincushion Cluster, is at upper left. With the Sharpstar refractor at f/4.4 and filter-modified Canon R at ISO 3200 for narrowband filtered shots and ISO 800 for unfiltered shots.
The Carina Nebula is larger than the more famous Orion Nebula farther north. In the eyepiece it is a glowing cloud painted in shades of grey and crossed by intersecting dark lanes of dust. Photographs reveal even more intricate details, and the magenta tints of glowing hydrogen.
At upper left is the โFootball Cluster,โ as Aussies call it, or the Black Arrow Cluster, aka NGC 3532. It is surely one of the finest open star clusters in the sky. John Herschel, who in the 19th century compiled the first thorough catalogue of southern objects, thought so. I agree!
This is the Southern Pleiades star cluster surrounding the naked eye star Theta Carinae. This is a stack of 8 x 5 minute exposures with the Sharpstar 61mm refractor at f/4.4 and the Canon R at ISO 800.
Below the Carina Nebula is a brighter and bluer star cluster known as the Southern Pleiades, or IC 2602. Like many of the targets I show here, it is visible to the unaided eye and is a fine sight in binoculars, which are all you need to enjoy most of the southern splendours.
This two-segment telephoto lens panorama extends from the colourful stars of Crux, the Southern Cross at left, to Carina at right. This is a panorama of two segments, each a stack of 12 x 2-minute exposures with the Canon RF135mm lens at f/2 on Canon Ra at ISO 800.
East of the constellation of Carina is the iconic and colourful Southern Cross, or Crux, a star pattern on the flags of Australia, New Zealand and several other austral nations.
This frames the dark Coal Sack nebula in Crux, the Southern Cross. This is a stack of 8 x 5 minute exposures with the Sharpstar 61mm refractor at f/4.4 and the filter-modified Canon R at ISO 800.
Next to Crux is the darkest patch in the Milky Way, called the Coal Sack. Looking like a dark hole to the eye, in photos it breaks up into streaky dust lanes surrounded by famous star clusters, like the Jewel Box above it. Like many southern clusters, the aptly named (by Herschel) Jewel Box contains a variety of colourful stars.
This is the region around the star Lambda Centauri, with the Running Chicken Nebula or IC 2948, at bottom, surrounding the star Lambda Centauri and the loose open star cluster IC 2944. This is a stack of 12 x 5 minute exposures with the Sharpstar 61mm at f/4.4 and filter-modified Canon EOS R camera at ISO 800.
Between Carina and Crux sits another wonderful field of clusters and nebulas, among them the more recently named Running Chicken Nebula. Can you see it? Above it is the Pearl Cluster, NGC 3766, also notable for its colourful member stars.
This frames the small constellation of Musca the Fly below the Southern Cross, with the dark nebula called the Dark Doodad, part of the Musca Dark Nebula Complex. This is a stack of 12 x 2 minute exposures with the Canon RF135mm lens at f/2 on the Canon Ra at ISO 800.
Below Crux is the little constellation of Musca the Fly (many southern constellations are named for rather mundane creatures and objects). One of Muscaโs prime sights is the long finger of dusty darkness called the Dark Doodad โ yes, thatโs its official name!
The Magellanic Clouds
All the targets Iโve shown so far reside in our Milky Way. The next two objects, named for 16th century explorer Ferdinand Magellan, are extra-galactic.
This is the southern Milky Way in Carina, Crux and Centaurus arcing over Mirrabook Cottage. At right are the Large and Small Magellanic Clouds. This is looking south to the South Celestial Pole which is near centre here.
The Clouds are other galaxies beyond ours, but nearby. They are among the closest galaxies and are considered satellites of the Milky Way. Both are visible to the unaided eye, looking like detached bits of the Milky Way. For deep-sky aficionados, they are reason enough to visit the Southern Hemisphere!
This frames the entire Small Magellanic Cloud, a member of the Local Group of galaxies and a companion of our Milky Way Galaxy. The field is 7.5 by 5ยบ. This is a blend of a stack of 8 x 10-minute exposures at ISO 3200 through an IDAS NBZ narrowband filter, and a stack of 12 x 5 minute unfiltered exposures at ISO 800, all with the Sharpstar 61mm refractor at f/4.4 and the filter-modified Canon R.
The Small Magellanic Cloud contains many star-forming nebulas that glow in hydrogen red and oxygen cyan. It is most famous for its spectacular neighbour, the great globular star cluster called 47 Tucanae, here at right. It is not actually part of the SMC โ 47 Tuc is more than ten times closer, on the outskirts of our Galaxy.
As rich as the Small Cloud is, it pales in comparison to its bigger neighbour, the LMC. The Large Magellanic Cloud is almost a universe unto itself. Astronomers have devoted their careers to studying it.
This is the Large Magellanic Cloud, some 160,000 light years away. This is with the Sharpstar refractor in a stack of 12 x 10-minute exposures at ISO 3200 through an IDAS NBZ dual-band (OIII and H-a) filter that adds most of the nebulosity, blended with a stack of 20 x 5-minute exposures at ISO 800 with no filter for the main “natural light” background content.
The biggest attraction in the LMC, one visible to the eye, is the Tarantula Nebula, the mass of cyan at left here. Many of the LMC’s nebulas emit light primarily from oxygen, not hydrogen. But figuring out which object is which can be tough. The LMC is filled with so many nebulas and clusters โ and nebulous clusters โ that no two catalogues of its contents ever quite agree on the identity and labels of all of them.
Northern Fields
The Magellanic Clouds are in the deep south, close to the Celestial Pole. A trip south of the equator is needed to see them. But on my trips to Australia I often like to shoot โnorthernโ fields that I canโt get well at home in Canada.
This frames the variety of bright nebulas and dark dust clouds in and around the Belt and Sword of Orion. It shows how the bright Orion Nebula is really just the visible tip of a vast complex of gas and dust in Orion. This is a stack of 14 x 2 minute exposures with the Canon RF135mm lens at f/2 and on the Canon Ra at ISO 800. The lens had an 82mm URTH Night broadband filter on it to enhance nebulas somewhat.
This is the Belt and Sword of Orion the Hunter surrounded by interstellar clouds. Itโs low in my south from home, but high in the north down under. This is with a telephoto lens, not the telescope, captured under better and more comfortable skies than I have in winter in Canada.
This is the nebula-rich region of Monoceros the Unicorn, containing the bright Rosette Nebula, NGC 2237, below the fainter and larger complex of nebulosity, NGC 2264, which contains the small (on this scale) Cone Nebula. This is a stack of 16 x 2 minute exposures with the Canon RF135mm lens at f/2 and on the Canon Ra at ISO 800.
Nearby is another nebulous field but fainter, in Monoceros the Unicorn, containing the popular target, the Rosette Nebula, at bottom here. But thereโs much more in the area that shows up only in long exposures under dark skies.
At top is the large Seagull Nebula, an area of mostly red hydrogen-alpha emission and is a region of star formation. At bottom is the small Thor’s Helmet, mostly emitting cyan oxygen III light. This is a blend of a stack of 12 x 10-minute exposures at ISO 3200 with the IDAS NBZ filter, and a stack of 12 x 5-minute exposures at ISO 800 with no filter. All with the Sharpstar 61mm refractor at f/4.4 and Canon EOS R camera.
A target Iโve often had difficulty shooting for one technical reason or another is the Seagull Nebula straddling the border between Monoceros and Canis Major. I got it this time, together with a contrasting blue-green nebula called Thorโs Helmet, at lower left. Itโs the expelled outer layers of a hot but aging giant star called a Wolf-Rayet star.
The OzSky Star Party
After a successful week at Mirrabook, I packed up and moved down the road to the Warrumbungles Mountain Motel, home to the annual OzSky Star Safari I have now attended six times over the years. (I see as of this writing it is almost sold out for 2025!)
A colorful sunset over the telescope field at the OzSky star party, March 15, 2024, at the Warrumbungles Mountain Motel, near Coonabarabran, NSW, Australia.
Handheld with the RF28-70mm lens at 28mm on the Canon R.
Limited to about 30 people, OzSky (flip through the slide show above) caters to ardent amateur astronomers from overseas who want to revel in the southern sky, aided by the presence on site of a field of giant telescopes, delivered and set up by a great group of Australian astronomers, who show everyone how to run the computer-equipped scopes. And with tips on what to look at beyond the top โeye candyโ targets I’m presenting here.
The views of the southern splendours through these 18- to 25-inch telescopes are well worth the price of admission!
Our group photo of the 2024 OzSky T-shirted attendees and hosts.
It is always a great week of stargazing and camaraderie. If you are thinking of โdoing the southern sky,โ I can think of no better way than by attending OzSky. While it is primarily geared to visual observers, a growing number of attendees have been lured into the โdark sideโ of astrophotography.
March and April, austral autumn, are good months to go anywhere down under, as you get views of the best of what the southern sky has to offer. The Milky Way is up all night, just as it is six months later in our northern autumn. Thatโs when I made my complementary Arizona pilgrimage this year, blogged about here.
The Dark Emu Rising
One of the great naked-eye sights at OzSky in its usual months of March or April is the Dark Emu rising after midnight.
This frames the Australian Aboriginal “Dark Emu” made of dark dust lanes in the Milky Way as it rises in the east. This is a blend of four tracked exposures for the sky and one untracked for the ground, all two minutes at ISO 1600 with the TTArtisan 11mm full-frame fish-eye lens on the Canon EOS R camera.
It is an Australian Aboriginal constellation made of lanes of obscuring interstellar dust, from the Coal Sack on down the Milky Way to past the Galactic Centre. It is obvious to the eye โ a constellation made of darkness.
Sagittarius and Scorpius
Late at night in the austral autumn months, the centre of the Galaxy region in Sagittarius and Scorpius comes up, presenting such a wealth of fields and targets it is hard to know where to begin.
There’s no richer and more colourful area of the sky than this field encompassing the Galactic Center in Sagittarius, at left, and the constellation of Scorpius seen in full here at centre and at right. This is a stack of 6 x 2 minute exposures with the Canon RF 28-70mm lens at f/2 on the Canon Ra at ISO 800.
Yes, we can see this area from up north, but thereโs nothing like seeing Scorpius crawling up the sky head first, and then shining from high overhead by dawn.
This is a mosaic of the tail of Scorpius โ from the bright star cluster Messier 7 at upper left embedded in bright Milky Way starclouds, to the large star cluster NGC 6124 amid dusty dark lanes at lower right. This is a stitch of 3 segments: each a stack of 6 x 2 minute exposures with the Canon RF135mm at f/2 on the Canon Ra at ISO 800.
Fields like this in the Tail of Scorpius are below my northern horizon at home. And it would still be low from a southern U.S. site, where natural green or red airglow can spoil images. Iโve never had an issue with airglow in Australia. Oz skies are as dark and clean as I have ever experienced.
The Southern Milky Way
The grand finale of a night at OzSky, or anywhere in the southern hemisphere in autumn, is the celestial sight that I think ranks as one of the skyโs best, up there with a total solar eclipse.
This is an all-sky view of the centre of the Galaxy region in Sagittarius and Scorpius nearly overhead before dawn on an austral autumn morning in March 2024. The Milky Way stretches from Aquila at bottom left to Crux and Carina at upper right. This is a stack of 4 x 4 minute tracked exposures, at f/2.8 with the TTArtisan 11mm full-frame fish-eye lens on the filter-modified Canon EOS R at ISO 800.
That sight is the jaw-dropping pre-dawn panorama of our Galaxy stretched across the sky, with the bright core overhead and its spiral arms out to either side. It is obvious as a giant edge-on galaxy, with us far off-centre. The image above frames the entire Dark Emu.
One of my projects this year, for a moonless night with little likelihood of clouds coming through, was to work photographically along the Milky Way, down from Orion into Puppis and Vela, through Carina and Crux, and into Centaurus, then finishing with the galactic core area of Scorpius and Sagittarius.
This panorama takes in a 180ยฐ sweep of the Milky Way: from Sagittarius, Scorpius and the Galactic Centre at left, to Orion, Gemini and near the galactic anti-centre at right. This is a panorama of 11 segments, each a stack of 8 to 12 exposures, of 2 or 3 minutes each, with the Canon RF28-70mm lens at f/2.2 or f/2.8 on the Canon Ra at ISO 800.
The resulting 180ยบ panorama, made of 11 segments shot at 32ยฐ South, was an all-night affair, interrupted by a nearby tree and the oncoming dawn. It complements one I shot six months later from 32ยฐ North in Arizona. That panorama is included in my Comet Chasing blog.
The Moon Returns
OzSky, as are all star parties, is timed for the dark of the Moon. By the end of the week, with everyone well and truly satiated by starlight and dark skies, the crescent Moon was beginning to appear in the west. (Yes, thatโs a young waxing evening Moon, here near Jupiter on March 14, 2024.)
The waxing crescent Moon near Jupiter in the western twilight sky on an austral autumn evening. This is a blend of exposures to retain the detail around the bright Moon and corona glow: long (2.5s) for the sky and stars, and three shorter (0.6s, 0.3s and 1/6s) exposures for the Moon.
It was time to pack the telescopes into their trailers, and for everyone to head back home, whether that be in Australia or elsewhere in the world.
If You Goโฆ
If you travel to the Southern Hemisphere, at the very least take binoculars and star charts, especially simple “beginner” charts, as youโll be starting over again identifying a new set of patterns and stars.
For astrophotography, a star tracker is all you need, plus of course a camera and lenses. Focal lengths from fish-eye to telephoto can all be put to use. But many of the best fields are suitable for framing with no more than a 135mm lens, as I used for some of the images here.
But take good charts to identify the location of the South Celestial Pole in Octans the Octant. With no bright “South Star,” it can be tricky getting that field into your polar alignment sighting scope. Once aligned, I tend to leave my rig set up where it is, and not have to repeat the process each night. That’s why it’s nice to base yourself under dark skies at a cottage like Mirrabook, and not be on the road and at a different site every night.
The Sharpstar 61mm scope on the Star Adventurer GTi mount.
If you want to have a telescope with you, one of the current generation of small (50mm to 70mm) apo refractors is ideal, either to look through or shoot through. For imaging, a small equatorial mount is essential, but can be tough to pack with its tripod. And you need to power it. The little Sky-Watcher Star Adventurer GTi powered by its internal 8 AA batteries, but on a collapsible carbon fibre tripod, is a good choice.
For visual tours, the OzSky Star Safari will provide all the eyepiece time on big scopes you could ask for. It is imaging where you are on your own to come fully equipped and self-contained.
When will I be back? Perhaps not in 2025. But 2026 is a possibility, maybe a little later in austral autumn to get the Galactic Centre up sooner and higher before dawn. Iโve been to Australia in the winter months of June and July and itโs too cold! May perhaps.
My Oz observing site โ with camera gear accompanied by a roo. Or a wallaby? Note the cover over my aligned tracker rig at right.
If you go once, you will be bitten (we hope not literally by one of Ozโs killer critters!) by the southern sky passion.
The only downside is that when I get home, often to poor weather, but even when skies are clear, I find that the home skies tend to lose their excitement and attraction. They just canโt compare to the great southern skies.
The Sun peaked at โsolar maximumโ and gave us wonderful sky shows in 2024.
Officially, the Sun reached the peak of its roughly 11-year cycle of activity โ “solar max” โ in late 2024. Thatโs according to NASA and NOAA.
During 2024 several major solar storms erupted as a result of the Sunโs increased activity. They blew massive clouds of energetic particles โ electrons and protons โ away from the Sun. Some of those storm clouds swept past Earth, sparking bright auroras widely seen in both the Northern and Southern Hemispheres.
The rise and fall of solar activity. The peak at right is as of November 2024 in mid-Cycle 25. Courtesy SolarCycleScience.com.
I was fortunate enough, as many were, to witness several of 2024โs great auroras, from home in Alberta, and from as far south as Arizona.
Trips north to Churchill, Manitoba, and to northern Norway also presented some fine aurora nights. But thatโs normal at any time in the solar cycle from those sub-Arctic and Arctic locations.
Itโs when the aurora comes to you that you get a truly memorable show. And 2024 had its share of them.
NOTE: My blog has a lot of images and links to movies that may take a while to load. Images can be clicked on to bring them up full screen. The blog also contains many links to other sites to learn more!
Starting the Year โ February in Churchill
This was the month I made my annual trek to Churchill, Manitoba, to instruct aurora tour groups at the Churchill Northern Studies Centre. Why not join us in 2025?
An aurora selfie at the Churchill Northern Studies Centre, on February 10, with a modest Kp4-level storm underway. This is 20-seconds with the TTArtisan 11mm fisheye lens at f/2.8 on the Canon R6 at ISO 1600.
Yes, the air is cold (usually about -25ยฐ C) but the skies are often clear and aurora filled, as Churchill sits under the normal location of the auroral oval, the main zone of auroras. In fact, it is as far south in the world as the auroral oval normally resides, at a latitude of only 58ยบ North, well south of the Arctic. If itโs clear, thereโs almost always some level of Northern Lights.
This year, 2024, was no exception. Even on nights with low readings on the usual auroral indicators we got sky-filling displays that are rare down south.
This is a southerly arc of green and red Northern Lights on February 9. This is a panorama of 5 segments, each 20 seconds with the Laowa 15mm lens at f/2 on the Canon R6 at ISO 1600.
What I find in Churchill is that even with numerically weak and visually dim shows, as above, the camera often sees very red and photogenic auroras. The eye sees the colours only when the aurora brightens, which it often does (as I record below), sparking rippling green curtains (from glowing oxygen) fringed with pink (from glowing nitrogen).
I didnโt shoot time-lapses or movies this year in Churchill. Instead, the example movie above, shot using just real-time (not time-lapse) videos, is from February 2019. It is from my AmazingSky YouTube channel.
The video presents the aurora much as the eye saw it, and as it appears when it dances.
This is a 360ยบ panorama of the all-sky aurora of February 10, from the Churchill Northern Studies Centre. This is a panorama of 9 segments, each 15 seconds with the TTArtisan 11mm lens at f/2.8 on the Canon R6 at ISO 1600.
However, I tend now to shoot mostly panoramas, as above, from this year’s visit. They can take in the full show across the sky, in high-resolution images suitable for framing!
May 10 โ The Great May Display
The aurora apps were beeping this day, warning a great display was in the offing. The composite satellite image below from NOAA shows the actual extent of the aurora around the Northern Hemisphere during the great display of May 10/11 .
Note how the auroral oval is indeed an oval and how the centre is not the geographic North Pole. It is the North Geomagnetic Pole, in the High Arctic of Canada. ๐จ๐ฆ So the oval dips down farther south over North America than it does over Europe.
Image courtesy of the U.S. National Oceanic and Atmospheric Administration.
The May 10 solar storm rated a top “G5” on the G1 to G5 storm scale, while the โKpโgeomagnetic disturbance index reached Kp8 on the Kp0 (nothing) to Kp9 (OMG!) scale.
I gave a talk at a local community art gallery that evening, and alerted the audience to the likelihood of fine aurora later that night. Sure enough, I got home in time to see the sky already lighting up with aurora in the twilight and behind the clouds.
This was the multi-coloured curtain to the south during the great display of May 10. This is a 10-second exposure with the Laowa 15mm lens at f/2.8 on the Canon Ra at ISO 1600.
The clouds cleared off enough to reveal one of the most colourful shows Iโd seen in many years. This time there was no question about seeing reds and vivid pinks with the unaided eye. This was the type of show everyone hopes for. But it takes a Kp6 show and higher to spark it.
This was the view as the aurora suddenly brightened and converged at the zenith for a superb corona effect. This lasted no more than a minute before it dimmed and subsided again. This is a 9-second exposure with the Laowa 7.5mm circular fisheye lens at f/2 on the Canon R5 at ISO 800.
And a music video of the May 10 display incorporating time-lapse and real-time video footage is on my YouTube channel, with the clickable link below. Do enlarge to full screen.
One of the most remarkable aspects of this show was the blue auroras later in the night (shown below), created by sunlight illuminating the upper curtains and reacting with atmospheric nitrogen. The usual auroral greens and reds are from oxygen. Pinks are also from nitrogen. Blues are less common, but were in abundance this night.
This is a 360ยฐย panorama of the May 10/11 aurora exhibiting vertical blue and magenta rays across the western (left), northern (bottom), and eastern (right) sky, and an odd bright patch to the south at top. This was toward the end of the main activity this night, at about 2:30 am. This is made of 20 segments, each 13-second exposures, with the Laowa 15mm lens at f/2 on the Canon Ra at ISO 800.
Auroras around summer solstice, June 21, can be more colourful and often blue, as the Sun lights the upper atmosphere all night. I saw blue auroras again later in the summer.
July โ NLCs and Classic Auroral Arcs
June and July are normally when we in western Canada get good displays of another northern mid-latitude phenomenon, noctilucent clouds (NLCs).
This shows sunlit noctilucent clouds in the northwest in the summer twilight, and as the waxing crescent Moon sets at left. This was July 9 at 11:45 pm MDT, in a panorama of 5 segments, each a 30-second exposure with the Canon RF24-105mm lens at f/4 and 58mm on the Canon R5 at ISO 400.
These are ice clouds at 80 km altitude (almost in space) that are lit by sunlight all night long. I saw only a couple of displays of NLCs this year, and it wasnโt for lack of trying and clear nights, even amid forest fire smoke. The panorama above is from home on July 9, over a yellow canola field. NLC season always coincides with peak canola colour time!
Might NLCs be suppressed by high solar activity? Thereโs some data that suggests they are. However, we werenโt getting many auroras either in early summer.
A 180ยฐ panorama of the surprise aurora of July 25, as there was little indication in the days before that an aurora was possible this night. This is a panorama of 6 segments, with the Viltrox 16mm lens at f/2 on the Nikon Z6III at ISO 800, each 8-second exposures.
But at the end of July the Northern Lights returned for some classic shows of arcs across my northern sky, first on July 25 (above), with a prominent sunlit blue/purple ray at left by the Big Dipper. The Kp Index reached Kp5 this night, which is enough to produce a good display from my location in southern Alberta. The Moon is rising at right.
A 180ยฐ panorama of the Kp5-level aurora on July 29, with a green arc, and magenta and red rays. This is a panorama of 8 segments, each 30-second exposures with the Viltrox 16mm at f/2 on the Nikon Z6III at ISO 800.
Then again, four nights later on July 29, an auroral arc appeared across the north, this one with reds mixing with greens to create a yellow band in the east, as well as blue and magenta tops to the green arc that follows the curve of the auroral oval.
August 1 โ STEVE Appears
While June and July were quiet months, August made up for them.
Of all the auroras this year, only this one, on August 1, produced a showing of STEVE, at least as best I saw in 2024. He can be elusive and easily missed!
This is a capture of a faint appearance of a STEVE-like arc during the Kp5 aurora of July31/Aug 1. This was at 12:10 a.m. MDT, so on Aug 1. The camera recorded the pinkish rays at right which are likely STEVE arcs below a more diffuse and fainter red band which may be a SAR, a Stable Auroral Red arc.
STEVE is the odd arc, often white or mauve, that appears southward of the main aurora (from here in the Northern Hemisphere), typically after a show has peaked, then subsided and retreated back north, as it did above.
STEVE stands for Strong Thermal Emission Velocity Enhancement, as it is caused by horizontally flowing hot gas, and so is not, by definition, a true aurora created by energetic particles raining vertically down magnetic field lines.
For a classic showing of STEVE see my video, above, from August 2022. High-resolution 4K video I shot this night formed the basis for a scientific research paper, as it revealed structures in STEVE no one had seen before.
This is a capture of a brief appearance of a STEVE arc in the west during the Kp5 aurora of July31/Aug 1. This was at 1:10 a.m. MDT, so on Aug 1. The mauve STEVE arc was visible for about 15 minutes before it gradually faded. The green picket fence fingers, which were visible to the eye but colourless, appeared only a minute or so before this image and were gone no more than 2 mnutes later.
STEVEs are often accompanied by green โpicket fence fingersโ hanging down from the mauve arc. These fingers are more akin to normal auroras, but are created by particles from the STEVE band raining down local magnetic field lines. They do not come from far out in space as they do in a normal aurora!
August 4 โ A Coronal Outburst
On the night of August 3/4 I was able to join a photo tour run by local photographer Neil Zeller, to shoot Milky Way nightscapes. Escaping clouds, we ended up at a scenic spot south of Medicine Hat, Alberta, called Red Rock Coulee.
A 180ยฐ panorama of a Kp5-level aurora on a partly cloudy night, August 3/4. This was looking to the northeast at 3:00 am from a side road off the Trans-Canada Highway in southern Alberta just east of Brooks.
On the way home, the aurora began to let loose behind the clouds. We stopped once off the highway as the aurora brightened in an arc across the northeast, above.
A bright auroral curtain sweeps from the zenith down the western sky, as the sky brightens with the blue of a dawn twilight. This was the morning of August 4, with a Kp5 to 6 level aurora underway. The location was just off Highway 1 between Brooks and Bassano, Alberta. This is a single 13-second exposure with the Viltrox 16mm lens at f/2 on the Nikon Z6III at ISO 400.
We stopped again later, now at 4 am, and marvelled as the curtains converged at the zenith in the finest manifestation an aurora can produce, a swirling zenith โcorona.โ
A music video from August 4, using just a single real-time video, not a time-lapse, is above. It shows almost the full but brief appearance of the corona, just as the eye saw it looking straight up!
My plan was to shoot the annual Perseid meteor shower that was to peak on Sunday, August 11, from the same spot I shot it in 2016.
A 270ยฐ panorama of the aurora in the evening twilight on August 11, from the 70 Mile Butte trailhead in Grasslands National Park, West Block near Val Marie, Saskatchewan. This is a panorama of 11 segments, each 15 seconds with the Laowa 15mm lens at f/2.8 on the Canon R5 at ISO 800.
The aurora had other plans. Again, as it did on May 10, the sky was lighting up with colours as it darkened in the evening twilight, above.
This is a 360ยฐ all-sky panorama of the Kp6 to 7-level aurora on August 11, from Grasslands National Park. This is a panorama of 12 segments, each 4 seconds with the Laowa 15mm lens at f/2 on the Canon R5 at ISO 4000.
The aurora expanded to fill the sky, and with odd fragmented bits, shown above. My trio of cameras set up for the meteor shower got repurposed into taking aurora time-lapses, stills, and panoramas. And selfies! โ the title slide for this blog was from this memorable night at Grasslands.
The aurora was bright enough during this substorm outburst at 12:15 am that the red and green colours could be seen with the eye, though they were subtle. This is a 2-second exposure with the Laowa 15mm lens at f/2 on the Canon R5 at ISO 3200.
A notable moment was at midnight when, even to the eye, the sky to the east suddenly turned red, and a wave of crimson aurora quickly swept in. The reds from oxygen mix with the more usual auroral greens, also from oxygen, to create areas of yellow in the sky.
This was also peak night for the 2024 Perseid meteor shower. One bright Perseid meteor shoots down the Milky Way in Cygnus at top, amid the converging rays of the aurora at the magnetic zenith. This is with the Laowa 10mm lens at f/2.8 on the Nikon Z6III at ISO 6400 for 2 seconds.
A few still frames in the time-lapses did manage to catch a Perseid meteor or two, as above, embedded in the vivid curtains of light. But the meteors were upstaged by the Northern Lights this night.
A music video of this show is above, also on my YouTube channel (itโs been a busy year!). Using only time-lapses, it captures the sudden arrival of the red sub-storm, sped up to be sure, but it seemed that quick!
August 30 โ From Onset to Recovery
This night I was hoping to shoot deep-sky objects with telescopes I was testing at home. Again, the aurora had other ideas.
This view is looking north, but the fisheye lens is taking in much of the sky. The August 30 show was somewhat unexpected, though there were last-hour warnings a sky-covering display might be possible. This is a single 4-second exposure with the TTArtisan 7.5mm fisheye lens at f/2 on the Nikon Z6III at ISO 3200.
As the movie shows, a band of Lights across the north early in the evening promised to develop. So I set up a time-lapse camera and fisheye lens to capture, for once, a complete development of an aurora, from a diffuse band, to the onset of an active sub-storm outburst which occurred, as they often do, at midnight when we are looking down Earthโs magnetic tail at the source of the aurora particles.
As the video shows, the storm then subsides and the aurora changes character. During the post-sub-storm โrecovery phase,โ usually when we are under the dawn sector of the auroral oval, an aurora can switch to a pulsating effect with patches of aurora flashing off and on and flaming up to the zenith. This form of aurora is caused by electrons trapped in the Van Allen radiation belts that are bouncing back and forth from pole to pole.
The music video of this show, above, uses a mix of time-lapses and real-time videos shot with the 360ยบ 7.5mm fisheye lens. Itโs a great aurora lens for capturing it all!
September 16 โ A Colourful All-Sky Show
Auroras are often most frequent, active, and bright around the spring and autumn equinoxes, when the magnetic field lines of Earth and interplanetary space better connect. Itโs called the Russell-McPherron Effect.
This is a 360ยฐ panorama from left (southeast) to right (northeast) and extending from the horizon to the zenith, taking in the entire sky during an outburst of a particularly colourful aurora on September 16. This is a panorama of 12 segments, each 4 seconds with the Laowa 15mm lens at f/2 on the Canon R5 at ISO 400.
September 16 (6 days before the autumnal equinox) saw another all-sky show that, for us in western Canada, rivalled May 10. As with the spring show, this aurora was notable for its great range of colours, with nitrogen pinks and magentas mixed in with shades of oxygen yellow-greens and reds.
A darker blue-green band to the south (at left above) during the peak could be aurora from incoming protons exciting hydrogen, not from the usual electrons that excite all other auroras and light up oxygen and nitrogen atoms and molecules.
Yes, there are proton auroras. Another research paper using my images from an October 2021 aurora explored the relationship between proton auroras and SAR arcs (explained below).
This is an all-sky 360ยฐ panorama from the horizon at the edges, to the zenith at centre, taking in the entire sky during an outburst of a particularly colourful aurora on September 16. This is a panorama of 12 segments, each 4 seconds with the Laowa 15mm lens at f/2 on the Canon R5 at only ISO 400.
The September 16 show started with a diffuse band which quickly exploded as a sub-storm onslaught of energetic particles arrived to light up the aurora with greater brilliance, colours, and rapid motion. The onset of a substorm can happen in literally just a minute.
Even the nearly Full Moon failed to diminish this show, seen from home under perfect skies. Luckily, the smoky season had abated.
A music video of this nightโs show is also above on YouTube. Do click through to watch this and the other videos in full screen mode.
October 10 โ Red Aurora from Arizona
Six months to the day after the great May 10 show, the sky erupted again with auroras seen all over the world, even from more southerly latitudes that donโt normally see Northern Lights.
A rare red aurora seen from latitude +32ยบ N from southeast Arizona during the major Kp8-level storm of October 10. This is looking north from the Quailway Cottage near Portal, Arizona and Rodeo, New Mexico. This is a single 15-second exposure with the Canon RF15-35mm lens at 15mm and f/2.8 on the Canon R5 at ISO 1600.
I know because I was at one of those latitudes, in southern Arizona at 32ยฐ N. The aurora created the kind of show seen from areas that donโt normally get auroras โ a red sky on the horizon. It is these ominous red skies that provoked Medieval fears of divine wrath and myths of armies clashing in the distant North.
Red auroras can also occur in the Southern Hemisphere (as can every other form of aurora) when the aurora australis brightens and extends farther north than normal, lighting up the southern sky red at locations that rarely see the Southern Lights.
In both cases we are seeing just the red tops of distant curtains that mostly lie hidden over the horizon, the red coming from oxygen reactions that can happen only at the rarefied altitudes of 300 to 500 km. Oxygen greens come from 100 to 300 km up.
From Arizona, I saw what many in the U.S. saw this night โ a prominent glow, obviously red even to the eye, across the northern horizon. I was missing a far better show at home!
This is a 360ยฐ panorama covering the entire sky and extending up to the zenith at centre, capturing a rare SAR (Stable Auroral Red) arc across the Arizona sky in the pre-dawn hours of October 11. This is a panorama of 12 segments, each 30 seconds at f/2.8 with the Canon RF15-35mm lens on the Canon R5 at ISO 3200.
But unique to my more southerly site was this phenomenon, also widely seen across the U.S. and southern Canada.
Accompanying the โnormalโ aurora to the north was a diffuse red (to the camera) arc across the sky that lasted most of the night. This was a Stable Auroral Red (SAR) arc, created by thermal energy flowing horizontally in the high atmosphere some 400 km up.
SARs have been seen evolving into STEVEs, as the mechanisms seem related. Indeed, one of my images from August 1, shown above, seems to show a SAR/STEVE hybrid.
I set up a wide-angle lens and time-lapse hoping to catch such an evolution first-hand, which would have been of great interest to researchers. Alas, the SAR did not cooperate, stubbornly remaining a SAR all night.
This was the pre-dawn scene from southeastern Arizona on the morning of October 11 that frames a suite of skyglows. This is a panorama of 3 segments, each a stack of 5 x 1-minute tracked exposures with the Canon RF15-35mm lens at 15mm and f/2.8 on the Canon R5 at ISO 1600.
By dawn, with blue sunlight at work, the SAR looked magenta in the twilight, accompanied by two other sky glows:
The pyramid-shaped Zodiacal Light created by sunlight reflecting off cometary and meteoric dust in the inner solar system,
And the winter Milky Way, created by the combined light of distant stars in our section of our Galaxy.
So in one image we have atmospheric, interplanetary, and interstellar sky glows! This was truly an amazing sky, the likes of which I might never see again.
Ending the Year โ November in Norway
In early November I headed to Norway to instruct my first aurora group there since 2019. The location was on board a ship, the m/s Nordkapp, a ferry in the Hurtigruten fleet that does 12-day runs along the coast, from Bergen in the south, to Kirkenes in the far north, and back again.
Passengers on board the m/s Nordkapp are watching the Northern Light show on November 9, from the coast of Norway. This is 0.4 seconds at f/1.8 with the Nikkor 20mm lens on the Nikon Z6III at ISO 3200.
We got three nights in a row of active auroras on the northbound voyage. A Kp4 to 5 storm brought the Lights farther south and overhead for us early in the voyage, something we donโt normally see in Norway until we get underneath the auroral oval, which at that longitude in the world lies above the Arctic Circle, north of 66ยฐ latitude.
A colourful aurora appears in the darkening evening twilight sky at sea along the coast of Norway on November 9. This is a single 2-second exposure with the 20mm Nikkor lens at f/1.8 on the Nikon Z6III at ISO 1600.
But on November 9, with a storm underway, the show started early, rudely interrupting our groupโs cocktail hour as we all rushed up on deck. As it can do, the aurora glowing in a twilight sky took on added tints.
This is a panorama of auroral arcs across the southern sky, with prominent red content contrasting with the oxygen yellow-green bands. Taken on November 10/11 (just after midnight). This is a panorama of 7 segments, each 1.3-second exposures with the Nikkor 20mm lens at f/1.8 on the Nikon Z6III at ISO 3200.
The next night, November 10, as we sailed through the mountainous Lofoten Islands, we were treated to an aurora with lots of red content, above. No two auroras are alike!
An arc of Northern Lights points the way into the narrow Trollfjord in the Lofoten Islands of Norway, as our ship, the m/s Nordkapp enters the fjord at night by searchlight. This is a 0.5-second exposure at f/1.8 with the Nikkor 20mm lens on the Nikon Z6III at ISO 1600.
A curtain of aurora also nicely pointed the way into the short but scenic Trollfjord, a fjord the ship captains like to navigate into for a memorable side trip as we slide through the narrow canyon with seemingly inches to spare.
A music video of real-time aurora sequences shot from on deck during my November 2024 Norway cruise is above on YouTube. Note the phones held high, the way most people now shoot the aurora, and usually with very good success!
Whatโs Coming for 2025?
We have more to look forward to in 2025.
First, it is likely that the Sun has not peaked, but may undergo a second peak of maximum activity in 2025 or 2026. A double peak is common at many solar maxes. Just look at the graph at the opening of the blog, and the previous peaks of Cycles 23 and 24.
Plus, the most energetic solar flares and storms often occur after the peak on the downward trend of activity. So we could well see more worldwide aurora displays like we had on May 10 and October 10 in the coming two to three years. The show is far from over!
Watch websites like SpaceWeather.com for aurora alerts and news of solar events coming our way.
A plan to shoot the promised bright comet of 2024 paid off, with fine views at dawn and at dusk of the best comet since 2020.
Comets are always a gamble. Any new comets discovered, the ones that usually become the brightest, have no track record of performance. Predictions of how bright a new comet might appear are based on what a typical comet should do. But comets can outperform expectations and dazzle us, or they can fizzle and fade away.
In late 2023 it was clear that a then newly-discovered comet, C/2023 A3, named Tsuchinshan-ATLAS after the observatories where it was co-discovered, had the potential to perform in late 2024.ย
The low angle and position of the comet from home in Canada in the late September dawn sky, simulated in StarryNight software.
Knowing where it would be in the sky (that trait of a comet can be predicted with accuracy!) I planned a field trip to the U.S. desert Southwest for late September and early October 2024. From farther south the comet would be higher than it would be from home (shown above), and over spectacular landscapes.
I had visions of another Comet NEOWISE from July 2020. As my blog from 2020 shows, we saw that photogenic comet well from our northern latitude in Canada, as it skimmed across the northern horizon. Tsuchinshan-ATLAS would require a chase south.ย
September 26 & 27 โ at Bryce Canyon, Utah
In late September 2024 the comet would be inbound, approaching the Sun and in the morning sky. What better eastern scene than overlooking Bryce Canyon in Utah, where I had been a year before, for the October 14, 2023 annular eclipse of the Sun in the morning sky. (Click the link for my eclipse chase blog.)
I was fortunate to get two clear mornings, both from the Fairyland Canyon viewpoint, just a short walk from the parking lot to carry camera gear and tracking mounts.
Comet C/2023 A3, Tsuchinshan-ATLAS, at dawn over Bryce Canyon, on the morning of September 27, 2024.
My first look at the comet on September 27 was on the day the comet was at perihelion, closest to the Sun in its orbit, though not in the sky at our viewing angle from Earth.
The comet was just visible to the unaided eye, but was obvious on the camera view screen, even amid the bright twilight. I had to shoot fast as the window between โcomet riseโ and the sky brightening too much was only a few minutes long.
Comet C/2023 A3, Tsuchinshan-ATLAS, rising in the twilight over Bryce Canyon, on September 28, 2024.
Knowing better what to look for, I caught the comet a little sooner the next morning on September 28, and so the tail appeared longer and more impressive as it rose above the distant mountains. A group of other local photographers arrived just a few minutes too late both mornings, and so struggled to just sight the comet, let alone photograph it.
This vertical panorama takes in the nebula-rich northern winter Milky Way over the formations of Bryce Canyon National Park, from the Fairyland Canyon viewpoint.
But I had arrived extra early, to shoot a vertical panorama (above) of the winter Milky Way over the canyon formations below. This and the comet images were shot with the aid of a sky tracker to follow the stars, but with the tracker off for separate shots of the ground.
So I had bagged the comet at Bryce! On to the next stop.
September 28 & 29 โ at Monument Valley, Utah
Thereโs no more iconic or famous landscape in the American West than the buttes of Monument Valley, on the Navaho Tribal Lands on the Arizona/Utah border.
This panorama from the Navaho Tribal Park at Monument Valley shows the evening twilight sky looking east opposite the sunset to the rising dark blue arc of Earth’s shadow cast on the atmosphere. The shadow is rimmed with a pink “Belt of Venus” tint from sunlight still hitting the upper atmosphere.
A clear first evening provided a fabulous view of the arc of Earthโs shadow across the eastern sky from the viewpoint near the aptly named The View Hotel.
This is a panorama of the sunrise scene at the Navaho Tribal Park, Monument Valley, Arizona, taken just after sunrise with the low Sun lighting the iconic buttes and mesas of the Valley. The West and East Mittens are at left; the Sun was behind Merrick Butte at centre, and lighting Mitchell Mesa at right.
A wonderful sunrise on my second morning there made for a spectacular panorama. But while clouds created fine sunrise lighting, they arenโt conducive to seeing comets!
Comet C/2023 A3, Tsuchinshan-ATLAS (at centre), is rising in the dawn twilight over Monument Valley, Arizona on the morning of September 30, 2024. The comet is rising just south (right) of Merrick Butte.
A band of clear sky near the horizon allowed me to catch the comet rising to the right of Merrick Butte, as seen from a spot south of The View from where I had calculated the comet would rise in the right position. From the usual Valley viewpoint farther north the comet would have been behind the butte.
While the planning worked, the result was not quite the spectacle I had envisioned. The comet was nice, but was starting to become lost in the bright sky as it descended toward the Sun.
There were only a couple of mornings left to catch the comet at dawn before it disappeared completely into the daytime sky close to the Sun.
October 1 to 11 โ at Quailway Cottage, Arizona
The major block of time in my trip was booked for an astrophoto retreat at a cottage Iโd rented twice before but not since late 2017. The Quailway Cottage, popular among birders, is also ideal for stargazing as it is in one of the darkest areas of the Southwest, north of Douglas, Arizona, and just across the Arizona/New Mexico border.
This captures both the glow of Zodiacal Light in the eastern dawn sky (the band of light extending up across the frame) and the dust tail of Comet Tsuchinshan-ATLAS rising from behind the Pelloncillo mountains, at dawn on October 2, 2024.
When I arrived the comet was putting in its last show in the dawn sky. In fact, on October 2 I managed to capture a dawn scene with the morning Zodiacal Light created by sunlight reflecting off cometary dust in the inner solar system, and just the tail of the comet rising before the bright comet head appeared.
Comet C/2023 A3, Tsuchinshan-ATLAS, is rising in the dawn twilight over the Pelloncillo Mountains in New Mexico, on October 2, 2024.
An image taken a little later showed the entire comet, now sporting a more impressive tail. It was blossoming into a fine comet indeed. But we were about to lose sight of it for more than a week.
Arizona Deep-Sky Imaging
While at Quailway I had clear skies every night. And so, as planned, I went to town shooting all kinds of โdeep-skyโ objects and fields with two astrophoto rigs I had brought with me: a longer-focal length 120mm refractor for small targets, and a short-focal length refractor for wide fields in the Milky Way. I had reviewed both new telescopes in recent months.
The Askar APO120 on a veteran Astro-Physics AP400 mount. The Founder Optics Draco 62 on the small Star Adventurer GTi mount.
I concentrated on shooting targets low in the south that are impossible to get from home in Canada, and that Iโve missed shooting, or have not shot well, during my visits to Australia.ย See my blog here about my latest trek Down Under.
The two brightest Fornax cluster members are the elliptical galaxy NGC 1399 at upper left, paired with smaller NGC 1404, and the galaxy NGC 1365 at lower right, considered one of the best barred spirals in the sky.
Hereโs an example, above, with the larger Askar 120APO: a field of galaxies in the constellation of Fornax that rivals the better-known Markarianโs Chain of galaxies in Coma Berenices in the northern spring sky.
This frames the spectacular region of the Milky Way near the direction of the galactic centre in Sagittarius.
And hereโs a field (above) with the small Founder Optics Draco 62mm scope, framing the rich Sagittarius Starcloud punctuated with the small dark Ink Spot Nebula, all below the bright Lagoon and Trifid Nebulas.
This panorama extends for about 240ยบ along the northern half of the Milky Way, from Orion at left, to Sagittarius at right, and centered on the Galactic Equator.
In autumn the Milky Way is up all night. So I used a simple star tracker, the MSM Nomad reviewed here on my blog, and a 28-70mm lens at 35mm to shoot a panorama from dusk to dawn along the Milky Way โ from the summer stars of Sagittarius and Cygnus (at right, above), through the autumn constellations overhead in Cassiopeia and Perseus (at centre), and down into the pre-dawn sky with the winter stars in and around Orion (at left).
A Bonus Aurora from Arizona
I was just north of the Mexican border, at a latitude 32ยฐ North, more than 20ยฐ farther south than at home in Alberta. But what should appear in my sky but โฆ aurora!
A selfie of me observing the great red aurora of October 10, 2024, from southern Arizona.
On October 9, and then again more so on October 10, a great solar storm brought Northern Lights down to me. And indeed across all of Canada and the U.S. The result for me was a red glow to the north โ the tops of distant auroral curtains I would have seen filling my sky at home.
A time-lapse of an Arizona aurora, using a 15mm wide-angle lens shooting nearly 400 forty-second exposures. View it in-line here. Enlarge to a full screen view. There is no sound.
Above is a time-lapse video of the aurora that night, from a camera aimed due north for four hours. The red curtains come and go through the night.
This is a 360ยฐ panorama covering the entire sky and extending up to the zenith at centre, capturing a rare SAR arc across the Arizona sky in the pre-dawn hours of October 11, 2024.
The remarkable feature that night, October 10/11, was not the aurora, but what is called a SAR (Stable Auroral Red) arc that persisted all night. It appeared as a diffuse red band across the sky, created by heat energy leaking into the upper atmosphere during the solar storm. SAR arcs can accompany an aurora but are not auroras themselves.
This panorama takes in a rare confluence of skyglows in a colourful dawn sky.
By dawn the next morning, now October 11, the tall Zodiacal Light was prominent alongside the magenta SAR arc to the north (left) and the winter Milky Way to the south (right). Thereโs even a short pillar of light that might be an aurora fragment, or the tail of the comet!
The Comet Returns
However, toward the end of my 11-night marathon of deep-sky imaging, the bright head of the comet was to be rising into the evening sky for Part 2 of its apparition. Below is a shot from the evening of October 11, my last at Quailway. Yes, there it was, just above the Chiricahua Mountains. But it was a blip, barely visible in binoculars and to the camera. I had hoped for more.
This is Comet Tsuchinshan-ATLAS (C/2023 A3) at far right, barely visible emerging into the evening sky and low in the twilight, on October 11, 2024. This view includes Venus at left. Venus was obvious; the comet was not!
With the Moon now waxing into the evening sky, my plan was to head back north, stopping at scenic spots on the trip home, to catch the comet over moonlit landscapes to the west in the dusk sky.
My first two nights, October 12 and 13, at the VLA Radio Observatory near Socorro, New Mexico, then farther north near Canyon de Chelly, Arizona, were both beset by clouds to the west. From images posted on-line, I knew the comet was improving. But it was eluding me.
October 14 & 15 โ at Arches National Park, Utah
The next stop was Arches National Park in Utah, which I last visited in April 2015. The first nightโs forecast for October 14 also looked to be cloudy. But October 15 was supposed to be clear. So I extended my stay by an extra night, thinking that might be my only chance.ย
As it turned out October 14 was fabulous (below). The comet was easily visible to the unaided eye as a classic comet in the west. I pointed it out to folks walking by at the Windows Arches area. And I could hear other people commenting on it. At last a comet! One that anyone could see โ though it helped to be at a clear sky site like Arches.
Comet Tsuchinshan-ATLAS at its finest in the evening sky, two days after its closest approach to Earth, and with it sporting a 10ยบ- to 15ยบ-long dust tail, and a narrow anti-tail pointed toward the horizon.
By then the Moon was well advanced in age to a bright gibbous phase, so the sky was by no means dark. It was deep blue in photos.
Still the comet showed up brilliantly; it had blossomed a lot in a couple of nights. Above, I framed it beside moonlit Turret Arch.
Below is a scene from the next night, October 15, my โback-upโ night. The comet was certainly performing well after all. Even in the moonlight. In binoculars the tail stretched for the same length as the camera recorded it, some 15ยฐ.
This is a telephoto close-up Comet Tsuchinshan-ATLAS over the red rocks of Arches National Park, Utah, on a superb moonlit night, October 15, 2024.
Indeed, that was my last view of the comet for a while, as clouds prevented any more shooting on the rest of my journey north through Idaho and Montana.ย I even hit a snowstorm in southern Montana.
Late October โ Back at Home in Alberta
But the comet was not done yet! Through October, while it receded from us in distance, it climbed higher into our sky, placing it into a dark sky with the Moon now out of the way.ย
This is Comet Tsuchinshan-ATLAS in a wide-angle nightscape scene over the Badlands of Dinosaur Provincial Park, Alberta, on October 23, 2024.
On October 23, a short trip out to Dinosaur Provincial Park east of home allowed me to shoot the comet over the Alberta Badlands landscape, beside the setting summer Milky Way.
This is a telephoto lens framing of Comet Tsuchinshan-ATLAS in Ophiuchus on the night of October 30, 2024 near several large star clusters. The field of view is 15ยบ by 10ยบ so the tail extends for about 6ยบ to 8ยบ.
By a week later, on October 30, the comet had diminished in size and brightness, but still looked like a classic comet, here framed in a telephoto close-up as it passed near some bright star clusters. This was from my front yard. The chase was over.
Clouds and a trip to Norway starting November 4 prevented more opportunities to shoot the comet. (My travel schedule also kept me from writing this blog until now!)
It had been a good chase over a month, yielding images I was happy with. The photos from Utah and Arizona I could not have taken at home, even if the skies had been clear during the cometโs prime-time. (They werenโt!) And it was great to finally get back to my favourite haunts in southern Arizona and New Mexico after an absence of seven years.
In all, Comet Tsuchinshan-ATLAS provided a fine finale to what has been a superb year of stargazing events and celestial sights.
I test a trio of wide-angle, auto-focus lenses for astrophotography, all for Nikon Z mount: the Nikkor 20mm f/1.8 S, the Viltrox 16mm f/1.8, and the Laowa 10mm f/2.8 Zero D.
As a bonus, I also test a fourth lens: the TTArtisan manual-focus 7.5mm f/2 fish-eye.
NOTE: Images are large and may take a while to load.
While the selection of lenses for Nikon Z mirrorless cameras is not as diverse as it is for Sony E-mount, Nikon shooters have more brands of lenses to pick from than do users of Canon R mirrorless cameras. For nightscapes and Milky Way photography we want fast, wide-angle lenses, usually in the 14mm to 24mm range.
Canon, Nikon, and Sony all have excellent zoom lenses that cover the range. I use Canonโs RF 15-35mm L lens a lot, and reviewed it here on my blog from 2022.
But all these wide-angle zooms are f/2.8. While thatโs a good speed for most astro work, having an even faster lens can be valuable. An aperture of f/2 or faster allows for:
โ Shorter exposures for untrailed stars when shooting just on a tripod with no tracker.
โ Capturing fainter and more numerous meteors during a shower.
โ Rapid-cadence time-lapses of auroras, freezing the motions of curtains.
โ Real-time movies of auroras and satellite passages at lower, less noisy ISO settings.
The Nikkor 20mm at f/1.8 allowed a short 1.3-second exposure for capturing the aurora from a ship off the coast of Norway, to minimize ship motion trailing the stars.
Also, stopping those faster lenses down to f/2.8 can sometimes yield better image quality than shooting with a native f/2.8 lens wide open.
Canon and Sony each have fast f/2 zooms that cover the range from 28mm to 70mm. While those focal lengths can be useful, both lenses are expensive and heavy. And they are still not wide enough for many astro subjects. For fast lenses with even shorter focal lengths we need to turn to โprimeโ lenses, ones with fixed focal lengths.
As of this writing Canon has few fast, wide primes for their RF lens mount (their new 24mm f/1.4 VCM is a costly choice designed primarily for video use). A few third-party lens makers offer fast (f/2 or faster) primes for Canon full-frame cameras, always as manual focus lenses. For example, Laowa has a 15mm f/2, and TTArtisan has a 21mm f/1.5.
Yes, Sigma now offers auto-focus 16mm and 23mm f/1.4 primes, and Samyang has a new 12mm f/2, but they are only for Canon RF-S cropped-frame cameras. Canon has yet to allow other companies to produce auto-focus lenses for their full-frame cameras.
Nikon has been restrictive as well. Sigma’s much-lauded Art series that includes the 14mm rectilinear (i.e. the horizon remains straight) and 15mm fish-eye (with a curved horizon), both f/1.4 and aimed at astrophotographers, are not offered for Nikon or Canon, only for Sony E-mount and Panasonic/Leica L-mount cameras.
However, while Sigma lenses are missing, there is a wider choice of third-party lenses for Nikon Z-mount compared to Canon RF, plus Nikon itself makes a very fine 20mm prime in their premium S-series.
Thatโs what I test here โ three wide-angle rectilinear primes for Nikon Z: A 20mm Nikkor, and two third-party primes: one from Viltrox, their 16mm; and one from Laowa, their new 10mm.
As a bonus, I add in a test of a fast fish-eye lens, from TTArtisan, their 7.5mm f/2.
NOTE: All test images can be downloaded as full-resolution JPGs for closer inspection. Click or tap on the images.
Prices are from B&H Photo, but will vary with sales and special promotions.
The Nikkor 20mm S-Line Lens ($1,050)
The Nikkor 20mm accepts 77mm filters.The rear mount has weather sealing.
I shot the northern summer Milky Way (below) with the three rectilinear wide-angle lenses (meaning these are not fish-eyes) with the camera on a star tracker, to prevent star trailing. The tracker was the Move-Shoot-Move Nomad, reviewed here on my blog.
The Nikon Z6III and 20mm Nikkor on the MSM Nomad tracker.
I shot with Nikon’s new Z6III, a 24-megapixel full-frame camera I reviewed in the December 2024 issue of Sky & Telescope magazine. It offers a number of excellent features for nightscape photography. Most notably, auto-focus lenses zip to the infinity focus point automatically when the camera is turned on, something I wish Canon cameras would do.
The Nikkor 20mm has a field of view along the long dimension of 84ยฐ.
The Nikkor 20mm is the widest prime lens in Nikonโs premium S-Line series. It offers what I consider to be an ideal focal length for most nightscape and wide-field Milky Way images.
While a 14mm lens is often thought of as the default nightscape lens, a 20mm presents less distortion (objects leaning in or stretched out at the corners) and a more natural perspective. Plus the lens can be made faster (in this case f/1.8), smaller, and not cost as much as an ultra-fast 14mm like the Sigma f/1.4 Art lens.
Nikkor 20mm Corner Aberrations
The four panels show the upper left corner, in the area outlined in the inset that shows the full frame.
Sharp stars right to the corners is the ideal for all forms of astro images. We donโt want stars to turn into winged seagulls or coloured streaks. They should remain as pinpoint as possible.
The Nikkor 20mm shows very little aberrations across the frame. Stars are elongated by tangential astigmatism and discoloured by lateral chromatic aberration only slightly and only at the extreme corners.
Stopping down the lens decreased the aberrations, but some residual astigmatism remained, even at f/4. However, the corner aberrations are low enough, and so restricted to the very corners, that this is a lens you can certainly use wide open at f/1.8, or perhaps at f/2, without any penalty of image sharpness.
Nikkor 20mm Vignetting
The four panels show the left side, as outlined in the inset. The inset is the f/1.8 sample.
Ideally, we also want images to be as fully-illuminated across the frame as possible. Light fall-off, or vignetting, creates dark corners with less signal reaching the sensor. Less signal gives rise to more noise, noticeable when brightening the corners in processing. That can reveal unsightly noise, banding, and discolouration in nightscapes, especially in the ground, often the darkest part of a scene, not the starry sky.
The 20mm shows a fair degree of edge and corner darkening when wide open at f/1.8. Stopping the lens down to f/2 improves the field illumination notably. And by f/2.8 the field is fairly uniformly lit. There is little need to go as slow as f/4.
In all, the Nikkor 20mm S is a superb lens ideal for nightscapes and Milky Way images.
The Viltrox AF 16mm STM ASPH ED IF ($580)
The Viltrox also accepts 77mm filters. The Viltrox has weather sealing and a USB port, obscured here, for powering the lens when not on a camera.
The new company Viltrox has been making a name for themselves recently with the introduction of a number of top-quality pro-grade lenses to compete with the best from any brand, and at much more affordable prices.
The horizontal field of view of the Viltrox 16mm is 100ยฐ.
Their 16mm is an auto-focus lens that, on the Nikon, can actually auto-focus on stars, as can the Nikkor 20mm. However, it, too, will zip to infinity focus when powered up. Plus two function buttons can be programmed to rack between two preset focus distances, one of which can be infinity.
The buttons at left are for preset distances.The display shows depth of field as well as focus distance and aperture.
A manual aperture ring (above left) has 1/3rd-stop detents, or it can be set to A for controlling the aperture in the camera.
A colour OLED display (above right) shows the focus distance and aperture, a nice way to confirm your settings at night. The display is too bright on the darkest nights; I cover it with red gel.
An option to turn it red using the Viltrox app would be welcome.ย Or to turn it off! ….
NOTE ADDED FEB 24, 2025 โ I tested all lenses on a stock camera. But when used on an astro-modified camera with greater red and infra-red sensitivity, the Viltrox 16mm can add a noticeable red glow or flare to images, as a colleague has found and reported to me. I did confirm this with very long exposures and high ISOs with my stock Z6III. It barely shows up in dark frames boosted a lot for brightness (see below โ it’s the faint magenta band across the centre of the frame).
But in modded cameras it is much more obvious. This comes from the lens’s top OLED display. The trick is to slightly dismount the lens, which turns the display off, but still maintains data contact to the camera. Viltrox is aware of the issue and has said they will fix it in a firmware update.
With Viltrox lens fully engaged and display ONUpdate at your risk!Connect if you can!Set if you can!
Uniquely, this and other Viltrox lenses have Bluetooth built in, for direct connection to a mobile device for firmware updates and lens settings, shown above. However, I found the app buggy; it would connect to the lens, but then refuse to allow settings to be changed, claiming the lens was not connected. Or the app would freeze, disconcerting during a firmware update. Luckily, that did not brick the lens.
Viltrox 16mm Corner Aberrations
The four panels show the small corner area outlined in the centre inset that shows the entire image.
At the extreme corners, the Viltrox shows some softness (perhaps from field curvature), but only minimal astigmatism and lateral chromatic aberration when wide open at f/1.8, and slightly sharper corners at f/2. At f/2.8 corner performance is nearly perfect, and certainly is at f/4.
This is a level of aberration correction even the most premium of lenses have a hard time matching.
Viltrox 16mm Vignetting
The panels show the left side outlined in the centre inset, which shows the f/1.8 image.
As is often the case with wider lenses, the Viltrox does show a great deal of vignetting at f/1.8, more so than the Nikkor 20mm. While this can be corrected in processing it will raise noise levels.
Stopping down to just f/2 helps, but the field becomes more uniform only at f/2.8, the sweet spot for this lens for the best all-round performance. But it offers the speed of f/1.8 when needed, such as for auroras.
If you prefer a wider field than a 20mm provides, the Viltrox 16mm (also available for Sony) is a great choice that wonโt break the bank. Until Canon changes their third-party lens policy, Canon owners are out of luck getting this excellent lens.
The Venus Optics/Laowa 10mm Zero-D FF ($800)
The Laowa also accepts 77mm filters, unusual for such a wide lens..The Laowa also has a weather-sealing gasket. The lens has a unique blue-grey finish.
The lens maker Venus Optics (aka Laowa) is known for its innovative and often unusual lens designs.
Introduced in 2024, their new 10mm offers the widest field available in a rectilinear (not fish-eye) lens for full-frame cameras. The โZero-Dโ label is for the lensโs lack of pincushion or barrel distortion. Horizons remain straight no matter where they fall on the frame. However, objects at the corners become elongated a lot.
The Northern Lights in a superb display on August 11-12, 2024, at Grasslands National Park, Saskatchewan. This is with the Laowa 10mm wide open at f/2.8 on the Nikon Z6III at ISO 6400.
Even so, thereโs a lot to be said for having a field that extends for 130ยฐ across the long dimension of a full-frame sensor. Thatโs more than enough to go from well below the horizon to past the zenith when the camera is in portrait orientation. Even in landscape orientation (as above) the lens covers nearly a 90ยฐ field across the short dimension, enough to go almost from horizon to zenith.
The f/2.8 speed is slower than the other lenses on test here, but is still faster than most ultra-wide lenses. Remarkably, it accepts common 77mm filters, the same as the Nikkor 20mm and Viltrox 16mm.
The 10mm is available as an auto-focus lens for Sony E and Nikon Z, and in manual focus versions for Canon RF and Panasonic L, oddly all at the same price.
Laowa 10mm Corner Aberrations
The four panels show the corner area outlined in the inset, at four apertures between f/2.8 and f/4.
Corner aberrations are much worse than in the 20mm and 16mm lenses, showing a fair degree of tangential and sagittal astigmatism, elongating stars radially and adding wings to them, respectively. The aberrations are larger and reach deeper into the frame than in the Nikkor and Viltrox lenses.
Thereโs also some lateral chromatic aberration adding blue and purple fringes to the stars at the corners. Stopping down to f/4 improves, but doesnโt eliminate, the aberrations.
Laowa 10mm Vignetting
The four panels show the left side, as outlined in the inset, which shows the f/2.8 image.
Edge and corner darkening were also worse than in the other lenses and required about a +50 setting to correct in Adobe Camera Raw, far less than the maximum of +100. So itโs still quite acceptable and correctable.
However, while stopping the lens down to f/4 improves vignetting, it does not eliminate it, still requiring a +40 correction. Vignetting will be a factor to deal with in all astrophotos with this ultra-wide lens.
Laowa 10mm Lens Flares
Three panels showing the Moon framed in the left corner (L), centred (C), and in the right corner (R).
With such a wide lens, the Moon or other bright light sources are bound to be within the frame. The Laowa exhibits a prominent internal lens flare when bright objects are in the corners, but just in the corners. Objects near the edge but centered are fine.
Showing the effect of decreasing aperture on the lens flare and bright light source.
Stopping down the lens adds diffraction spikes (or โsunstarsโ) to bright lights, but doesnโt eliminate the circular internal reflection. None of this is a serious issue for most images, but it is something to be mindful of when framing nightscapes.
With the Laowa 10mm lens at f/2.8 on the Nikon Z6III at ISO 3200. Note the Big Dipper at left and Orion at right.
In Milky Way and starfield images, constellations in the corners can distort into unnatural shapes that look odd, as I show above. While the lens can take in a great swath of sky, its distortion and corner aberrations make it less than desirable for tracked Milky shots.
An aurora in the dawn twilight on September 17, 2024. A 4-second exposure with the Laowa 10mm at f/2.8.
Where the Laowa 10mm really proves its worth is for auroras, as above, which can require as wide a field as you can muster. Note the flat horizon.
For ultra-wide nightscapes in a single image (not a panorama) with a natural looking (not curved) horizon, and for meteor showers, the Laowa is just the ticket.
BONUS TEST: The TTArtisan 7.5mm f/2 Fish-Eye ($140)
The TTArtisan has a fixed lens hood. Front filters are not possible without vignetting. There’s no weather sealing or electrical connections at this price.
Technically, this lens is designed to be used on cropped-frame (or APS-sensor) cameras where it fills the frame with a curving horizon. But it works on a full-frame camera where it projects a circular image slightly larger in diameter than the short dimension of the frame, so not a complete circle as with a true circular fish-eye like the old Sigma 8mm f/3.5.
An aurora in the dawn twilight on September 17, 2024 in a 2-second exposure with the TTArtisan 7.5mm fish-eye lens at f/2 on the Nikon Z6III at ISO 800.
For all-sky auroras, this is ideal, where the TTArtisanโs fast f/2 speed is unprecedented in a fish-eye lens. That makes rapid-cadence time-lapses possible, as well as real-time movies. An example is here on my YouTube channel.
A stack of 4 x 4-minute exposures with the TTArtisan 7.5mm f/2 fish-eye lens stopped down to f/2.8 on the Nikon Z6III at ISO 1600, on the MSM Nomad tracker.
Or you can just capture the Milky Way from horizon to horizon, as above. For the latter, having stars sharp across the circular field is still desirable.
I have this lens for Canon RF as well, but that unit shows a noticeable softening of the left edge with defocused stars, likely from lens de-centering. I was told by TTArtisan that was a normal unit-to-unit variation and not a defect warranting replacement. Annoying!
I hesitated to buy one for my Nikon. But this is such a unique lens, and so affordable, I took the chance. The Nikon Z-mount version proved much better.
TTArtisan 7.5mm Edge Performance
There is no corner performance or vignetting to test here.
TTArtisan 7.5mm lens at f/2, showing the left side area shown in the blowups below.
Instead, Iโm inspecting the same side on the Nikon Z version that caused a problem on my Canon version.
Comparing f/2 and f/2.8 edge aberrations.
The Nikon version looks fine, with stars sharp along the edge even at f/2, showing just a low level of astigmatism, to be expected in such a fast, wide lens. Stars tighten up a bit more at f/2.8. Most critically, the field was flat and in focus across the frame. There was no evidence of lens de-centering or optical defects.
The edges do show some discolouration and a soft edge to the image area. I also see two odd dark protrusions at the top of the frame. Looking through the lens, thereโs nothing obvious intruding into the light path.
Keep in mind when used on a full-frame camera youโre seeing more of the projected image than was intended in the design.
The 7.5mm lens comes with a metal lens cap with a threaded centre disk. Remove it to create an aperture that vignettes the image to a smaller but complete circle.
The TTArtisan 7.5mm is a specialty lens to be sure. But at its low price it isnโt a big outlay to include in your lens arsenal, for unique all-sky images, of auroras, satellite passages, sky colours, and the Milky Way. And it is terrific for time-lapses and movies of the whole sky. It is a no-frills manual lens available for most camera mounts.
Recommendations
The Viltrox 16mm, Laowa 10mm and TTArtisan 7.5mm are all available for Sony E-mount. The Laowa and TTArtisan are available for Canon RF, but the Viltrox 16mm is not, as it is an auto-focus, full-frame lens, the class of lenses Canon has yet to allow on their RF mounts, much to the disdain of all concerned but Canon management it seems.
Viltrox 16mm โ For nightscape use, the Viltrox 16mm might be the single best choice, as being the most versatile and affordable of the trio of wide-angle lenses. Its focal length is a good balance between the usual 14mm and what I think is a more useful 20mm.
Nikkor 20mm โ I like the Nikkor 20mm for its lower level of vignetting, slightly tighter framing, and very sharp stars. I think a 20mm is an ideal focal length for many nightscapes and Milky Way scenes. But it is the most expensive lens tested here.
Laowa 10mm โ While nearly as costly as the Nikkor 20mm, the Laowa 10mm is much more specialized and, I think, not as useful as the others for general nightscape and Milky Way shooting. But it is superb for auroras, if you are in a place where they are common, as they are here in Alberta. Otherwise, I think youโd find the 10mm a costly lens that might not see a lot of use for astrophotography. Its real fortรฉ is architecture and real-estate interiors.
TTArtisan 7.5mm โ Ditto on its limited use. But it is so affordable itโs easy to justify even if it doesnโt get a lot of use. The astro images, time-lapses, and movies it can produce are unique and impossible to create any other way. Be sure to buy it from a source where you can return it easily if you find your sample defective.
Reason To Go Mirrorless
The quality of these and other premium lenses from Nikon, and also from Canon, Sony and third-party makers like Sigma and Viltrox, is one of the major benefits of migrating to mirrorless cameras. DSLRs, and the lenses made for them, are now effectively dead as new gear choices.
Yes, mirrorless cameras can be better in many aspects of their operation than DSLRs. But it is the lenses made for mirrorless that show the greatest improvement over their DSLR equivalents, many of which date back to the forgiving film days.
The PDF can be printed at home. It is designed to be printed landscape mode at 13×10-inches, but will work printed 11×8.5-inches. Office supply shops might be able to print it with mounting holes and a spiralย binding.ย
My 12-month Calendar is illustrated with a selection of 14 of my favourite astro-images from 2024, taken from Alberta, Australia, Utah, Norway, and Quebec.
Each month includes listings of the best sky events for the month, with an emphasis on naked-eye sights, and photogenic events. I’ve selected the Calendar events to be suitable for stargazers in North America.
The new star tracker from Move Shoot Move improves upon their original model, eliminating its flaws to provide a reliable and compact tracker.
A few years ago the start-up company Move Shoot Move (MSM) introduced a low-cost (about $250), compact star tracker they called the Rotator. Like all other star trackers, the Rotator allowed a camera to follow the turning sky for untrailed, pinpoint stars in long exposures.
Trackers are essential for rich Milky Way images, and are great for nightscapes, for shooting the sky, blended with untracked shots of the ground, as I show in examples below.
The original Rotator (L) and new Nomad (R). The Nomad is even smaller than the Rotator.
Out with the Old โฆ
The original Rotator went through a couple of design changes during its lifetime. I tested the last versions to be marketed, using three different sample units I either purchased or were sent to me by MSM. (My reviews appeared in 2019 on my blog here, and in the June 2021 issue of Sky & Telescope magazine.)
The bottom line is that I found all the samples of the Rotator I tested to be unreliable for accurate tracking, indeed for tracking period, as units would sometimes not start tracking for a few minutes, or just stop tracking mid-shoot and then restart intermittently. Getting a set of untrailed exposures was a hit or miss affair.
But with a cost lower than most other trackers on the market (ostensibly, as explained below), a pocketable compact size, and with endorsements from notable nightscape photographers, the original Rotator garnered a loyal following of fans. I was not one of them.
MSM obviously recognized the design flaws of the Rotator, because in early 2024 they replaced it with an all-new model, dubbed the Nomad. It works!
The Nomad on the Benro 3-Way Head, with Laser and Polar Scope, and with a camera and 135mm lens. The ball head is not one from MSM.
I purchased a unit in January 2024 when the Nomad came out, and have used it extensively and successfully over the last few months. I found it has addressed all the serious flaws of the Rotator.
Polar Alignment Accessories
With a weight of about 400 grams, the Nomad is about 70 grams lighter than the old Rotator. It is one of the lightest and smallest trackers on the market, a benefit for those wanting to hike to remote nightscape sites, or pack gear for airline travel. (I took my Nomad to Australia this year; one result is below, shot with the Nomad.)
This frames the spectacular area of the southern Milky Way from Centaurus at left, to Carina at right, with Crux, the Southern Cross, at centre. This is a stack of 8 x 4-minute exposures with the Canon RF28-70mm lens at 48mm and f/2.8, on the Canon Ra at ISO 800. All on the MSM Nomad tracker.
However, unlike the popular Star Adventurer 2i and Mini trackers from Sky-Watcher, the Nomad, like MSMโs older Rotator, does not have a polar alignment scope built in, just a peep sight hole. That makes it easier for MSM to fit a tracker inside a compact box.
And yet, I feel some form of polar alignment aid (not just a peep sight) is essential if a tracker is to follow the sky accurately. Like the Rotator, the Nomad can be purchased with two add-on choices (shown below):
โข a 5 mw green laser pointer,
โข and an optical polar scope โฆ
โฆ each of which attaches to the side of the Nomad as outboard accessories. I purchased both, bundled with the Nomad as โBasic Kit Cโ for $309 U.S., and find both accessories useful.
NOTE: When shopping at the MSM website donโt be fooled by what looks like temporary sale prices. The prices are always marked down, though MSM does offer coupon codes now and then for genuine discounts. I’ve always found MSM’s delivery by parcel post prompt, and in my case, shipments came from a warehouse in Canada, not China.
The Laser and Polar Scope as they come suppliedWith the Laser threaded on using the red capWith the Polar Scope clamp attachedWith both the Polar Scope and Laser attached. Don’t lose the caps at bottom!
As with the Rotator, the need to add essential accessories makes the Nomad more expensive and more complex to pack than buyers might think. And it can be more complex to initially set up than imagined, not helped by the lack of any instructions. (I’m told by MSM that a downloadable PDF sheet is being prepared.) In place of factory-supplied instructions, MSM depends on its YouTuber fans to provide tutorials.
It took me a moment to figure out how the laser attaches to the Nomad โ it does so by replacing the black cap that comes on the laser with a supplied threaded red cap, so the laser can screw into the peep hole on the Nomadโs body that is covered by yet another cap you remove โ but donโt lose it, as you might need it.
The optical polar scope attaches by way of an included clamp held onto the Nomad by the laser, or by the removable threaded cap (so you will need it if you arenโt using the laser, but it is easily lost).
Out of the box I found I had to adjust the beam of the laser (using the two tiny set screws on the laser) so the beam exited straight out the laser and up the peep hole in the Nomadโs case.
Once collimated, the laser pointer has proved to be an accurate and convenient way to polar align, especially for shooting with wide-angle lenses. (Keep in mind, green laser pointers over 1 mw are illegal in some jurisdictions.)
The laser uses a removable and rechargeable 3.7-volt battery, and comes with a little USB-powered charger. The laser’s battery has lasted for months of momentary use. The laser works briefly in winter when it is warm, but as soon as it gets cold, as is true of most laser pointers, it refuses to lase!
This frames the small constellations of Sagitta the Arrow and Vulpecula the Fox. At lower left is the green planetary nebula Messier 27, aka the Dumbbell, shown in the close-up tracking test image below. This is a stack of 14 x 2-minute exposures with the Canon RF135mm lens on the Canon Ra, on the MSM Nomad tracker. The images were the best 14 out of a series shot to test the Nomad’s tracking.
However, for the more accurate polar alignment needed when shooting with telephoto lenses (an example is above), and for winter use, I prefer to use the optical polar scope, with the laser a handy complement just to get close to the pole.
The polar scope has a reticle etched with star patterns for both the North and South Celestial Poles. I found the latter worked well in Australia. The mounting clamp held the polar scope securely and consistently well centered, another welcome improvement over the polar scope clamp supplied with the Rotator, which could wiggle around.
Polar scope with its glow-in-the-dark Illuminator. The Nomad comes with an Arca-Swiss dovetail plate bolted onto the bottom edge, for attaching it to a tripod head or to the optional MSM Wedge.
The polar scope does not have an illuminator LED. Instead, it comes with a novel phosphorescent cap which you hit briefly with white light so it glows in the dark.
Placed over the front of the polar scope, it lights up the field allowing the reticle to be seen in silhouette. While it works fine for sighting Polaris, the bright field can make it hard to see the faint stars in Octans around the South Celestial Pole.
The Nomad on the Benro 3-Way Geared Head, using the Arca-Swiss attachment plate. Another method of mounting the Nomad to the Benro is shown below.
To aid polar alignment I purchased the Benro 3-Way Geared Head, also sold by MSM but available from many sources. Its geared motions make it easy to aim the trackerโs rotation axis precisely at the pole and hold it there solidly.
The Benro accepts standard Arca-Swiss mounting plates, so Iโve found it a useful head to have for other purposes and gear combinations. It has replaced my old Manfrotto 410 3-axis head which uses a proprietary mounting plate.
However, MSM also sells its own latitude adjustment Wedge which, at $90, is a cheaper alternative to the $200 Benro. Iโve not used the MSM Wedge, so I canโt say how solid and precise it is. But the Wedge is lighter than the Benro head, and so may be a better choice when weight is a prime consideration.
I would recommend either the Wedge or Benro for their fine adjustments of azimuth and altitude that are essential for easy, yet precise and stable polar alignment.
Tracking Accuracy
All-important is how well the Nomad tracks. When shooting with wide-angle lenses (14mm to 35mm) for nightscapes and wide Milky Way shots, the majority of images Iโve taken over the last few months, using exposures of 1 to 3 minutes, have been reliably well tracked, with pinpoint stars.ย
The Nomad begins tracking right away, with no wait for gear backlash to be taken up, or for the drive mechanism to settle in. I also found no tendency for tracking to be better or worse with camera position, unlike the Rotator that seemed to work better with the camera aimed at one area of sky vs another. And the Nomad didn’t suffer from any stalls or moments when it just stopped in its tracks, again unlike the problematic Rotator.
20 consecutive 2-minute exposures with a 135mm lens, to show the variations in tracking accuracy. Tap on the image to download it for closer inspection.
As with any tracker, where you do see mistracking is when using longer lenses. I tested, and indeed have used, the Nomad with 85mm and 135mm telephoto lenses, as many owners will want to do, for close-ups of Milky Way starfields and for so-called โdeepscapes.โ (An example of the latter is at the end.) The demo image above shows blow-ups of consecutive frames from the 135mm shoot of the Vulpecula/Sagitta starfield shown earlier.ย
In those more demanding tests, as I demonstrate here, I found that typically about 50% to 60% of images (taken with 1- to 2-minute exposures) were tracked well enough to be usable. The longer the focal length used, or the longer the exposures, the more frames will be trailed enough to be unusable in an image stack. And a well-tracked frame can be followed by a badly tracked one, then the next is fine again. Thatโs the nature of small drive gears.
As with other trackers, I would suggest that the Nomad is best used with lenses no longer than a fast 135mm. Even then, plan to shoot twice as many frames as youโll need. Half may need to be discarded. While I know some users will want to push the Nomad beyond its limits, I would not recommend burdening it with monster telephoto lenses or small telescopes. Like all other trackers, that’s not its purpose.
When there was mistracking it was usually in the east-west direction, due to errors in the drive mechanism, and not north-south due to flexure. (If it occurs, north-south drift is likely due to poor polar alignment.)
I found the Nomad did indeed turn at the sidereal rate to follow the stars, something I was never confident the Rotator actually did.
While you might think a 50% success rate with telephotos is not good, in fact the Nomadโs tracking performance is on par with other competing trackers Iโve used, from Sky-Watcher and iOptron. At wide-angle focal lengths the success rate proved closer to 100%.
So for a tracker as compact as the Nomad to perform so well is very welcome indeed. Itโs the main area where the Nomad beats the old Rotator by a long shot!
NOTE: While the MSM website mentions an “optional counterweight system,” as of my review’s publication date it is still being developed, MSM tells me. However, I don’t feel it will be necessary for the Nomad’s main purpose of wide-field imaging.
Mechanical Stability
Another flaw of the old Rotator was that it had several single-point attachments that, under the torque of a turning camera, could cause the camera to come loose and suddenly flop down.
Exploded view of the ratcheted mounting plate to attach a ball head to the NomadShowing the set screw to prevent the ball head coming loose
The Nomad uses a ratcheted clamp to attach a user-supplied ball head to the tracker body, and that clamp has an additional safety set screw to help ensure the ball head does not unscrew itself as a camera turns.
Iโve had no issues with cameras coming loose. Of course, the solidness of the ball head used will be critical as well. A large ball head can be better, but introduce some of the issues I report on below.
While MSM offers its own ball head, I have not used it, preferring to use a couple of other ball and pano heads I like, and that I show in the images here.
Simplicity of Operation
The Nomad improves upon the old Rotator by doing away with all its time-lapse features. You might think that eliminating features canโt be an improvement, but in this case it is.
I suspect few owners used the Rotatorโs preset functions for slowly turning a camera along the horizon while firing the camera shutter between each incremental time-lapse move (the very function that gave the company its name!). The Rotatorโs options for creating time-lapses were confusing to set up and limited in their choice of speeds. A serious time-lapse photographer would never use it.
(If you do want a tracker with time-lapse motion-control capabilities the Star Adventurer Mini works well. Its WiFi connection and mobile app allows a user to set all the factors needed for a good time-lapse: interval, angle increment, number of frames, and length of shoot.)
Instead, MSM has focused the Nomad on being just a star tracker, and I think wisely so. Its only controls are a three-position S-OFF-N switch, for using the Nomad in either the southern or northern hemisphere. It worked very well “Down Under,” with the exception noted below.
There is no solar or lunar drive rate, unnecessary in a tracker, and also no half-speed rate for nightscapes, used to lessen star trailing while also minimizing ground blurring. Iโve never liked using trackers at such a compromise half-speed rate, so I donโt miss it.
Using the optional V-Plate described below, I have used the Nomad to take tracked Milky Way panoramas, as shown here. It has worked very well for that purpose, with it easy to switch the tracking on (for the sky) and off (for the ground).
This is a 200ยฐ panorama of the arch of the northern Milky Way rising over Dinosaur Provincial Park, Alberta. Shot with the Nomad, with a blend of an untracked panorama for the ground and tracked panos for the sky.The gear used to take the panorama above, including the Alyn Wallace V-Plate, supporting an Acratech 2-axis pan head. The Nomad is ON here, set to N. Below the power switch is the USB-C port for charging and external power.
My only criticism is that the power switch is a little mushy and perhaps easy to slide on by mistake when it is packed in a bag.
An LED for each of the N and S directions glows red to indicate the power is on and the direction chosen, handy to help prevent you from choosing the wrong direction by mistake.
The Nomad is powered by an internal lithium battery that charges from any 5-volt USB charger (the Nomad comes with a USB-C cord, but no charger). The Nomad takes about 2.5 hours to charge to full and runs for 6 to 7 hours of continuous tracking at room temperatures. A second LED by the USB port glows yellow when the Nomad is charging, and green when it has fully charged.
In practice the Nomad has lasted for several nights of shooting on one charge. When the battery level is low, the red LED for the other direction begins blinking. As a backup in the field, the Nomad can be powered via its USB-C port by any external 5-volt power bank.
Collisions
The Nomad hasnโt been without issues, though the main problem Iโve had I canโt, in fairness, blame on the Nomad.
Due to the Nomadโs small size and shape, ball heads sit close to the Nomad body. Locks and clamps sticking out from ball heads can collide with the Nomad, or with the Benro head, as it rotates the ball head. Here I show how a collision can occur when aimed up at the zenith.
Showing the ball head colliding with the Benro when aimed high.
But collisions can also occur when aimed at the Celestial Pole. I ran into that issue in Australia, where many of the wide-field targets in the Milky Way (such as the field in Carina and Crux shown earlier) lie close to the South Celestial Pole.
A camera aimed toward the Celestial Pole (either South or North) is more likely to collide with the Nomad than when a camera is aimed toward the sky opposite the Pole.
Aimed toward the Celestial PoleAs it turns, the ball head hits the Nomad
As I show above, one night when tracking targets in Carina I found the ball head had jammed against the Nomad, seizing its motion. As I feared, that caused something inside the Nomad to come loose.
After the collision incident no frame was well-tracked. The Nomad was wandering all over the place!
From then on it failed to track well for any shots. The drive was wobbling the stars in random directions. No frame was usable. The Nomad was now out of commission, not a welcome prospect when you have traveled to the other side of the world to shoot the sky.
The access hole with a handy adjustment screw that fixed the issue.
What was the solution? There was only one point of adjustment accessible to users, a mysterious hole on the side of the tracker with a small hex screw at the bottom. This is normally covered by a rubber plug, though that was either missing on arrival or got lost along the way from my unit. Upon inquiry, MSM told me the screw is for use just at the factory, for a final adjustment of the gear and bearing distance.
But in my case, tightening it slightly seemed to do the trick, restoring normal tracking. However, my unit still tends to make intermittent clicking sounds now and then, though it seems to track well enough again.
The lesson here is donโt let gear collide with the Nomad. It likely has no internal clutch, making it unforgiving of being jammed.
Collision Avoidance
How do you avoid collisions? What I should have used in Australia was MSMโs optional V-Plate designed by the late and sadly missed Alyn Wallace.
Aimed toward the Celestial PoleAimed toward the zenith
I bought one a couple of years ago, but never thought to bring it with me on the Australia trip. As I show above, the V-Plate allows for much more freedom to aim a camera, either toward the Poles or straight up (as I show above), or low in the sky 180ยฐ away from the Pole, without fear of the ball head hitting other components.
The V-Plateโs shortcoming is that, despite cranking down the levers that hold it in position, it can still slip under the weight of a heavy camera sitting on the diving-board-like platform supported only on one end. The V-Plateโs locks are not as solid and secure as they should be. But with care it can work well. And you need buy only the V-Plate; not the Z-Plate.
I should note that since I got my V-Plate, it has been upgraded with a larger lever handle to aid tightening the tilt lock. However, it really needs another support point on the tilt adjustment, so it can’t move as readily under load.
V-Plate lock knob hard to get at and adjustV-Plate lock knob hitting the Polar Scope
In addition, MSM now offers a taller Arca-Swiss mounting block as an option, to replace the plate that comes bolted onto the Nomad with two Torx screws. That optional riser block moves the Nomad farther from the Wedge or Benro head, helping to prevent some collisions. By putting more space between the Nomad and the Benro head, the riser block makes it easier to get at the small locking clamp on the V-Plate’s rotation axis. But …
Shortly after I first published this review, a loyal reader (thanks, John!) pointed out his method of placing the Nomad on the Benro, with the Nomad turned 90ยฐ to the way I pictured it earlier. As I show below, this places the Benro’s lock knob on the side of the Nomad, not back. The benefit is that the V-Plate’s azimuth lock lever is now more accessible and well-separated from the Benro. That method makes the taller riser block unnecessary.
Here’s a reader-suggested alternative method for mounting the Nomad and orienting the Benro head that puts more space between the V-Plate and Benro, for ease of adjustment.
Even with this alternative method, the V-Plate tends to block the laserโs beam, as does a camera once it is mounted. The polar scope can also be blocked. Itโs an example of how one MSM accessory can interfere with another accessory, perhaps requiring yet another accessory to solve!
Laser beam hitting the V-Plate with it horizontalV-Plate rotated out of the way of the laser
In practice, with the V-Plate installed, polar alignment often has to be done before attaching the camera or setting up the V-Plate to the desired orientation. When adding the camera, care has to be taken to then not bump the Nomad off alignment. Thatโs why I like the Benro head as a stable platform for the Nomad, despite its extra weight.
As I illustrated earlier, the V-Plate is also an essential accessory for shooting tracked-sky Milky Way panoramas, as it allows a camera to be turned parallel to the horizon from segment to segment while it also tracks the sky.
A “deepscape” of the Sagittarius starclouds over Mt. Blakiston, in Waterton Lakes National Park, Alberta. This is a blend of two exposures: a single untracked 2-minute exposure at ISO 1600 for the ground, and a single tracked 2-minute exposure at ISO 800 for the sky, taken immediately after, with the Nomad tracker motor now on. With a 28-70mm lens at 70mm, on the rig shown.
Recommendations
So, as with the Rotator, when buying a Nomad, plan on adding several โoptionalโ accessories to your cart. They can, in fact, be essential.
However, they can add another $150 (for V-Plate + Wedge + riser block) to $250 (V-Plate + Benro head + riser block) to the total. These are in addition to the cost of the polar alignment aids offered in the various Basic bundles. I like having both the laser and polar scope, but for shooting just wide-angle nightscapes, the laser alone will do.
The cost of accessories makes the Nomad not quite the low-cost tracker you might have been sold on, nor as self-contained and compact as it first appears. Just choosing what combination of gear to buy can be daunting for beginners.
The Milky Way and its core region in Sagittarius and Scorpius over the Badlands of Dinosaur Provincial Park, Alberta. This is a blend of untracked exposures for the ground and tracked exposures for the sky, with the Canon Ra on the Nomad, with the Canon RF15-35mm lens at 20mm at f/2.8.
But when well-equipped, the little Nomad can work very well. Despite my run-in with a collision glitch, I can recommend the Nomad as a good choice for anyone looking for a solid, accurate, but portable tracker that can slip into any camera bag.
Just make room in your bag โ and budget! โ for polar alignment aids, V-Plates, wedges, and ball heads to complete your tracking kit.
And then donโt let anything collide with the Nomad!
โ Alan, June 27, 2024 – Revised June 28 / AmazingSky.com
I present a selection of new images taken at local World Heritage Sites, along with some advanced nightscape shooting tips.
I’m fortunate in living near scenic landscapes here in southern Alberta. Many are part of UNESCO World Heritage Sites that preserve regions of unique scenic and cultural significance. In early June I visited several to shoot nightscapes of starry skies over the scenic landscapes.
I also took the opportunity to experiment with some new shooting techniques. So I’ve included some tips and techniques, most of the advanced variety.
First up was Dinosaur Provincial Park.
The Milky Way and its core region in Sagittarius and Scorpius is here low over the Badlands landscape of Dinosaur Provincial Park, Alberta.
After nearly a month of rain and clouds, the night of May 31/June 1 proved wonderfully clear at last. I headed to a favourite location in the Red Deer River valley, amid the eroded badlands formations of Dinosaur Provincial Park, site of late-Cretaceous fossil finds.
The bright core of the Milky Way in Sagittarius would be in the south. With the night only three weeks before summer solstice, from the Park’s latitude of 50.5ยฐ N the sky would not get astronomically dark. But it would be dark enough to show the Milky Way well, as above in this framing looking south on the Trail of the Fossil Hunters.
However, May and June are “Milky Way Arch” months, at least for the northern hemisphere. The full sweep of the northern Milky Way, from Perseus in the northeast to Sagittarius in the southeast, then stretches across the sky โ high enough to be impressive, but low enough (unlike later in summer) to be framable in a horizontal panorama.
This is a 200ยฐ panorama of the arch of the northern Milky Way rising over the Badlands landscape of Dinosaur Provincial Park, Alberta.
To capture the arc of the Milky Way I shot a panorama โ in fact three:
one exposed for the ground
one exposed for the sky, but with the camera now tracking the sky to keep stars pinpoint
and a final sky panorama but with a specialized filter installed in front of the camera sensor to let through only the deep red light emitted by nebulas along the Milky Way
Rig for tracked panoramas with the MSM Nomad tracker
The image above shows my rig for taking tracked panoramas. The rectangular box is the little Nomad sky tracker from Move-Shoot-Move (MSM), here equipped with its accessory laser pointer to aid the “polar alignment” that is needed for this or any tracker to follow the turning sky properly.
A review of the MSM Nomad will be forthcoming (subscribe to my blog!). However, I’ve found it works very well, much better than MSM’s original Rotator tracker, which was entirely unreliable!
On top of the little Nomad is an Acratech pano head, so I can turn the camera by a specific angle between each pano frame, both horizontally from segment to segment, and vertically if needed when raising the camera from the ground pano to the sky pano.
The pano head is on a “V-Plate” sold by MSM and designed by the late, great nightscape photographer (and engineer by trade), Alyn Wallace. The V-Plate allows the camera to turn parallel to the horizon when on a tipped-over tracker. The entire rig is on a Benro 3-Axis tripod head (also sold by MSM, but widely available) that makes it easy to precisely aim the tracker for polar alignment and then hold it rock steady.
The H-Alpha Panorama rendered in monochrome
I’d taken many panos before using sets of untracked ground and tracked sky panoramas. New this night was the use a “narrowband” Hydrogen-Alpha filter to take a final pano that brings out the red nebulas. I used a filter from Astronomik that clips into the camera in front of the sensor. Such a filter has to be used on a camera that has been modified to be more sensitive to deep red light, as the Canon Ra shown below is (or was, as Canon no longer makes it).
While a modded camera brings out the nebulas, using an H-Alpha filter as well really shows them off. But using one is not easy!
Astronomik clip-in filters, the 12nm H-a on the right
The clip-in placement (unlike a filter in front of a lens) requires that the lens be refocused โ infinity focus now falls at the 3 to 6 metre point (the focus shift varies with the lens and focal length โ the wider the lens the greater the shift). With the image so dark and deep red, seeing even a bright star to manually focus on is a challenge.
Shifting the lens focus also changes the overall image size (called “focus breathing”) and often introduces more off-axis lens aberrations, again depending on the lens.
So, blending the H-Alpha pano (which I rendered out in monochrome, above) into the final stack is tough, requiring lots of manual alignment, image warping, BlendIf adjustments, and masking. This is where I added in the red colouration to taste. Careful here, as the “Saturation Police” patrolling social media will issue tickets if they judge you have exceeded their “speed limit.”
The complete panorama with Photoshop layers and adjustments
The final pano required a complex blend of image and adjustment layers, all applied non-destructively, so the many elements of the scene can be individually tweaked at any time.
The work was worth it, as the final pano records the deep red nebulas contrasting with the deep blue of a sky still lit partly by twilight, a magenta aurora to the north, and bands of green and yellow airglow, all above the earth tones of the Badlands. It is one of my favourite nightscape panoramas.
As a further note on software: For stitching panos I try to use Adobe Camera Raw first. It can work very well. But complex panos, especially taken with very wide lenses, often require the specialized program PTGui, which offers more choice of pano projection methods, cleaner stitching, and control of panorama framing and levelling.
Next up was Writing-on-Stone Provincial Park.
A week later, with the waxing Moon beginning to appear in the western sky and the promise of clear nights, I headed south to the 49th parallel borderlands of the Milk River and Writing-on-Stone Provincial Park, known as รรญsรญnai’pi to the Blackfoot First Nation who revere the site as sacred.
My plan was a framing of the galactic centre over the Milk River valley and distant Sweetgrass Hills in Montana, perhaps using the H-Alpha filter again. But clouds got in the way!
A 13-segment panorama of the landscape and sky just as the Sun sets over Writing-on-Stone Provincial Park (รรญsรญnai’pi) in Alberta.
When you are faced with a cloudy sky, you make use of it for a colourful sunset. I like shooting panoramas at such sites as they capture the grand sweep of the “big sky” and prairie landscape. Above is the scene at sunset.
A 14-segment panorama of the landscape and sky at sunset at Writing-on-Stone Provincial Park.
Above is the same scene a few minutes later as the Sun, though now set, still lights the high clouds with its red light, mixing with the blue sky to make purples. On the hill at right, a couple admires the sunset, adding a human scale to the vast skyscape.
This pano was with the Canon RF15-35mm lens at 15mm and the camera in portrait orientation to capture as much of the sky and ground as possible in a single-row pano.
A 13-segment panorama of the sandstone landscape in blue-hour twilight at Writing-on-Stone Provincial Park.
I finished the evening with another panorama, but using a Canon RF70-200mm telephoto lens at 70mm to zoom in on the Sweetgrass Hills in the deepening twilight.
Rig for untracked panoramasPanorama head close-up
For these panoramas, exposures were short, so I didn’t need to track the sky. I used another combination of gear shown above. An Acratech ball head sits atop another style of panorama head that has adjustable click stops to make it easy to move the camera from segment to segment at set angles. When the lighting is changing by the second, it helps to be quick about shooting all the pano segments. Such pano heads are readily available on Amazon.
That pano head sits atop an Acratech levelling head (there are many similar units for sale), an essential addition that makes it easy to level the pano head so the camera turns parallel to the horizon. Any tilt will result in a panorama that waves up and down, likely requiring fussy warping or cropping to correct. Avoid that; get it right in-camera!
A single-image portrait of a sunset sky with the waxing two-day-old crescent Moon amid colourful clouds over the prairie.
As the sky lit up, I also shot the crescent Moon above the sunset clouds and prairie scene. While the clouds made for a fine sunset, they did not clear off, thwarting my Milky Way plans this night. I headed back to Milk River, to travel farther west the next day.
From Writing-on-Stone I drove along scenic Highways 501 and 5 to Waterton Lakes National Park.
A nightscape scene under a twilight “blue-hour” sky, on the Red Rock Canyon Parkway in Waterton Lakes National Park, Alberta, looking west toward the sunset with the four-day-old crescent Moon.
After an initial cloudy night, I made use of the (mostly) clear night on June 10 to shoot twilight scenes with the now four-day-old crescent Moon in the evening sky. Here I wanted to play with another technique I had not used much before: focus stacking.
To keep exposures short (here to minimize the blurring effects of the constant wind at Waterton) you have to shoot at wide apertures (f/2 in this case). But that produces a very shallow depth of field, where only a small area of the image is in focus.
So I shot a series of six images, shifting the focus from near (for the foreground flowers) to far (for the mountains and sky). Photoshop has an Auto Blend function that will merge the images into one with everything in focus. I also shot separate images exposed for the bright sky, shooting a vertical panorama โ dubbed a “vertorama” โ moving the camera up from frame to frame.
I shot an additional short exposure just for the Moon, to prevent its disk from overexposing too much, as it did in the twilight sky images.
Twilight sky assembly and layers in Photoshop
So what looks like a simple snapshot of a twilight scene is actually a complex blend of focus-stacked ground images, panoramic sky images, and a single short image of the Moon replacing its otherwise overly bright disk. But the result better resembles what the eye saw, as single exposures often cannot record the range of brightness the eye can take in.
A nightscape scene under a moonlit sky, on the Red Rock Canyon Parkway in Waterton Lakes National Park, Alberta, looking back along Pass Creek to the south, with the Milky Way rising at left.
About an hour later, from the same location, I shot the other way, toward the Milky Way rising over Vimy Peak, but the sky still lit blue by moonlight. This, too, is a blend of focus-stacked ground and panorama sky images. But the camera was on a fixed tripod for exposures no longer than 15 seconds. So I didn’t use the tracker.
And here the longer exposures do pick up more (colours, fainter stars, and brighter ground detail) than was visible to the eye. Revealing more than the eye can see is the essence and attraction of astrophotography.
A vertical panorama of the moonlit spring sky with the Big Dipper and Arcturus over the jagged outline of Anderson Peak at the Red Rock Canyon area of Waterton Lakes National Park, Alberta.
Heading down the Red Rock Canyon Parkway, I set up the tracker rig for the darker sky, now that the Moon was nearly setting. I shot a vertical panorama, with two untracked ground segments and four tracked sky segments, to capture Arcturus and the Big Dipper over the iconic Anderson Peak.
Comparing without and with LENR โ Lots of coloured specks without LENR! Tap to zoom up.
For all the images at Waterton and Writing-on-Stone I used the 45-megapixel Canon R5 camera, great for high resolution, but prone to noise, especially colourful thermal hot pixels. (See my review here.)
For all the long exposures I turned on Long Exposure Noise Reduction, a feature most cameras have. LENR forces the camera to take a “dark frame,” a second exposure of equal length, but with the shutter closed. The camera subtracts the dark frame (which records only the hot pixels) from the previous light frame. The final image takes twice as long to appear, but is much cleaner, as I show above. So a two-minute exposure requires four minutes to complete.
While there are clever ways to eliminate hot pixels later in processing (using Photoshop’s Dust and Scratches filter), doing so can blur details. I’ve long found that doing it “in-camera” always produces better results.
The Milky Way rising over the peak of Mt. Blakiston, in Waterton Lakes National Park, Alberta, Canada.
With the Moon now down, I turned the camera the other direction toward Mt. Blakiston, to capture the star clouds of the summer Milky Way rising behind the mountain, in an example of a “deepscape,” a nightscape with a telephoto lens. This is another technique I’ve not used very often, as the opportunities require good location planning and timing, transparent skies, and a tracker. Apps like ThePhotographersEphemeris coupled with TPE3D, and PlanItPro can help.
Deepscapes frame landscape fragments below some notable deep-sky objects and starfields, in this case a region with several “Messier objects” โ nebulas and star clusters well-known to amateur astronomers.
This was a blend of one untracked and one tracked exposure, again on the Nomad. Taking more frames for stacking and noise reduction, while a common practice, was not practical here โ at this focal length of 70mm the sky was moving enough that the mismatch between sky and ground would make blending tough to do.
And the reality is that today’s AI-trained noise reduction software (see my test report here) is so good, image stacking is not as essential as it once was.
For many of the Waterton images I used the Canon RF28-70mm lens, usually wide open at f/2. For the image below I used the RF15-35mm lens at its maximum aperture of f/2.8. (See my test report on these lenses here.)
The stars and clouds trail across the sky over Cameron Lake in Waterton Lakes National Park, Alberta, and Mt. Custer across the border in Glacier National Park in Montana.
On my final night in Waterton I drove the Akamina Parkway to Cameron Lake, located in extreme southwest Alberta on the borders with British Columbia and Montana. The glaciated peak to the south is Mt. Custer in Glacier National Park, Montana.
Again, I had hoped to get a deepscape of the photogenic starfields in Scorpius above Mt. Custer. But as is often the case at this site, clouds wafting over the Continental Divide defeated those plans. So Plan B was a set of long exposures of the clouds and stars trailing with the last light of the low Moon lighting parts of the scene. Chunks of ice still drift in the lake.
This is a blend of separate multi-minute exposures for the ground and sky, all at the slow ISO of just 100, and all untracked to purposely create the star trails, not avoid them.
So over a total of four nights at these wonderful World Heritage Sites, I was able to try out some new shooting techniques:
H-Alpha blending
Focus stacking
Deepscapes
As well as panoramas, both horizontal and vertical
Every nightscape outing is a learning process. And you have to be prepared to change plans as the clouds dictate. I didn’t get all the shots I had hoped to, but I still came away with images I was very pleased with.
AI-based noise reduction programs continue to improve, to provide remarkable results on many images. But โฆ how well do they work on star-filled astrophotos?
As we know, software evolves rapidly. So hereโs my latest look at versions of those programs current of as May 2024, plus new entries into the category, all with a focus on how well they perform on a variety of astrophotos. Only two programs tested here, NoiseXTerminator and GraXpert, are specifically designed to be used on astrophotos, primarily telescopic images of deep-sky objects.
The other programs on test are general purpose, for use on noisy images such as wildlife photos shot at high ISOs to freeze motion, or any photos shot under low light. But the latter includes nightscapes.
I tested programs in three categories, defined primarily by how they are used in a processing workflow:
Adobe DeNoise AI in Camera RawDxO PureRAW 4 stand-alone app
General programs usable only on Raw files at the start of a workflow:
Adobe DeNoise AI from within Adobe Camera Raw (v16.3) or Lightroom (v13.3)
DxO PureRAW 4 (v4.1), a stand-alone app only
Luminar Neo Noiseless AION1 NoNoise AI 2024Topaz Photo AI
General programs usable as stand-alone apps on Raw files, but also as plug-ins for Photoshop for use later in a workflow (I tested both workflows):
Luminar Neo (v1.19.1) and its Noiseless AI filter
ON1 NoNoise AI 2024 (v18.3)
Topaz Photo AI (v3.02)
GraXpert stand-alone app
Programs specialized for astro work:
RC-Astro NoiseXTerminator (v1.1.3), usable only as a Photoshop plug-in
GraXpert (v3.0.2), usable only as a stand-alone application
(The latter two can also be installed as โprocessesโ accessed from within the specialized astrophoto program PixInsight; I did not test that workflow.)
Comparing ACR’s standard noise reduction to 5 AI-based noise reduction programs
MY METHODS (โBUT WHAT ABOUT โฆ?โ)
I tested the five general-purpose programs on four types of astrophotos:
Nightscapes
Aurora images
Total solar eclipse images
Deep-sky images, both wide-field and telescopic
I tested the two specialized programs only on sample deep-sky photos, the types of images they are designed and trained for.
In all cases, the test images are single frames. I did not stack any images for these examples, as I wanted to show what the programs could do with noisy originals.
I tested only on Raw files from mirrorless cameras. I did not test on FITS files from specialized cooled astronomy cameras, as those require a quite different workflow and software.
Anticipating the โWhat about โฆ?โ question โ no, I did not test Topaz DeNoise AI. While popular among astrophotographers, both it and its companion program, Sharpen AI, were discontinued in 2023, in favor of Topaz concentrating on their single program, Photo AI, that can de-noise, sharpen, and upscale.
I made an exception for Luminar Neo. While it includes general processing functions, it is used more often (certainly by me!) just as a plug-in for its AI-driven effects and filters, noise reduction being one.
PLEASENOTE:
All the test images are full-resolution JPGs (6,000 to 8,000 pixels wide) that you can download (by right-clicking) for detailed inspection. You will often need to do so, to see the pixel-level differences I refer to.
But the sizes of the images make the blog page slow to load initially. Patience, please!
All images are ยฉ Alan Dyer, so any publication or posting elsewhere requires my permission, please and thank you! Just link to this blog if you wish to share the review.
DxO PureRAW can be called up from within Adobe Bridge by going to File>Open With โฆ and choosing DxO PureRAW.
In Lightroom, the route to send images to PureRAW is File>Plug-In Extras>Process and Preview with DxO PureRaw 4. You cannot choose Photo>Edit In โฆ as you might do to send images to other programs.
TL;DR SUMMARY (with links to the software websites)
Of the two Raw-only programs, Adobeโs DeNoise AI and DxOโs PureRAW 4, both worked well, with v4 of PureRAW much improved over its earlier artifact-prone v2 I tested and dismissed in 2022. Similarly, unlike its early version, Adobe DeNoise AI did not invent structures, such as auroral arcs.
Adobeโs DeNoise AI brought out details in the shadows much better than DxOโs PureRAW 4, which blocked up shadows. But PureRAW produced sharper details in illuminated landscapes, yielding less of the plastic appearance that Adobe DeNoise is still prone to. However, both programs turned star trails into wiggly worms.
Each of the three other general-purpose programs failed as stand-alone apps when importing Raw files, then exporting them as either Raw DNG (Digital Negative) files (ON1 NoNoise AI and Topaz Photo AI), or as TIFF files (Luminar Neo). Their exported images were either dark, vignetted, or hugely shifted in color or tonal balance. Results with that Raw-to-DNG/TIFF workflow were often unusable.
However, the same three programs (Luminar Neo, ON1 NoNoise AI and Topaz Photo AI) worked well as plug-ins from within Adobe Photoshop. Images now looked fine, with ON1 NoNoise producing what I thought was the best overall noise reduction with the fewest artifacts and โpatchinessโ in most examples. Luminar Neoโs Noiseless AI was consistently the poorest performer in all cases. Itโs the program I can rule out of the running for noise reduction.
The two specialized astro programs, NoiseXTerminator and GraXpert, did a fine job on deep-sky images, reducing fine-grained noise without eliminating stars, just what they are โtrainedโ to do. However, I felt NoiseXTerminator did the better job, with the new (as of May 2024) GraXpert 3.0 softening stars or leaving residual mottled artifacts. Neither worked well on nightscapes โ while they didnโt harm detail too much, other programs performed better on what are often detailed but dark and noisy foregrounds.
My main takeaway โ No one piece of AI software works best on all astrophotos. A program that provides great results on one image or class of image might perform poorly on another image. That’s the nature of AI-driven processing.
So … my overall conclusion and personal workflow picks? โ
Adobe DeNoise AI would be my first choice for noisy nightscape images, where it has to be applied early in the workflow. It will be worth trying on deep-sky images.
DxO PureRAW might work better on some nightscapes with lots of ground textures.
ON1 NoNoise AI works well on many images when applied as a plug-in later in the workflow, but its sliders often need adjusting from the defaults.
NoiseXTerminator remains my preferred plug-in for deep-sky images.
PLEASENOTE:
I have not provided prices and explained buying options, as frankly some can be complex!
For those details, go to the softwareโs website by clicking on the links in the names above. With the exception of Luminar Neo, all are available as free trial copies.
All programs are available for Windows and MacOS. I tested the latter versions, on an M1 Max MacBook Pro.
A typical test image, showing the small section that the comparison examples zoom in on. This is the first image shown below in detail.
RAW-ONLY PROGRAMS โ NIGHTSCAPES
To provide evidence for my conclusions, I focus first on the two Raw-only programs, Adobe DeNoise AI and DxO PureRAW 4, as they produced by far the best results of all the programs on demanding nightscapes, often remarkably so. They not only reduce noise, they also recover fine details with AI sharpening you cannot turn off. How well that works is what I demonstrate below.
In each of the following examples, I show the two programs compared to an image processed in Adobe Camera Raw (ACR) using the Detail panelโs old non-AI adjustments for sharpening and noise reduction.
I developed all the images in ACR, then sent them through Adobeโs DeNoise AI option or into DxO PureRAW. Both options produce new raw DNG files, with all the develop settings intact and accurate, with some exceptions with PureRAW as shown below.
Peyto Lake Nightscape
Peyto Lake corner closeup โ with Canon R5 at ISO 3200
In most cases I show only a section of images blown up by 250% to 500%. Here, in the first example of a nightscape shot I zoom in on a corner, as illustrated above, where noise often lurks due to lens vignetting. (I shot this and many of the nightscape examples with the 45-megapixel Canon R5. See my test of it for astrophotography here.)
The standard ACR noise reduction leaves a blizzard of fine noise and large color blotches. The Adobe DeNoise AI version (with it at 60%, the setting I used for all the DeNoise images) shows much less noise and somewhat reduced color blotches. The PureRAW version shows even better noise reduction, but the trees turn very dark with no detail.
But compare the mountainside. Adobe turns the rock layers into artificial-looking ropey bands; PureRAWโs detail recovery looks much more natural for texture.
Lake Edith Nightscape
Lake Edith corner closeup โ with Canon R5 at ISO 5000
In this example, I again zoom in on a badly underexposed corner. The standard ACR version looks awful, riddled with color splotches and banding. The Adobe DeNoise version has cleaned up most of the mess. But the PureRAW version is better, eliminating even more noise and artifacts.
So is PureRAW better? Not so fast!
Storm Mountain Nightscape
Storm Mountain corner closeup โ with Canon R5 at ISO 100
In this close-up of the Storm Mountain twilight image (that I show in full farther down the page), the normal image shot at ISO 100 isnโt marred too much by noise. But it does exhibit the magenta discoloration often seen in underexposed frame corners when the shadows are โliftedโ brighter, as I show in the inset of the Basics panel.
The Adobe DeNoise version automatically corrected the color back to normal (I made no manual adjustments) and brought out the fine details. By comparison, PureRAW turned the trees completely dark, a lazy way to reduce noise! I tried further lifting the shadows with some reverse vignetting (as shown), but the result was a muddy mess. PureRAW crushed the shadows to the point no detail was recoverable.
So is Adobe better? Not necessarily ….
Lake Louise Nightscape
Lake Louise close-up โ with Canon R5 at ISO 1600
Here I zoom in on famous Mount Victoria at the end of Lake Louise in Banff, in a one-minute exposure taken for the ground. As before, I think PureRAW has done a better job at recovering details in the mountain, though maybe to the point of over-sharpening? Adobe DeNoise perhaps looks more natural here.
But look at the star trails, which we sometimes want in our nightscapes, or have whether we want them or not! Yes, the sky in the AI-processed images looks less noisy, but the star trails now look like wiggly irregular streaks. PureRAW is a little worse, but both programs suffer from the same AI misinterpretation of the content. Both ruined the sky.
Will this always be the case?
Sierra Cabins Nightcape
Sierra Cabins close-up โ with Fuji GFX100S at ISO 3200
All the other image examples are from Canon mirrorless cameras: the EOS R, Ra or R5. But this is a blow-up of a 100-megapixel photo from a medium-format Fuji GFX100S. The rustic cabin and the sky is less noisy in the AI images, with PureRAW the better performer here by a small margin. Stars look fine, and the AI sharpening of both programs has brought out the faint stars without any artifacts, a welcome improvement I think.ย
RAW-ONLY PROGRAMS โ AURORA
I include this as a separate example, as an aurora photo provides a sky with a different type of content. In the past Iโve seen Adobe AI invent aurora rays.
Aurora Curtain
Aurora close-up โ with Canon Ra at ISO 1600
This is an image from the Great Aurora show of May 10, 2024. Thereโs less noise in the AI versions of this example, and both programs also eliminated the errant hot red pixel at lower right in the ACR image. Iโve found these two AI programs can correctly identify and eliminate some hot pixels, though hot pixel removal can be hit or miss.
In all, I found the AI routines of Adobe and DxO did a fine job on auroras, reducing noise without introducing artifacts such as banding or posterized color gradations. Neither overly sharpened foreground details, nor added structures into the aurora or clouds that shouldnโt be there or that look unrealistic.
RAW-ONLY PROGRAMS โ SOLAR ECLIPSE
Many of us have close-ups of the April 8, 2024 total eclipse of the Sun. Even though you might have shot them at a low ISO (even when eclipsed, the Sun is bright), you might have been surprised to see how much fine noise remains in the corona and sky.
Solar Eclipse Corona Close-Up
Corona close-up โ with Canon R5 at ISO 100
This is a close-up of a frame taken through a 105mm f/6 refractor at a focal length of 630mm. Even at ISO 100, thereโs a pixel-level granulation visible, but in this case I donโt think either Adobe DeNoise or PureRAW provided much of an improvement, likely because this is a low-ISO original.
In fact, I think Adobe DeNoise AI made noise worse, as its inherent sharpening added some dark flecks throughout the corona. But neither program introduced any banding, unlike Topaz was guilty of below.
RAW-ONLY PROGRAMS โ DEEP-SKY
Here I compare the two Raw-only programs on several examples of deep-sky images โ photos of the Milky Way and nebulas taken with tracking mounts so the stars remain pinpoints, ideally! These examples are tough tests, as the AI models have likely received little training on what these are supposed to look like! And faint stars can look like noise.
Orion Portrait
Orion close-up โ with Canon Ra at ISO 800
First is a wide-angle portrait of Orion, blowing up the center of a tracked exposure with a 28-70mm zoom lens set to 46mm. (See my test of Canon RF zoom lenses here.) Shot at ISO 800, low for deep-sky images, this single frame is fairly clean to begin with. The AI programs do smooth the noise, without wiping out stars. Nice!
But they do accentuate the residual chromatic aberration (the blue haloes) on stars. PureRAW looks a little worse as it seems to have shifted the color to more magenta. All three Raw files have identical settings and profiles applied, yet PureRAW looks slightly different.
Cygnus H-alpha Monochrome
Cygnus close-up โ with Canon Ra at ISO 3200 with Astronomik 12nm H-a clip-in filter
This is a more demanding example, shot with the same lens but at 70mm, and with the red-sensitive Canon Ra. It is rendered in monochrome as it was shot through a deep-red hydrogen-alpha filter to isolate the red light from the nebulas, here in Cygnus.
This is a single frame (you would normally stack lots of these!), very noisy due not only to the high ISO used, but also because only the red pixels (one quarter of the total on the sensor) recorded any signal.
Both Adobe DeNoise AI and DxO PureRaw have cleaned up the noise well. PureRAW has added more sharpening, tightening the stars and enhancing fine structure. Whether this is good or not depends on your goals and tolerance for AI-induced changes. In this case, I donโt think it has invented details.
But then thereโs this example โฆ.
Vela Supernova Remnant
Vela SNR close-up โ with modified Canon R at ISO 3200
This, too, is a filtered single frame, taken through a 61mm-aperture telescope equipped with a โdual narrowbandโ filter which isolates the red H-alpha wavelength, but also the cyan Oxygen emission lines prominent in supernova remnants like this one in Vela. The deep filter requires shooting at a high ISO. So thereโs lots of noise.
In this trio, I also applied NoiseXTerminator to the left image, an AI-based noise reduction program designed for just such images. I show more examples with โNoiseXโ at the end.
I donโt think Adobe DeNoise or PureRAW have done any better job than NoiseX at reducing noise. If anything, each might have added some additional texturing that looks artificial, and accentuated chromatic aberration haloes on the stars. NoiseX wins here, right?
Well โฆ look at the fine structures of the wisps of nebulas in all three panes. In the two panels at center and right, you can see more structure in the nebulosity, such as the protruding red fingers at top, that are not there in the NoiseX version at left. Is this real? Might other sharpening routines later in the workflow have brought it out anyway? Or are these details the products of AI imagination!?
Before purists dismiss the Adobe and DxO AI programs for fabricating details, hereโs another example.
Crab Nebula
Crab Nebula close-up โ with modified Canon R at ISO 800
This is another supernova remnant, the famous Crab Nebula in Taurus. It is a 500% blow-up of the center of a single exposure with a modified Canon R on a 120mm f/7 refractor.
In this case, the โnormal” image on the left has had just ACRโs old-style noise reduction applied, nothing else. In the middle and on the right, the Adobe and DxO AI versions are noticeably less noisy.
But โฆ the small red tendrils are also more obvious with AI enhancement โ and they are real (as comparisons to other more detailed astrophotos showed me). So here the AI has helped bring out subtle details while smoothing noise. I think PureRAW has sharpened stars a little too much, and shifted the colors, again to magenta.
Summary Points:
Both Adobe DeNoise AI and DxO PureRAW 4 can work wonders on nightscapesโฆ
โฆ Except on star trails! Both programs ruin star trails.
Their improvements to low ISO images is not so great, if minimal.
In its conversion of Raw to DNG, PureRAW sometimes introduced minor and unwelcome changes to imagesโ brightness and color. Adobe DeNoise did not.
But PureRAW recovered details in textured landscapes much better than DeNoise, which can suffer from plastic looking artifacts.
Both programs are worth trying on deep-sky images, if your workflow allows working with Raw files.
But you have to look carefully at the details โ pixel peep! โ as you might see oddities introduced by either program that you feel are unacceptable. Or you might see welcome sharpening, saving you more work later in processing.
Recommendations:
Adobe DeNoise AI has the advantage that if you are an Adobe Cloud subscriber you already have it. It is included with Lightroom and Camera Raw. So try DeNoise AI; you might like the results. Or not! But as with DxO PureRAW, it can be applied only to Raw files and only at the start of a workflow.
Download the trial copy of DxO PureRAW and test it on your own images. You might prefer it in your workflow.
OTHER PROGRAMS โ WORKING STAND-ALONE ON RAW FILES
Now I test Luminar Neo Noiseless AI, ON1 NoNoise AI, and Topaz Photo AI โ three AI noise reduction programs that can work not only on Raw files but on other file formats, allowing them to be applied at various points in a workflow.
All three programs can read Raw files from a wide range of cameras. Like PureRAW, ON1 and Topaz can also export DNG files, Adobeโs universal version of a Raw file. The best format Luminar can export to is a 16-bit TIFF.
I sent all the raw images Iโve shown above, plus a dozen more Iโm not showing, through all three programs working as stand-alone apps, similar to how PureRAW operates. I usually applied their default or auto settings for noise reduction, and also for sharpening, as both Adobe and DxO also sharpen โ you canโt have them not sharpen. I wanted to compare like to like.
Aurora Curtain
Aurora Curtain with three programs as stand-alone apps
The exported files from all three programs showed noticeable differences in brightness and color on this aurora example from the May 10, 2024 display. Again, all have had the same develop settings applied to them as were applied to the original file in Camera Raw. Topaz shows over-sharpening, but that can be turned down from the usually excessive level chosen by its โAuto Pilotโ routine.
Aurora over House
Aurora over House with three programs as stand-alone apps
Another aurora example also shows significant differences in brightness, color and contrast. Auroras are particularly sensitive to shifts in white balance and to the camera profile chosen. In this case the profile was Camera Neutral. Only Luminar honored that profile; ON1 and Topaz offered only a generic Color profile in their DNGs. Luminar did not apply the lens correction for the Venus Optics 15mm lens used here, as it was not in its database. So its image looks dark and vignetted, requiring manual adjustments.
Peyto Lake Nightscape
Peyto Lake nightscape with three programs as stand-alone apps
The differences became even more marked on some of my test nightscapes. In this ISO 3200 Canon R5 image from Peyto Lake in Banff only Topazโs exported DNG succeeds in resembling the original developed Raw file from ACR. Luminarโs TIFF is far too dark and ON1โs DNG is way too bright and contrasty. What happened there?
Storm Mountain Nightscape
Storm Mountain twilight scene with three programs as stand-alone apps
Another example, shot at ISO 100 with the Canon R5, also shows major disparities between the original Raw files and the exported images, with Luminarโs now looking the closest, ON1 still too bright and contrasty, and Topazโs way too dark. There is no predicting what youโll get.
I think the differences might be due to how each program interprets the camera profile used, but the reason is a mystery.
Summary Points:
Unlike DxO PureRAW 4, none of these three programs can be used in practice as stand-alone noise reduction apps, at least not with reliable results.
Recommendations:
Use Luminar Neo, ON1 NoNoise AI and Topaz Photo AI only as plug-ins, at least for noise reduction. Thatโs what I test next.
THE SAME TRIO โ AS PLUG-INS WITHIN PHOTOSHOP
Thankfully, when I used the same three programs called up from within Photoshop as filter plug-ins, all worked well, though with varying levels of noise reduction quality.
All three can also be called up from within Adobe Lightroom.
Sending images to Plug-Ins with Lightroom, using Edit in ….
However, for the latter, do not use the route I advised at the beginning for DxO PureRAW. Do not send images to them via File>Plug-In Extras โฆ. While that will work, youโll get the same bad results I show in the previous section when using the programs as stand-alone apps.ย
Instead, as I show immediately above, from Lightroom, use Photo>Edit Inโฆ and choose your plug-in. That will produce the same good results I show below.ย
An even better method is to choose Photo>Edit In>Open as Smart Object in Photoshop. You can then apply these or any plug-in as a non-destructive โsmart filter,โ with settings you can re-adjust at any time, rather than being โbaked intoโ the resulting TIFF file. Thatโs what I did for the tests below.
I can hear the anti-Adobe faction clamouring! For those who do not use Photoshop, all three programs will also install as plug-ins into Affinity Photo 2, a very Photoshop-like layer-based editor available under a perpetual license at low cost. However, I did not test that workflow variation.
Peyto Lake Nightscape
Peyto Lake close-up โ with Canon R5 at ISO 3200
Here, on blow-ups of a noisy frame corner, I show the settings I used. Most are default, except for ON1 where I backed off its Tack Sharp Deblur from the 100 it had picked. While ON1 NoNoise ostensibly has an Auto function for detecting and applying an amount of noise reduction and sharpening suitable for each photo, it often picks 100%.
However, ON1 NoNoise AI did the best job. Topaz Photo AI still left noise in the foreground. Luminar Noiseless AI wasnโt bad, but left a noisier sky with some patchy artifacts.
Aurora Curtain
Aurora Curtain โ with Canon Ra at ISO 1600
On the aurora example, I also applied Photoshopโs old Reduce Noise filter to the image brought in from Camera Raw. It can do a good job smoothing fine-scale noise.
With that conventional filter applied I found there wasnโt a big difference among the four versions. The three AI programs did a good job, with ON1 and Topaz better than Luminar, which still left some noise. Topaz over-sharpened the stars and trees, leaving colorful ringing artifacts on the latter. And that was with its Sharpen filter backed off to 30 from the 50 the Auto Pilot routine suggested using.
Vela Supernova Remnant Deep-Sky
Vela SNR close-up โ with modified Canon R at ISO 3200
Luminar Noiseless AI improved this noisy frame by only a small degree. ON1 and Topaz were much better, providing good noise reduction without adding significant artifacts or odd โinventedโ structures. As usual, Topaz sharpened stars by default, and perhaps a little too much.
Cygnus Starfield Deep-Sky
Cygnus close-up โ with Canon Ra at ISO 1600
This star-rich field taken with a 70mm lens tests how well the programs can retain tiny stars while smoothing noise. Luminar left stars intact but didnโt provide much better noise reduction over what Camera Rawโs old manual noise sliders produced.
ON1 did provide a smoother background sky. But retaining faint stars required backing off Luminance noise reduction and increasing Enhance Detail to bring back the faint stars it wiped out with its default settings. Boosting Deblur and Micro Contrast can add ugly haloes on stars. So, with a deft touch to the sliders the results with ON1 can be very good, with the added benefit that it appears to reduce residual chromatic aberration around stars without affecting star colors.
With Topaz, sliding up Original Detail helped bring back stars lost to noise smoothing. However, there was an odd general reduction in contrast over the image.
Solar Eclipse Corona Close-Up
Corona close-up โ with Canon R5 at ISO 100
Each program handled this low-ISO file a little differently. Luminar seemed to actually increase noise, adding coarser structures and some banding. ON1 was the smoothest, with noticeably less noise than the original Camera Raw image. Topaz left (or added?) some fine scale color noise. It sharpened the lunar limb very well, though with a slight dark halo.
But the real revelation was when I zoomed out to look at the darker sky beyond the brightest parts of the corona.
Solar Corona Banding Artifacts
Corona sky close-up โ with Canon R5 at ISO 100, showing Topaz banding artifacts
Topaz Photo AI introduced very noticeable banding in the form of square blocks, an artifact of how AI programs analyze images in โtiles.โ I did see this in other photos processed with Photo AI, in areas that should look smooth. The culprit is the noise reduction; turn it off and the banding goes away, but now you have noise!
In this case, Topazโs noise reduction ruined the image, though its sharpening was useful. Overall, I think ON1 NoNoise AI 2024 was the winning plug-in for noise reduction. But Iโve used Photo AI to sharpen solar prominences.
Summary Points:
All three programs worked well as plug-ins, with none of the extreme shifts in color or tone shown in the previous section in the stand-alone app exports.
However, even as a plug-in I felt Luminar Neoโs Noiseless AI filter consistently produced the worst results, or often little benefit at all.
Topaz Photo AI can produce good results, but watch for banding artifacts and over-sharpening. I also found that Topaz was prone to crashes and lock-ups, requiring force-quitting.
ON1 NoNoise AI 2024 provided the best overall noise reduction among these three plug-ins. The 2024 version is much improved over the 2023 version which had a High Detail mode that was awful! Even so, watch for loss of stars, or sharpening haloes. Play with the sliders.
Recommendations:
While Topaz Photo AI is popular among nature photographers, I would suggest ON1โs NoNoise AI 2024 is the better choice for astrophotographers looking for a noise reduction plug-in.
I canโt dismiss Luminar Neo. I like it for some of its other special effect filters, such as Orton glows, Magic Light, Sky Enhancer AI, and Accent AI. I find it a useful plug-in for effects and finishing touches. However, I would not recommend Luminar for noise reduction.
SPECIALIZED PROGRAMS โ NOISE XTERMINATOR and GRAXPERT
No review of AI programs for astrophotography can leave out RC-Astroโs XTerminator plug-ins. Here I show Russell Cromanโs NoiseXTerminator which uses AI trained on star-filled astrophotos. I tested it as a filter plug-in for Photoshop.
Also becoming popular in the last year is the free stand-alone application GraXpert. Developed first to eliminate nasty gradients of tone and color across deep-sky images due to light pollution, GraXpert now also includes AI-based noise reduction. I tested it as a stand-alone application; it does not install as a plug-in, though like NoiseXTerminator, it can install as a process accessible from within the popular astrophoto program PixInsight.
As a stand-alone app, GraXpert can only import and work on TIFFs, JPGs, or FITS files, the latter format produced by dedicated astro cameras.
I show only deep-sky image examples, as thatโs the domain of these two programs.
Crab Nebula with NoiseXTerminator vs. ON1 and Topaz
Crab Nebula close-up โ with modified Canon R at ISO 800
First I show a comparison of the Crab Nebula test image with ACRโs standard non-AI noise reduction applied plus Photoshopโs old Reduce Noise filter. I compare this to the same image but with NoiseXTerminator also applied at 60% strength. Now compare this to versions with ON1 NoNoise and Topaz Photo AI.
NoiseXTerminator produced the smoothest result with no detrimental affect on the stars or nebulosity. ON1 is a good second place for noise reduction, with slightly sharper stars, which may or may not be desirable. Topaz produced subtle patchy artifacts and added tiny structures that may or may not be real.
NGC 1763 with NoiseXTerminator vs. ON1 and Topaz
NGC 1763 in LMC โ with modified Canon R at ISO 3200
This is a single-frame close-up of the second best nebula in the Large Magellanic Cloud (after the Tarantula), taken at ISO 3200 through a dual-narrowband filter. So it is noisy.
The left panel is again with ACR and Photoshopโs Reduce Noise. But applying NoiseXTerminator cleaned the image up a lot. ON1 looks almost as good. Topaz sharpened detail to the point of revealing pinprick faint stars that are just blurs in the other images. These may indeed be real!
Vela Supernova Remnant with Noise XTerminator and GraXpert
Vela SNR close-up โ with modified Canon R at ISO 3200
The same Vela SNR image I used earlier shows excellent noise reduction from NoiseXTerminator, with star colors and nebula structures left alone. GraXpert at 50% strength (the developers have suggested backing off the settings) did not produce as smooth a sky. Applying GraXpert at 100% strength did yield noise reduction on par with NoiseX, but produced a slightly softer overall image.
Crab Nebula with Noise XTerminator and GraXpert
Crab Nebula close-up โ with modified Canon R at ISO 800
Processing the Crab Nebula image shows much the same results. Though I think here even at 100% GraXpert isnโt producing as good a level of noise reduction as NoiseX, leaving some patchiness amid the nebula, and a mottled texturing to the background sky.
Summary Points:
For the best noise reduction on deep-sky images, especially telescopic close-ups, the dedicated programs NoiseXTerminator and GraXpert trained on such images can do a better job than general-purpose AI programs.
I find NoiseXTerminator the better of the two, but GraXpert is new and evolving.
Recommendations:
GraXpert has the great benefit of being free! But on Macs it runs very slowly, something the developers admit and seem resigned to, as their market is Windows users. My test images each took 2 to 2.5 minutes to process, some 5 to 10 times slower than any of the other programs. And it runs only as a stand-alone app, yet it cannot read Raw files from DSLRs or mirrorless cameras, unlike PureRAW. But if you are a deep-sky imager, try it, as its main purpose โ gradient removal โ might prove indispensable.
As I prefer to accomplish as much of my editing as possible within one program, I prefer NoiseXTerminator as it can be applied from within Photoshop, and as an editable smart filter. I use it on most of my deep-sky images. I highly recommend it and RC-Astroโs other plug-ins.
YOUR MILEAGE MAY VARY!
The nature of AI means that results with any program can vary from image to image. Thatโs why no one, me included, can claim that one program is โthe best!โ Best for what? And with what workflow?
As some programs, such as Topaz Photo AI, offer multiple AI models and settings for strength and sharpening, results on the same image can be quite different. In most of my testing I used either the programโs auto defaults or backed off from those defaults where I thought the effect was too strong and detrimental to the image.
This is all by way of saying, your mileage may vary! In fact, it certainly will.
So donโt take my word for it. Most programs (Luminar Neo is an exception) are available as free trial copies to test out on your astro-images and in your preferred workflow. Test for yourself.
But do pixel peep. Thatโs where youโll see the flaws. And the benefits. We are fortunate to have such a great arsenal of tools at our disposal. They will only get better as the AI models improve.
I hope my review โ as lengthy as it is! โ has helped you make an informed decision on what to buy.
It has been many years since we were treated to an aurora as widely seen as the show on May 10, 2024. Here’s my tale of the great display.
As the sky darkened around the world on May 10/11, 2024, sky watchers in both the northern and southern hemispheres were amazed to see the sky lit by the deep reds, greens and pinks of a massive display of aurora. For me, this was my first Kp8 to 9 show (to use one measure of aurora intensity) in more than 20 years, back in the film era!
Throughout the day, aurora chasers’ phones (mine included) had been beeping with alerts of the arrival of a major solar storm, with the usual indicators of auroral activity pinned to the top of the scale.
A NOAA satellite’s eye view of the ring of aurora May 10/11, showing it south of me in Alberta, and across the northern U.S. People in the southern U.S. saw it to their north.
As I show below, the graphic of the intensity of the band of aurora, the auroral oval, was lit up red and wide. This was a night we didn’t have to chase north to see the Northern Lights or aurora borealis โ they were coming south to meet us (as I show above).
The Kp Index was reading 9 on SpaceWeatherLiveThe auroral oval was lit up red in the Ovation mapThe 3-hour predictions called for red and magenta alerts!
Observers in the southern hemisphere had the normally elusive aurora australis move much farther north than usual, bringing the Southern Lights even to tropical latitudes in Australia, South America and Africa.
The cause was a massive sunspot group on the Sun which had let off several intense solar flares.
Sunspot group 3664 was so big it could be seen with the naked eye, using solar eclipse glasses. Photo courtesy NASA.
The flares had in turn blown off parts of the Sun’s atmosphere, the corona, that anyone who saw the total eclipse a month earlier had admired so much. But a month later, the corona was being blown our way, in a series of Coronal Mass Ejections (CMEs), to collide with Earth.
A movie of six CMEs blasting toward Earth, captured by the SOHO satellite. Courtesy NASA/ESA.
As it happened I was scheduled to give a community talk in the nearby town early in the evening of May 10, on the topic of The Amazing Sky! Watching the indicators, I could more or less promise the audience that we would indeed see an amazing sky later that evening as it got dark.
Post talk, I hurried home to get the cameras ready, choosing to forgo more hurried driving out to a scenic site in southern Alberta, for the convenience of shooting from my rural backyard. As the sky darkened, the clouds were lit purple, and curtains of aurora appeared in the clear patches.
Clouds and aurora in twilight with the 11mm TTArtisan full-frame fish-eye lens.A bright arc of aurora shining through the purple clouds, with the 7.5mm TTArtisan circular fish-eye lens.
Something big was going on! This was promising to be the best show of Northern Lights I had seen from home in a year. (Spring 2023 had three great shows at monthly intervals, followed by an aurora drought for many months. See The Great April Aurora.)
A selfie at the start of the great aurora show of May 10, 2024.
I shot with four cameras (a Canon EOS R, Ra, R5 and R6) โ two for time-lapses, one for real-time movies, and one for still images. I used the latter to take many multi-image panoramas, as they are often the best way to capture the wide extent of an aurora across the sky.
The arc of aurora in purple and white across the northern sky from home in Alberta at the start of the great display (about 11:30 p.m. MDT).
Early in the evening the arc of aurora wasn’t the usual green from oxygen, but shades of purple, pink, and even white, likely from sunlit nitrogen. The panorama above is looking north toward a strangely coloured arc of nitrogen (?) aurora.
Then after midnight a more normal curtain appeared suddenly, but toward the south, brightening and rising to engulf much of the southern sky and the sky overhead.
Looking south with the 15mm wide-angle lens.
It is at local midnight to 1 a.m. when substorms usually hit, as we are then looking straight down Earth’s magnetic tail, toward the rain of incoming aurora particles bombarding the Earth. During a substorm, the rain turns into a deluge โ the intensity of the incoming electrons increases, sparking a sudden brightening of the aurora, making it dance all the more rapidly.
This is a 300ยฐ panorama of my home sky now filled with colourful curtains.
As the aurora explodes in brightness it often swirls up to the zenith (or more correctly, the magnetic zenith) to form one of the sky’s greatest sights, a coronal outburst. Rays and beams converge overhead to form a tunnel effect. It is jaw-dropping.
I’ve seen this many times from northern sites such as Churchill and Yellowknife, where the aurora often dances straight up. And from my latitude of 51ยฐ N in western Canada, the aurora does often come down to us.
But this night, people at latitudes where, at best, the aurora might be seen just as a glow on the horizon, saw it dance overhead in a corona show to rival the solar eclipse, and that other corona we saw on April 8!
This is a panorama of a substorm outburst creating an overhead corona with rays converging to the magnetic zenith (south of the true zenith), and amid clouds. The rays show a rich mix of oxygen greens and reds, as well as nitrogen blues blending to create purples. Some greens and reds are mixing to make yellows.
Yes, the long exposures of aurora photos (even those taken with phone cameras) show the colours better than your eye can see them (insensitive as our eyes are to colour in dim light). But this night portions of the arcs and rays were bright enough that greens and pinks were easily visible to the naked eye.
This is a single 9-second exposure of the peak of a bright outburst at 1 a.m. MDT. It was with the Laowa 7.5mm circular fish-eye lens at f/2 on the Canon R5 at ISO 800. It is one frame from a time-lapse sequence. A brief outburst of a substorm created an overhead corona with bright rays converging to the magnetic zenith (south of the true zenith).The corona shows a mix of oxygen greens and reds, as well as nitrogen blues blending to create purples. Some greens and reds mix to make yellows.
At its peak the show was changing rapidly enough, I couldn’t get to all the cameras to aim and frame them, especially the movie camera. The brightest outburst at 1 a.m. lasted just a minute โ the time-lapse cameras caught it. The sequence below shows the view in 9-second exposures taken consecutively just 1 second apart.
This series shows a brief outburst of bright aurora at the magnetic zenith overhead. The time between these 7 consecutive 9-second exposures is only 1 second, so this bright outburst did not last long (little more than a minute). With the TTArtisan 7.5mm f/2 fish-eye lens on the Canon R5. Click or tap to enlarge to full screen.
Here’s another sequence of frames taken as part of a time-lapse sequence with the 11mm lens. It shows the change in the aurora over the 80 minutes or so that it was most active for me at my site.
The time between these 12 images is usually 8 minutes, though to include some interesting activity at a bright outburst, the interval is 5 minutes for three of the images around 1 a.m. Each is a 7- or 9-second exposure taken as part of a time-lapse sequence using the 11mm TTArtisan lens at f/2.8 on the Canon R at ISO 800 or 1600.
Shooting time-lapses with fish-eye lenses captures the show with a minimum of attention needed (except to adjust ISO or exposure times when the aurora brightens!). I could use the still camera (with the Laowa 15mm f/2 lens) to take individual shots, such as more selfies and home shots.
This is a single 6-second exposure with the Laowa 15mm lens at f/2 and Canon Ra at ISO 2000.This is a single 4-second exposure with the Laowa 15mm lens at f/2 and Canon Ra at ISO 1600. This is a single 8-second exposure with the Laowa 15mm lens at f/2 on the Canon Ra at ISO 800. Another camera taking a time-lapse is in the scene. I had four going this night.
As colourful as the aurora was at its best between midnight and 1:30 a.m., I think the most unique shots came after the show had subsided to appear just as faint rays across the north again, much as it had begun. To the eye it didn’t look like much, but even on the camera’s live screen I could see unusual colours.
I took more panoramas, to capture one of the most unusual auroral arcs I’ve even seen โ a blue and magenta aurora across the north, similar to how the night started.
This a stitch of 11 segments, each 13-second exposures, with the Laowa 15mm lens at f/2 on the Canon Ra camera at ISO 800, and turned to portrait orientation. Processed in Camera Raw and stitched with PTGui.
The colours may be from nitrogen glowing, which tends to light up in blues and purples, especially when illuminated by sunlight at high altitudes. At 2 to 2:30 a.m. the Sun might have been illuminating the aurora at a height of 150 to 400 km, and far to the north.
I’d seen blue-topped green auroras before (and there’s a green aurora off to the west at left here). But this was the first time I’d seen an all-blue aurora, no doubt a product of the intense energy flowing in the upper atmosphere this night. And the season and my latitude.
The panorama is a spherical projection spanning 360ยบ, and reaching to the zenith 90ยฐ high at centre. This a stitch of 20 segments, each 13-second exposures, with the Laowa 15mm lens at f/2 on the Canon Ra camera at ISO 800, and turned to portrait orientation. Processed in Camera Raw and stitched with PTGui.
The weirdest aurora was at 2:30 a.m., when in addition to the blue rays of nitrogen, an odd white and magenta patch appeared briefly to the south. What was that??
The lesson here? During a bright show do not go back to sleep when things seem to be dying down. Interesting phenomena can appear in the post-storm time, as we’ve learned with STEVE and other odd red arcs and green proton blobs that we aurora photographers have helped document.
I end with a finale music video, mostly made of the time-lapses I shot this night.
Enjoy!
Bring on more aurora shows as the Sun peaks in activity, perhaps this year. But the best shows often occur in the 2 or 3 years after solar max. So we have several more years to look forward to seeing the Lights dance in our skies.
Watch in full screen and in 4K if you can. For all the tech details click through to YouTube and check the description below the video.
I present a two-minute video set to music of the April 8, 2024 total solar eclipse.
In my previous blog Chasing the Cross Continental Eclipse I told the tale of my chase to see the total eclipse of the Sun. I ended up under mostly clear skies in the Eastern Townships of Quรฉbec, Canada, not Texas, my original destination.
Here I present the result of shooting with four cameras that afternoon, taking still images, time-lapses, and a 4K movie.
Be sure to watch in 4K!
The site worked out very well, as the lower Sun in eastern Canada lent itself to views framing the eclipse over a landscape below, in this case a very wavy lake. But I was lucky to have open water as other lakes in the area were still frozen.
My post-eclipse selfie at the Lac Brome site in Quebec for the April 8, 2024 total eclipse of the Sun.
As it was, a snow storm a few days earlier left lots of snow in the area to be included in my post-eclipse selfie.
This was only the third total solar eclipse I’ve seen from Canada, after February 26, 1979 from Manitoba, and August 1, 2008 from the air out of Cambridge Bay, Nunavut in the Canadian Arctic. The next total eclipse from Canada passes over my home in Alberta. But it is not until August 22, 2044!
I had always planned to drive to the April 8, 2024 total eclipse of the Sun. But to where? I ended up on the other side of the continent than originally planned.
It is not often the path of the Moonโs shadow crosses your home country, let alone continent. Only once before in recent years, on August 21, 2017, did the narrow shadow path pass near enough to my home in Alberta to allow me to drive to a total eclipse. They almost always require flying.
Packed and ready to hit the highway for a long eclipse trip.
Yes, while I could drive to the April 8, 2024 eclipse, it was going to demand a much longer drive than in 2017. But driving allowed me to take a carload of telescope and camera gear. So that was the plan.
My destination was San Antonio, Texas. Thatโs where I had made a hotel booking more than a year earlier. The weather prospects in Texas were forecast to be best (at least according to the long-term averages) of any locations along the path in the U.S. or Canada. (I did not want to drive into Mexico.)
Where I was going! Where I ended up going!
On March 30, with some trepidation, I set out down I-15 heading south. I got as far as Great Falls, Montana, my stop for night one. But it was to be a move in the wrong direction.
The forecast for Eclipse Day as of March 30. Blue is bad; white is good!
The various long-range weather models were all agreeing, even 10 days in advance, that Texas (covered in blue above) was looking poor for eclipse day. But eastern Canada looked good! That was the exact opposite of what had been expected.
So on Easter Sunday, I turned around and headed north, crossing back into Canada at a lonely border post in southwest Saskatchewan.
I proceeded east along the TransCanada, Highway 1. I decided against a route across the northern U.S. and around the southern end of Lake Michigan, to avoid severe weather forecast for the middle of the U.S.
One of my daily Facebook travelogue posts with a beer of the day.
Along the way I posted my beer-du-jour travel reports, as above from Day 8, that day from within the shadow path at last!
Our 1979 eclipse group in 1979.The 1979 eclipse site in 2024.The February 26, 1979 eclipse.
I also stopped at the only total eclipse site, of the 16 I had seen previously, I have ever been able to re-visit. On February 26, 1979 I and a small band of friends from Edmonton viewed the mid-winter eclipse (the last one visible from southern Canada) from a median road (Firdale Road as it is now called) on the TransCanada Highway near Carberry, Manitoba. I found the spot again, where I saw (and shot with my Questar telescope) my first total eclipse of the Sun.
However, a day after entering Ontario, the bad weather caught up with me, forcing an extra night north of Lake Superior while the only highway across the region, Highway 17, was cleared of snow and re-opened at Wawa, the usual cross-Canada choke point.
My new destination (after abandoning the site in the Texas Hill Country) was to be southern Ontario.
The weather prediction as of April 5.Southern Quรฉbec looking good!
However, as eclipse day approached and the weather predictions became more precise, it was apparent that Ontario would also be under some cloud. Southern Quรฉbec was looking better. So the Eastern Townships became my new Plan A site! I was running out of time!
Using the TPE app to check the Sun’s location once on site, the day before the eclipse.
I arrived on site in Quรฉbec with only a day to spare to check out the location I had found by exploring Google maps.
With the Sun lower in the mid-afternoon sky in Quรฉbec compared to the high-noon Sun in Texas, I decided to shoot a wide-angle scene of the eclipse over a lake, preferably with open water, not ice! That required a site with public parking on an eastern lakeshore.
The Photographer’s Ephemeris (TPE) app to check Sun angles.Zooming in with TPE app for my chosen Lac Brome site. .
The site I found, then checked out on April 7, was on Lac Brome. It proved ideal โ except for the thin cloud that was now predicted to drift through during the eclipse.
Sure enough, thatโs just what happened. The cloud detracted from the eclipse only in preventing long-exposure images recording the outermost streamers in the Sunโs atmosphere.
A wide-field view of the eclipse of the Sun, taking in the bright planets Jupiter (at top) and Venus (below) that were easily visible to the unaided eye during totality.
I could have sought out clearer skies by going even farther east, but I was in a crunch for time and hotel rooms! As it was I was able to get rooms everywhere I wanted and at normal โnon-eclipseโ rates!
A panorama of the lakeside parking area at Lac Brome prior to the eclipse. My RAV4 and camera array, pre-eclipse.I shot with 4 cameras at the car and one set up lakeside.
The Lac Brome site filled with cars during the day, with people from Quรฉbec and Ontario, but also from Alberta, and from Pennsylvania, Massachusetts and Maine โ at least those were the homes of the folks I enjoyed meeting on eclipse day.
Everyone had a great time and had a superb eclipse experience.
The total eclipse of the Sun over the waters of Lac Brome, in the Eastern Townships of Quebec, Canada. The twilight colours come from sunlight from outside the shadow path.
The lunar shadow arrived from the southwest, from the direction of the Sun, appearing as a dark cloud racing toward us. At the end of the eclipse the sky brightened first in that same direction, as the trailing edge of the shadow shot up across the sky. The clouds helped make the shadow edge more visible.
A time-lapse of the arrival and departure of the lunar shadow, made of 1200 frames each 1 second apart.
I shot with five cameras, just as I had done in 2017, possible only because I drove.
The main rig was my faithful Astro-Physics Traveler, a 105mm refractor telescope the company owner designed for his personal use at the 1991 eclipse in Mexico.
My main eclipse rig, with a 60mm visual scope on the 105mm photo scope, on an equatorial tracking mount.
My Traveler, bought in 1992, has lived up to its name, having now been to six central solar eclipses: the annular eclipses of 1994 (Arizona) and 2023 (Utah), and the total eclipses of 1998 (Curaรงao), 2012 (Queensland, Australia), 2017 (Idaho), and now 2024 in Quรฉbec, Canada. I paired it with the wonderful matching AP400 mount, which I had only just brought back with me the month before from Australia, where it had spent the last two decades.
All the gear worked great. Unlike six months earlier for the October 14, 2023 annular eclipse in Utah, this time I remembered all the cables needed to have the telescope mount track the Sun.
I did mess up on a couple of settings (such as not framing the 4K movie camera as I should have โ in pre-eclipse excitement I just forgot to check my chart). But none of the errors were serious.
The eclipse in a blend of two exposures to display all the fiery pink prominences that were visible during totality around the lunar disk in one image, set against the bright inner corona of the Sun with the dark disk of the Moon in silhouette in front of the Sun.
Once started all my cameras, except for the one on the Traveler, ran unattended.
At this eclipse I was determined to get a good look at it through the small visual scope I had piggybacked onto the Traveler photo scope. While I had used a similar rig in 2017, I only thought to look through the visual scope 20 seconds before totality ended.
Not this year.
A telescopic close-up of the eclipsed Sun. Onto the central blend of images for totality I layered in single images of each of the diamond rings before and after totality. They are when the last or first burst of sunlight shines through lunar valleys. The first diamond ring is at top left, the last at bottom right, so time runs from left to right.
I got a great look at the eclipsed Sun, its corona structures, flaming pink prominences, and breakout of the red chromosphere layer just as totality ended. (You canโt easily see the chromosphere at the start of totality as it can be risky looking too soon through optics when the Sunโs blindingly bright photosphere is still in view.)
This is a composite showing the sequence of events surrounding totality, from just before totality (at upper left) to just after totality (at lower right), with totality in the middle. The contact images were taken 0.6 seconds apart.
And yet, as at all eclipses, I found the naked eye view the most compelling. The โblack holeโ Sun looked huge and unearthly. While I had binoculars handy, the same 12×36 image-stabilized binoculars I bring to most eclipses, I completely forgot to look though them, just as I forget at most eclipses!
This is a composite showing the complete sequence of the April 8, 2024 eclipse of the Sun, from first contact (at upper left) to last contact (at lower right), with totality at mid-eclipse in the middle.
I shot all the images with the Astro-Physics Traveler 105mm refractor at 630mm focal length and f/6, with the Canon R5 at ISO 100. The partial phases are 1/800 or 1/400 second exposures through a Kendrick/Baader solar filter.
Wanting to record the full sequence, I shot the partial phases until the bitter end. But post-eclipse, people came over and had a look through my scope (I think mine was the only telescope on site). We had a great time exchanging impressions. The hand-held phone camera photos people showed me looked fabulous!
I looked for fleeting shadow bands just before and after totality (I laid out a white sheet on the ground for the purpose) but saw none, a negative observation confirmed by a fellow eclipse chaser at the site.
Time-lapse movies of the second and third contact (start and end of totality) diamond rings, shot through the telescope with the Canon R5 in continuous burst mode for hundreds of frames each.
I did two live interviews for CBC Radio, for the Edmonton and Calgary stations, but not until after the eclipse ended. By the time I did those and finished packing away my carload of gear, it was 6:30 p.m., three hours after totality.
I was the last to leave the site, with fishermen now arriving for an eveningโs catch.
I was in that shadow as the Space Station flew over. Astronauts saw the elliptical shadow moving over eastern Canada.
The passage of the lunar shadow across the continent, showing where the clouds were. I was under the wispy clouds at upper right in Quรฉbec.
I faced no traffic jams heading back to the hotel at Ste. Helen-de-Bagot. I processed and posted one eclipse image that night. And I revised the price (down to $2.99 U.S.) and description of my How to Photograph the Solar Eclipses ebook, as now only the big processing chapter is of any value, post-eclipse. It continues to sell.
This is the waxing crescent Moon on April 10, 2024, two days after it eclipsed the Sun, and with it above the bright planet Jupiter, with it also near Uranus. Below the solar system worlds is the faint Comet 12P/Pons-Brooks, visible here as a fuzzy star with a stubby tail..
On the long drive back to Alberta, with the pressure of having to make time now gone, I spent pleasant evenings stopping to see friends and family on the road home. So I didnโt start work on the complex blends and composite images I show here until I got home a week after the eclipse.
The happy eclipse chaser having bagged his game!
The 17-day-long drive was nearly 9,000 km over 100 hours behind the wheel. Was it worth it? Of course!
Would I do it again? Itโs a moot question as none of the upcoming eclipses allows for a cross-continent drive. Except perhaps in July 2028 in Australia. But I suspect just heading inland a day or two over the Great Dividing Range will be enough to get away from winter coastal cloud in New South Wales. (Sydney is in the path, but so is a cottage I rented last month near Coonabarabran for my superb March stay under the southern skies!)
The next total eclipse of the Sun visible from anywhere in Canada will be August 22, 2044. I wonโt have to drive anywhere, as it passes right over my house! But I will have to live that long to enjoy a eclipse from my own backyard.
I suspect this was my last chance to see โ and drive to โ a total eclipse in Canada.
As eclipse day approaches here are some tips and video tutorials from me about how best to capture the total eclipse of April 8, 2024.
There are many ways to capture great images and movies of a total eclipse of the Sun. I outline them all in great detail in my 380-page ebook How to Capture the Solar Eclipses, linked to at right.
Originally published in June 2023, I revised the ebook following the October 14, 2023 annular eclipse of the Sun to include “lessons learned at the eclipse,” and some processing tutorials on assembling annular eclipse composites. I’ve also added new content on using software to control cameras and updated information about solar filters.
Brief Tips and Techniques
The August 21, 2017 total solar eclipse over the Grand Tetons as seen from the Teton Valley in Idaho, near Driggs. With the Canon 6D and 14mm SP Rokinon lens at f/2.5 for 1/10 second at ISO 100.
My breakdown of recommend methods, in order from simplest to most complex, and with increasing demands on your time, is generally this:
Use a Phone Camera for a Movie. While they can be used for a quick handheld grab shot during totality, a better method is to place a phone on a tripod using a clamp of some kind. Then a few minutes before totality aim and frame the scene, with no filter over the camera lens. Start it in movie mode to record video of the eclipse and sky changes, and the excited sounds of your group! Just remember to stop the video shortly after the end of totality and aim the phone away from the Sun. Never leave any unfiltered camera aimed at the Sun for a long time.
Shoot a Wide-Angle Time-Lapse. Using a DSLR or mirrorless camera and a wide-angle lens (it might need to be as wide as a 14mm at sites in Mexico and the southern U.S.) aim and frame the camera to include the Sun and landscape below. Focus the lens! And leave it on manual focus. But put the camera into Auto-Exposure Aperture Priority (Av) with wide-area metering and with it set to underexpose by -1 EV Exposure Compensation. With the camera at ISO 100 or 200, use either its internal intervalometer (if it has one) or an external intervalometer to take frames once per second. Start the sequence with no filter on the lens a few minutes before totality. Let it run on its own until a few minutes after totality. The result is hundreds of frames you can turn into a time-lapse movie of the lunar shadow approaching and receding, and of the changes in sky colours. Or you can extract single frames at key points to process individually, as I did for the image above from August 2017. The advantage, as with the phone camera movie method, is that the camera, once going, requires no further attention. You can enjoy the eclipse!
Shoot a Telephoto Video. Use a 300mm to 500mm lens on a DSLR or mirrorless camera to shoot a real-time close-up video of the eclipse. Start the video a minute or two before totality with the Sun positioned to the left of frame centre and with a solar filter over the lens. Use a slow ISO, the lens wide open (typically f/4 to f/5.6) and the camera on Auto-Exposure Aperture Priority (Av). Just be careful to focus precisely on the filtered Sun before starting the video. Poor focus is what spoils most eclipse images, not poor exposure. Just before totality (about 30 seconds prior to Second Contact) remove the filter. The auto-exposure will compensate and provide a proper exposure for the rest of totality. Just let the camera run and the Sun drift across the frame from left to right. Just remember to replace the filter, or cap the lens, and stop the video shortly (~30 seconds) after totality and Third Contact. The video will capture the diamond rings and a well-exposed corona. Vary the exposure compensation during totality if you wish, but that involves more work at the camera. Otherwise, you can just let the camera run. But, as I illustrate in my ebook, it’s important to plan and place the Sun correctly to begin with (using a planetarium app to plan the sequence), so it does not drift off the frame or close to the edge.
Shoot Telephoto Close-Up Stills. Use the same type of gear to shoot still images. While you could shoot stills on Auto-Exposure, it’s better to shoot still images over a range of exposures, from very short (~1/1000 second) for the diamond rings and prominences, to long (~1 second) for the outer corona. No one exposure can capture all that the eye can see during totality. This takes more work at the camera, and with the camera on a static tripod you might have to re-centre the Sun during totality, another thing to fuss with and where things can go wrong. Using the camera’s Auto-Bracketing mode can help automate the shooting, allowing the camera to automatically shoot a set of 7 to 9 exposures at say, one-stop increments in quick succession with just one press of the shutter button (by using the self-timer set to 2 seconds).
Shoot with a Telescope on a Tracking Mount. Telescopes (I like 60mm- to 100mm-aperture apochromatic refractors) allow longer focal lengths, though I would advise against shooting with any optics longer than 600mm to 800mm, so the image frames the corona well. Use similar settings as above, but with the telescope (or a telephoto lens) on a tracking mount to turn from east to west at the same rate as the sky moves. That will ensure the Sun stays centred on its own, provided you have at least roughly polar aligned the mount. (Set it to your site’s latitude and aim the polar axis as due north as you can determine from compass apps.)
Those are brief summaries of the methods I recommend, as they are ones I’ve used with success in the past and plan to use on April 8. My ebook contains much more information, and answers to most of the “But what about using ….?” questions. And I provide lots of information on what can go wrong! Some learned the hard way over 16 previous total solar eclipses.
Video Tutorials
For a video tutorial, check out the webinar I conducted as part of the Kalamazoo Astronomical Society’s excellent Eclipse Series here on YouTube. It is about a 1-hour presentation, plus with lots of Q&A at the end.
KAS Eclipse Series โ Part 1: Shooting
Of course, once you have all your images, you need to process them. My ebook’s biggest chapter (at 80 pages) is the one on processing still images and time-lapses.
So, a month after I presented the above webinar on Shooting, I was back on-line again for a follow-up webinar on Processing. You can view that KAS Eclipse Series tutorial here on YouTube.
KAS Eclipse Series โ Part 2: Processing
I cover processing single wide-angle images, a wide-angle time-lapse series, single-image close-ups, and blending multiple exposure composites.
A month later, I presented a further webinar to the Astronomical League as part of their AL Live series, again on shooting the eclipse, but now with an emphasis on techniques amateur astronomers and astrophotographers with typical telescope gear might use.
You can view the AL Live webinar here. My presentation begins at the 44-minute mark.
AL Live Webinar โ Scrub ahead to 44 minutes
I emphasized that the kinds of gear astrophotographers use these days with great success on deep-sky objects might not work well for the eclipse. The specialized cameras, and software used to control them, are just not designed for the demands of a total eclipse, where exposures have to range over a wide array of settings and change very quickly. Images have to be taken and recorded in rapid succession.
I suspect a lot of ambitious and overly-confident astrophotographers will come away from the 2024 eclipse disappointed โ and what’s worse, without having seen the eclipse because they were too wrapped up looking at laptop screens trying to get their high-tech gear working.
The Checklist page from my eBook
Practice, Practice, Practice
In these webinars and in my ebook, my common theme is the importance of practicing.
Don’t assume something will work. Practice with the gear you intend to use, on the Sun now (with proper filters) and on the Moon. The crescent Moon, with dim Earthshine lighting the lunar night side, is a great practice target because of its wide range of brightness. And it moves like the Sun will, to check maximum exposure times vs. image blurring from motion.
Practice with your tripod or mount aimed to the altitude and location in the sky where the Sun will be from the site you have chosen. Set a tracking mount to the latitude you will be at to be sure it will aim at and track the Sun without issues. Some telescope mounts stop tracking when they reach due south, exactly where the Sun will be at totality from southern sites. That’s a nasty surprise you do not want to encounter on eclipse day.
All this and much more is covered in my ebook, available for Apple Books and as a PDF for all platforms here from my website at https://www.amazingsky.com/EclipseBook
A run of exceptionally clear nights allowed me to capture scenes of stardust along the MilkyWay.
Colourful nebulas โ clouds of glowing gas โ are the most popular targets in the deep sky for astrophotographers. Most nebulas emit red light from hydrogen atoms. Some glow blue by reflecting the light of nearby hot stars.
But another class of nebulas emits or reflects almost no light, and appears dark, often as shapes silhouetted against the bright starry background. They are usually made of obscuring interstellar dust โ typically grains of carbon soot emitted by aging or active stars โ literally stardust.
In the olden days of film photography, these dark dust clouds always appeared black in our exposures. Or they never showed up at all.
But today’s digital cameras, with the aid of processing techniques, can capture the dust clouds, often not as black clouds, but as pale blue tendrils, or as brownish-yellow streamers faintly glowing with a warm light.
In October and November 2023, a series of unusually clear and mild nights allowed me to go after some of these dark and dusty targets, from my home in rural southern Alberta, Canada. I captured a selection of scenes off the beaten track along the Milky Way. Here’s my tour of stardust sights in the northern autumn and winter sky.
Cepheus the King
This is a portrait of most of the northern constellation of Cepheus the King. All the wide-field images were shot and processed to emphasize the rich collection of bright and dark nebulas in the constellation. North is always up. This is a stack of 40 x 2-minute exposures with the rare Samyang RF85mm f/1.4 lens stopped down to f/2.8, on the Canon EOS Ra camera at ISO 800. The lens was equipped with a 77mm Nisi Clear Night broadband filter. For all the wide-field images the camera was on the Star Adventurer 2i tracker for tracked but unguided exposures.
The wide-field image above frames most of the northern constellation of Cepheus. The southern section of Cepheus at the bottom of the frame lies in the Milky Way and is rich in bright red nebulas, notably the large, round IC 1396. It is a popular and easy target. But the northern upper reaches of Cepheus are where more challenging dusty nebulas reside. I’ve indicated the location of two fields shown in the close-ups below.
The Iris Nebula
This is the bright blue reflection nebula, NGC 7023, aka the Iris Nebula, in Cepheus. This is a stack of 25 x 8-minute exposures through the Askar APO120 refractor at f/7 with the 1X Flattener, and with the filter-modified Canon R camera at ISO 1600.
Located some 1300 light years away, this is a blue reflection nebula, as the dust is lit by the young blue star in its core. But surrounding the bright Iris Nebula are more extensive clouds of dust, dimly lit by reflected light and with varying densities and shades of grey and brown.
The Dark Shark and Wolf’s Cave Nebulas
This is a portrait of a field of dusty nebulas in northern Cepheus, in a stack of 30 x 6-minute exposures with the Astro-Tech AT90CFT refractor at f/4.8 and filter-modified Canon EOS R camera at ISO 800, though no filter was used when taking these frames.
This field in northern Cepheus is yellowed by reams of dust. A couple of blue reflection nebulas lie on the edges of streamers of brown dust. The object at top is called the Dark Shark, for its fanciful resemblance to a menacing shark, though one wearing a blue hat!
At the bottom of the frame is a long, snake-like dark brown nebula, Barnard 175, with the blue reflection nebula van den Bergh (vdB) 152 at its tip. This object has been dubbed the Wolf’s Cave Nebula, though that likeness is harder to discern. It is unclear where some of these nicknames come from, as many are recent appellations invented by astrophotographers. Some of the names have stuck, though few are “official.”
Perseus the Hero and Taurus the Bull
This is a portrait of the dust-filled region of sky from Perseus down to Taurus that includes the pink California Nebula (NGC 1499) at top down to the Pleiades star cluster (M45) at bottom. This is a stack of 48 x 2-minute exposures with the rare Samyang RF85mm f/1.4 lens stopped down to f/2.8, on the Canon EOS Ra camera at ISO 800. The lens was equipped with a 77mm Nisi Clear Night broadband filter.
The region of sky between Perseus and Taurus is rich in bright nebulas set amid large tendrils of dust in Taurus. The Pleiades star cluster lights up a portion of the dust clouds. And the pink California Nebula lies at the end of a large lane of dust.
The California Nebula
This is the California Nebula, aka NGC 1499, in Perseus near the star Menkib, or Xi Persei, at bottom. This is a stack of 12 x 6-minute exposures with the filter-modified Canon R (though no filter was used to take this image), at ISO 800, on the Askar APO120 refractor with its 0.8x Reducer/Flattener for f/5.6 and 670mm focal length.
The California Nebula (named for its resemblance to the shape of the state) lies in Perseus. It is a bright emission nebula glowing in the red and pink light of hydrogen atoms, perhaps excited by blue-white Xi Persei, aka Menkib, at bottom. But it sits amid wider clouds of dust, here recorded as white and yellow.
IC 348
This is the bright blue reflection nebula complex, IC 348, in Perseus, in a stack of 18 x 8-minute exposures through the Askar APO120 refractor at f/7 with the 1X Flattener, and with the filter-modified Canon R camera at ISO 1600.
This complex mix of reflection and dark nebulas surrounds Omicron Persei. In some sections the dust is so dense it blocks all light from more distant stars. Once thought to be holes in the heavens, the photos of pioneering astrophotographer Edward Emerson Barnard in the early 20th century proved that dark nebulas are nearby, and obscure what’s behind them.
IC 348’s distance of only 700 light years means there isn’t much between us and the surrounding dark clouds. Oddly, though a popular target, as best I can tell, no one has come up with a nickname for this field. What can you see in the dark shapes?
The Pleiades / Messier 45
This frames the famous Pleiades or Seven Sisters star cluster (aka Messier or M45) set amid a dusty starfield in Taurus. The field is about 4.7ยฐ by 3.2ยฐ. This is a stack of 30 x 6-minute exposures with the Astro-Tech AT90CFT refractor at f/4.8 (using its 0.8x Reducer) and the filter-modified Canon R camera at ISO 800.
There’s no more famous deep-sky object than the blue Pleiades, or Seven Sisters. They feature in the mythology of almost all cultures around the world. The young blue stars are surrounded by bright blue reflection nebulosity, most prominent below the lower star Merope, a bit of nebula catalogued separately as NGC 1435.
While the Pleiades light up the core of the dust clouds blue, the dust clouds extend much wider and permeate the entire constellation of Taurus. However, the outlying clouds are very faint as they have no nearby source of illumination. The arc of nebulosity at top is most obvious. It was found by Barnard and is catalogued as IC 353.
Taurus the Bull
This is a portrait of the dust-filled region of sky in Taurus that frames the Hyades star cluster (at bottom) with bright yellow Aldebaran, up to the blue Pleiades star cluster (M45) at top. This is a stack of 48 x 2-minute exposures with the Samyang RF85mm f/1.4 lens at f/2.8, on the Canon EOS Ra camera at ISO 800.
Overlapping the previous constellation field, this framing extends farther south, continuing past the Pleiades down into the main section of Taurus the Bull, with the luminous yellow star Aldebaran marking the Bull’s eye. It is surrounded by the stars of the V-shaped Hyades star cluster, legendary half-sisters to the Pleiades.
Notable in this framing are the large dark tendrils of the Taurus Molecular Clouds, dense streams of dust only about 430 light years away. They are on my shot list for close-ups on upcoming clear winter nights.
NGC 1555 and Area
This is a framing of dust clouds among the stars of the Hyades star cluster in Taurus. The field of view is 4.7ยฐ by 3.2ยฐ. This is a stack of 30 x 6-minute exposures with the Astro-Tech AT90CFT refractor at f/4.8 and the filter-modified Canon EOS R camera at ISO 800, though no filter was used in taking the images.
This complex field lies on the northern edge of the Hyades. At upper right is the odd nebula NGC 1555, discovered by John Russell Hind in 1852 and variable in brightness due to changes in its embedded source star T Tauri, a prototype of a class of young, newly formed stars. An adjacent object, NGC 1554, was catalogued by Otto Struve, but has faded from view; thus it is called Struve’s Lost Nebula.
At lower left is the emission nebula Sharpless 2-239 embedded in the dense and brownish dust cloud LDN (Lynds Dark Nebula) 1551. It is dark indeed, but not black. Like most dark nebulas it has some warm colour.
Orion the Hunter
This is a portrait of Orion the Hunter with exposures and processing to emphasize the complex and colourful array of bright and dark nebulas within its boundaries. This is a stack of 42 x 2-minute exposures with the Samyang RF85mm f/1.4 lens at f/2.8, on the Canon EOS Ra camera at ISO 800. The lens had a Nisi Clear Night broadband filter to help improve contrast.
The most photogenic constellation is surely Orion the Hunter. It is filled with a rich collection of nebulas, including the eponymous Orion Nebula, bright enough to be visible to the unaided eye in the Sword of Orion, and #42 in Charles Messier’s catalogue.
The largest feature (though one best seen only in photos) is the arc of Barnard’s Loop, a possible supernova remnant or stellar wind-blown bubble that encircles Orion. It is usually plotted on sky atlases as just an easternmost arc, though it extends down and below Orion, all the way over to blue Rigel at bottom right.
At top is the large circular emission nebula Sharpless 2-264, surrounding the head of Orion and the star Meissa and a loose open star cluster Collinder 69. The nebula has become known as the Angelfish Nebula. It sits above orange Betelgeuse (at left) and blue-white Bellatrix (at right), marking the shoulders of Orion.
As you can see, there’s a winter-full of targets to go after in Orion. However, in my tour, I focused on two areas of dust and reflection nebulas.
Messier 78 Area
This is the bright reflection nebula complex that includes Messier 78 (the largest blue-white nebula) and NGC 2071 above it. This is a stack of 30 x 4-minute exposures through the Astro-Tech AT90CFT refractor with its 0.8x Reducer for f/4.8, and with the filter-modified Canon R camera at ISO 1600. No filter was employed here.
This frames one of the other often-neglected nebulas in Orion, Messier 78, one of the objects catalogued by Charles Messier in the 1780s. His is the popular “hit list” of deep-sky targets for all amateur astronomers.
In this case, M78 is accompanied by another smaller reflection nebula, NGC 2071. They are set in a region of dark clouds of interstellar dust, and framed by the red-magenta arc of Barnard’s Loop, aka Sharpless 2-276. The small reflection nebula at upper left on the edge of another dark cloud is van den Bergh 62. The large faint star cluster left of centre on the edge of the Loop is NGC 2112.
The Witch Head Nebula
This is the reflection nebula called the Witch Head, but officially IC 2118 (also with the catalogue number NGC 1909), near the very bright star Rigel, at lower left in Orion. This is a stack of 29 x 6-minute exposures through the Astro-Tech AT90CFT refractor with its 0.8x Reducer for f/4.8, and with the filter-modified Canon R camera at ISO 800. No filter was employed here.
The hot, blue giant star at lower left is Rigel at the foot of Orion. It illuminates the dust cloud that forms the fanciful shape of the blue Witch Head Nebula, or IC 2118. The nebula is actually over the border in Eridanus the River. Some magenta emission nebulosity also populates the field in Orion.
Indeed, as the wide-field photo above attests, all of Orion is filled with some form of nebulosity, be it emission, reflection, or dark.
There’s much more to go after when exploring the nebulous and dusty realms of the Milky Way. The sky is filled with stardust. Indeed, we are made of it!
Like all eclipses, seeing the October 14 annular eclipse of the Sun was not a certainty. As good luck and planning would have it, the sky and location could not have been better!
Annular eclipses of the Sun donโt present the spectacle of a total eclipse. Because the Moon is near its farthest point from Earth, its disk is not large enough to completely cover the Sun. At mid-eclipse, as I show below, a ring of sunlight (dubbed a โring of fireโ) remains, still too bright to view without a solar filter.
The October 14, 2023 annular solar eclipse, in a single image captured at mid-eclipse, at 10:29 am MDT at the Ruby’s Inn Overlook on the rim of Bryce Canyon, Utah, a site well south of the centreline, with 3m03s of annularity.
While lacking the jaw-dropping beauty of a total, annular eclipses are rare and unique enough that every ardent skywatcher should make a point of seeing one.
Prior to October 14, I had seen only one, on May 10, 1994, from southeast Arizona, an event I captured on film of course back then.
My 1994 annular eclipse setup in ArizonaMy 2023 annular eclipse setup in Utah
A sunset annular on June 10, 2002 that I traveled to Puerto Vallarta, Mexico to see was mostly clouded out. The annular of May 20, 2012 traced a similar path across the U.S. Southwest as the 2023 eclipse. But work commitments at the science centre in Calgary kept me home for that one. A sunrise annular on June 10, 2021 in Northwestern Ontario was essentially out of reach due to COVID travel restrictions.
With no other annular eclipses within easy reach in North America until 2039 and 2046, this was my next, and perhaps last, opportunity to see one, unless I chose to travel the world.
Eclipse site and pathSite close upEclipse details at my final site
I had planned for several months to watch the annular eclipse from southern Utah, ideally from Bryce Canyon National Park, shown above. (Clicking on the images brings them up full screen.) I booked accommodations in January 2023, finding even then that popular hotels in the area were already sold out.
The final spot for the wide-angle composite shown below. The camera had to be next to that very fence post to frame the scene well.
The attraction was the landscape below the morning Sun, for a planned composite image of the eclipse over the hoodoos of Bryce. However, I had learned weeks earlier that traffic was going to be restricted to just park shuttle buses on eclipse day. Should Plan A not work out then Plan B was Kodachrome Basin, a state park nearby, which a park employee assured me would be open to cars well before sunrise on eclipse day.
Seen on I-15 past Salt Lake City. Eclipse ahead!
So I made my plans to drive south, taking with me a carload of telescope and camera gear, an array I would never be able to take to an overseas eclipse. The centrepiece was my venerable Astro-Physics Traveler 105mm (4-inch) refractor, a telescope created for the 1991 total eclipse in Mexico. Since I bought mine in 1992 Iโve used it for five central solar eclipses, including now two annulars. It’s in the 1994 and 2023 site images above.
A week before the eclipse (as above at left), the weather prospects for the entire southwest looked poor. It was to be clouds everywhere. I even considered Plan S โ Stay Home! And watch the 60% partial eclipse from Alberta where skies were to be clear.
But undaunted, six days before the eclipse, I headed south on Interstate 15, checking the weather each day, and seeking out Plan C sites in New Mexico or Texas south of the projected mass of clouds. I checked where accommodation could be had at the last minute.
At my stop in Richfield, Utah, four days before the eclipse, I had a crossroads turning point: either continue south to Bryce down US-89 (above), or head east on I-70, then south into New Mexico or Texas, with enough time to get there if needed.
But by now the weather prospects were turning around. By three days out, and with the forecasts now much more reliable, it looked like southern Utah would be in the clear. I continued with my original plan to Bryce. But where exactly?
TPE site overview with anglesTPE 3D showing Sun pathGoogle Earth 3D
I had looked at possible sites on Google Earth and with the Sun-angle planning apps I use (such as The Photographer’s Ephemeris, or TPE) and found one just outside the Park that I hoped would be accessible to drive into.
Upon arriving in the area three days early, the first priority was to inspect the site in person. It looked perfect! Almost too good to be true!
A panorama of the Ruby’s Inn site with the eclipse in progress. My wide-angle camera is at left by that fencepost.
The site, known as the Rubyโs Inn Overlook, provided a great view toward the eclipse with a stunning landscape below, including a river! (Well, it was actually an irrigation channel called the Tropic Ditch.) And I could park right next to my wide-angle landscape camera, to keep an eye on it over the five hours of shooting, while setting up the scope gear next to my car.
I stayed at the Bryce View Lodge on eclipse eve, a hotel just a few hundred metres from the site. So no long pre-dawn drive on eclipse morn. However, the gated site was not going to be open until 7 a.m. on eclipse day. And admission was $20 per car, a cash donation to the Bryce Canyon City school sports teams. Fine!
As it turned out, by the time I got on site and setup the priority wide-angle camera for the base-image sunrise shots at 7:30 a.m., the sky was too bright to polar align the telescope mount on Polaris, for accurate tracking of the Sun across the sky.
It turned out that was the least of my concerns.
My three eclipse cameras: the wide-angle, the one on the 105mm refractor telescope (with a smaller 60mm scope on top for visual views with a Herschel Solar Wedge), and one with a 100-400mm lens on the tripod.
As I unpacked the carload of scope gear at 8 a.m. I realized I had forgotten a crucial cable to connect the mount to the drive electronics. So the mount was not going to be able to track anyway!
So much for my plans for a time-lapse through the scope. I had to manually centre the Sun every minute or so. I took lots of photos, but gave up on any effort to take them at a regular cadence.ย But I had enough images for the singles and composites shown here.
This is a composite of the October 14, 2023 annular solar eclipse with a sequence of six images showing the Moon advancing across a sunspot, the largest one visible on the Sun that day. The images are placed for a photogenic spacing, with time running forward from lower left to upper right, to reflect the Sun’s motion up across the morning sky.
Of course, once I got home the first thing I did was look downstairs in my scope room. Sure enough there was the cable, mixed up with the similar electronics from another mount I have from the same company, as I had been testing both prior to the eclipse. So much for my checklists! Theyโre only good if they list every critical bit, and if you use them.
So that was one big user error.
You don’t want to see this at an eclipse!
The other was a camera error, in fact Error70! I had set my main telescope camera to take rapid bursts of images (at up to 20 frames per second) at the crucial second and third contacts when annularity began and ended. With the Moonโs rough limb tangent to the inside edge of the Sun, you see beads of light rapidly form and disappear at the contacts.
This is a composite of the October 14, 2023 annular solar eclipse at second contact. It illustrates the irregular edge of the Moon breaking up the rim of sunlight as the dark disk of the Moon became tangent to the inner edge of the Sun at second contact at the start of annularity. 15 exposures taken over 20 seconds at second contact are combined with a single exposure taken about 1.5 minutes later at mid-annularity.
The camera worked great at second contact, shooting 344 frames over 20 seconds. A composite of 15 of those frames is above, layered to exaggerate the rough lunar limb and its mountain peaks. A time-lapse from those frames is below.
A time-lapse of second contact from 344 frames over ~20 seconds.
And it appeared to be working at third contact three minutes later. Until I looked down and saw the dreaded error message. In checking the camera later, none of the third contact images had recorded to either memory card.
It is a known but intermittent bug in Canon firmware that can happen when the camera is not connected to a Canon lens (it was on a telescope it cannot communicate with). I saw the error once in testing. And I had a hard time reproducing it to take the screen shot above once I got home. But if something can go wrong โฆ!
This is a portrait of the October 14, 2023 annular eclipse of the Sun, captured in a sequence of images taken from the rim of Bryce Canyon, Utah, from sunrise until nearly the end of the eclipse before noon local time. This is a composite blend of unfiltered exposures taken at sunrise for the landscape lit by the rising Sun, and for the dawn sky. Onto the base panorama of the ground and sky I layered in 66 filtered images of the Sun, as it rose into the morning sky, and with the Moon moving across its disk over nearly 3 hours, reaching mid-eclipse at about 10:29 local MDT at upper right. It then appears as a ring, or annulus of light for one frame.
Despite the errors both human and machine, I count eclipse day as successful, considering a week earlier prospects had looked so poor. As it was, apart from some thin but inconsequential cloud that drifted through before mid-eclipse, the sky was perfect.
As was the site. I enabled me to get the main shot I was after, the wide-angle composite, above. It’s a winner! And it accurately depicts the size of the Sun and its motion across the sky, albeit set into a twilight sky taken at sunrise.
As it had been 29 years since my last annular, I wasnโt sure what to expect. But the darkening of the sky and eerie level of sunlight, despite a blazing Sun in the day sky, were impressive. The morning just looked strange! It was a taste of the total to come.
Venus at its widest angle west of the Sun was easy to spot in the deep blue sky. I regret not thinking to shoot even a phone camera image of that sight.ย
Projecting the solar crescents with a made-on-the-spot pinhole projection sign.
I had pleasant chats with other folks at the site, and enjoyed showing them telescopic views though the smaller visual scope I had piggybacked on the main scope, one that was just for looking through.ย Plus folks shot phone pix of my camera screen.
The October 14, 2023 annular solar eclipse, in a single image captured at second contact with the Moon tangent to the inside limb of the Sun, at 10:27 am MDT at the site I used.
But at the critical contacts, I was glued to that visual scope for the amazing sight of the horns of the crescent Sun rapidly wrapping around the Moon at second contact, then unwrapping at third contact.ย
The October 14, 2023 annular solar eclipse, in a series of images captured at second contact with the Moon tangent to the inside limb of the Sun, at 10:27 am MDT at the site I used. The 7 frames here were selected from a set of 344 shot in high-speed continuous mode at 20 frames per second.
The breakup of the rim of sunlight into beads of light along the cratered and mountainous edge of the Moon was also impressive. I was not at the optimum site for seeing those beads, as the landscape dictated my choice of location. But those that I saw at each of the internal contacts were a fine bonus to a memorable morning.ย
This is a composite that records the sequence around mid-eclipse of the October 14, 2023 annular eclipse of the Sun. This is a blend of 8 exposures each taken 2.25 minutes apart, about the minimum time to keep the disks separate and avoid them overlapping.
A third camera shooting a sequence with an untracked 400mm telephoto lens worked well. I used a subset of its images to create a still-image composite (above) and the full set for a time-lapse (below), with the position and motion of the Sun authentic, produced by the natural east-to-west motion of the sky. But against that you see the Moonโs orbital motion moving its dark disk down across the disk of the Sun.
A time-lapse from 300 frames taken at 4-second intervals with the sky’s motion carrying the Sun across the frame.
As soon as annularity ended, everyone else started to pack up and leave. For them the show was over. Understandably. On many total eclipse tours I’ve been on we’ve been on the road back to the hotel after totality and the requisite happy group shot.
Eclipse success! The trophy shot after everyone else had left.
But at this eclipse my shooting plan dictated that I stick it out. By the end of the eclipse I was the last one standing, alone to enjoy last contact and then lunch, killing time for any road congestion to diminish, as I had to head to another motel for the post-eclipse night, in nearby Panguitch.
I had a celebratory dinner and Moab-brewed beer that night at Cowboyโs, the best restaurant in Panguitch, sporting my Annular 2023 eclipse hat!
But the next day I started the drive north again, for the three-day trek back up I-15 to the border, then home.
Priority one upon getting home was to finish processing images, and to include them in a revised version of my ebook How to Photograph the Solar Eclipses. It is linked to above and here on the title. Images of some sample pages from the revised edition are in the slide show below.
Post-annular, the bookโs title remains the same, but I revised the pages in Chapter 4 on planning for the 2023 eclipse with pages on โlessons learned!โ And there were several!
I expanded Chapter 11 on processing to include tutorials on assembling annular eclipse composites, now that I actually have some!
Such as the composite of first- to last-contact telescopic close-ups below.
This is a composite of the various stages of the entire October 14, 2023 annular solar eclipse, from start (lower left) to end (upper right), with mid-eclipse at centre. So time runs forward from left to right, with the Suns positioned to reflect the approximate motion of the Sun in the morning sky when this eclipse occured at my site, with it rising higher through the progress of the eclipse. North is up in this image.
The new version of my ebook is 20 pages larger than the pre-annular edition.
An email has gone out from eJunkie to all buyers of the earlier-edition PDF to alert them to the new version, and with a download link. Apple Books readers should get a notice when they open the book on their Mac or iPad in the Books app that a new version is available.
I suspect that will be the last revision of my ebook before the big event โ the total eclipse of the Sun on April 8, 2024.
Hereโs wishing us all clear skies for that one! That eclipse will indeed require a drive to Texas. This time I’ll remember that damned cable!
With the October 14, 2023 annular eclipse of the Sun only weeks or days away, itโs time to test your equipment, to ensure success on eclipse day.
On October 14 everyone in North America, Central America, and much of South America can see an eclipse of the Sun, as shown in the map below, courtesy GreatAmericanEclipse.com. The closer you are to the โpath of annularityโ drawn in yellow here, the more of the Sun you see covered by the Moon.
Eclipse map showing area of visibility of the October 14 eclipse courtesy GreatAmericanEclipse.com
However, for the best experience, plan to be in the central path of the Moonโs shadow. In North America, as shown in the map below, that path crosses the western states, passing over the scenic landscapes of the American southwest.
Courtesy GreatAmericanEclipse.com
Those in the main path will see an annular eclipse โ the Moon will travel across the center of the Sunโs disk, but wonโt be large enough to completely cover the Sun. The result, as shown below, is that the Sun will be reduced to a thin ring or โannulusโ of light at mid-eclipse, but only for a few minutes.
The May 10, 1994 annular eclipse of the Sun, with a trio of eclipse rigs.
To view or photograph the annular eclipse well, you need to use a long telephoto lens or a telescope. A focal length of 400mm or longer is required to make the Sunโs and Moonโs disks large enough to show detail well.
As I show above, the lens or telescope can be on a solid tripod, or on an untracked alt-azimuth telescope mount, or on a mount that can track the sky, such as the equatorial mount on the right above. All will work fine, as exposures will always be short, just a fraction of a second.
I go into the many options for photographing the eclipse in my ebook, linked to at right. It contains thorough tutorials on how to shoot the eclipses in 2023 and 2024. In this blog Iโm focusing on extolling the need to practice now, with whatever gear you own and intend to use for the eclipse.
An array of solar filers, for unaided eyes, lenses and telescopes
No matter what optics you plan to use, they must be equipped with a safe solar filter mounted over the front of the optics. For the October 14 eclipse, even from sites in the path of annularity, a filter must be used at all times. It will never be safe to look at or shoot the Sun without a filter.
And it must be a filter dense enough and designed for the purpose of aiming at the Sun. Do not use stacked neutral density filters or other jury-rigged arrangements, as other filters can transmit ultraviolet or infrared light that can still damage eyes and cameras.
The eyeglass or handheld style of solar filters are good for unaided eye views, and most are made by American Paper Optics or Rainbow Symphony. A list of recommended filter suppliers is available at the American Astronomical Societyโs eclipse website at https://eclipse.aas.org/eye-safety. In addition, many astronomy clubs, planetariums and science centers will offer safe eyeglass-style filters they purchased in bulk from one of the suppliers above.
However, for photography through a lens or telescope you need a filter that either screws onto the lens or clamps over the telescope, as I show below.
Comparing different types of telescope filters โ the Baader Mylar worked best in this test.
In my testing, Iโve found that the aluminized Mylarยฎ (or polyethylene) type of filter โ one that looks like a silvery sheet โ provides the best sharpness and contrast, despite the wrinkles. The most popular type is made by Baader Planetarium, and sold by them or by other dealers and resellers.
While metal-coated glass filters also work very well, in recent years they have become hard to find, with past suppliers of glass filters switching to black polymer plastic material. While safe and good for naked-eye views, Iโve found the image through black polymer filters can be soft and surrounded by lots of light scatter when used for photography at long focal lengths.
TESTING, TESTING!
An eclipse rig under test, with dual scopes for shooting and looking
Once properly equipped, test your setup as soon as possible on the Sun. In the rig above I have piggybacked a smaller telescope onto the larger telescope, both with filters, the latter to shoot through while I look through the smaller scope, good for watching the few minutes of annularity.
The key things to test for are:
Finding the Sun (not as easy as you might think!)
Focusing on the Sun (also critical and can be tough โ focus on the edge or on sunspots)
Checking for any focus shift over a couple of hours time
Determining the correct exposures with your filter
Checking for any vibration that can blur the image
Operating your camera to change settings, without vibration
Checking to see how long batteries will last
Seeing how much the Sun moves across the frame during a few minutes time
Following the Sun or keeping it centered
Making a checklist of the gear you need on eclipse day, plus any backups such as a spare battery, and tools for last-minute fixes or adjustments.
The filters from Kendrick Astro Instruments have a handy Sun finder attachment.
You want to test how solid your setup is when aimed up. Your super-telephoto lens and tripod that work great for birds and wildlife might not be as well-suited as you thought when aimed high at the Sun. Best to find out now about any shortcomings in your gear.
A series of images with an 80mm refractor and Kendrick Mylar filter shows a range from under to over-exposed.
Run through a set of exposures to see what produces the best result with your optics and filter. Even with the October 14 eclipse underway, the Sun will be a similar brightness as it is on any normal day.
At best, on eclipse day you might wish to shoot a bracketed set of exposures throughout the eclipse, perhaps a frame taken at your pre-determined โbestโ exposure, and two others: at one stop and two stops overexposed, to account for the slightly dimmer solar disk when it is mostly covered by the Moon in a deep partial or annular phase.
Alter exposures by changing shutter speeds, not aperture or ISO. Keep the ISO speed low, and the aperture either wide open or at some middle setting such as f/5.6 for the sharpest images.
But also check what exposures might be needed when shooting the Sun through thin clouds. Any cloud or haze will require longer exposures. And you might need to change shutter speeds quickly if the Sun goes into and out of clouds. Practice that โ without introducing vibration from handling the camera.
Leave the rig for a couple of hours to test how the focus might shift, as it is certain to do, as the temperature changes through the morning or afternoon. Practice touching up the focus. People fuss over the โbestโ exposure, when it is poor focus that is the common spoiler of eclipse photos.ย
You can find more tips for practicing for eclipse close-ups at a blog I wrote for AstronomyByNight.ca.
WIDE-FIELD OPTIONS
May 10, 1994 annular eclipse in a series of multiple exposures every 10 minutes.
An alternative way to shoot the eclipse is with a wide-angle lens, but also equipped with a solar filter, as shown above. Frame the scene to include the expected path of the Sun, determined by using planetarium software such as SkySafari or Stellarium (my ebook also has charts). Take images every minute or so, then layer those onto an unfiltered image of the sky and foreground taken either before the Sun enters the frame or after it leaves it.
A test set for a composite image.
Practice that method now, to shoot images for a test composition as I show above. It layers filtered images taken at 5-minute intervals onto an unfiltered background sky image taken after the Sun left the frame.
However, composite images can be complex to plan and execute.
The partial solar eclipse of October 23, 2014 as seen from Jasper, Alberta, at a public event in Centennial Park as part of the annual Dark Sky Festival. This is a single-exposure image showing the scene near mid-eclipse with telescopes from volunteers from the Royal Astronomical Society of Canada, and the mostly clear skies above with the crescent Sun visible through the handheld polymer solar filter.
A simpler method for grabbing a souvenir eclipse photo is to simply hold a handheld solar filter in front of the lens to dim the Sun but leave the rest of the scene visible.
Again, you can practice that now to see what exposure might be best. For this type of shot I find black polymer filters best as they are less reflective than the Mylar type.
That method, or using a long lens or telescope will work well on eclipse day no matter where you are, either in the path or elsewhere enjoying the partial eclipse, as in the example image below, also from October 23, 2014, shot with my small scope at lower left in the image above.
The partial eclipse of the Sun, October 23, 2014, as seen from Jasper, Alberta, shot under clear skies through a Mylar filter, on the front of a 66mm f/6 apo refractor.
No matter the method and gear you use, success on eclipse day will require practicing beforehand to learn what can go wrong, and what works best for the setup you plan to use. Never assume something will work!
Clear skies on October 14! The annular eclipse that day will serve as a great dress rehearsal for the big eclipse to come โ the total eclipse of the Sun on April 8, 2024. Thatโs the event you really want to get right!
My latest ebook describes in detail the many techniques we can use to capture great still images and movies of the 2023 and 2024 eclipses of the Sun.
In the next few months we have two major eclipses of the Sun visible from North America.
On October 14, 2023 the Moon will cross the disk of the Sun creating a partial eclipse. But from along a narrow path in the western U.S. the Moon’s disk will be centered on the Sun’s disk but not be large enough to completely cover it. For a few minutes, viewers will see an “annular” eclipse, as above, as what remains of the Sun forms a brilliant ring of light around the dark disk of the Moon.
Six lunar months later, the Moon again crosses the Sun but is now large enough to completely cover the Sun’s bright disk. The result is the most spectacular celestial sight, a total eclipse of the Sun, on April 8, 2024. The last such total solar eclipse (TSE) in North America was on August 21, 2017, shown above. After 2024, the next TSE in southern North America will not be until August 23, 2044. (There’s a TSE in northern Alaska on March 30, 2033.)
In 2017 I prepared an ebook about how to shoot that year’s total eclipse. This year I revised and expanded the book extensively to cover both the 2023 annular and 2024 total eclipses. The new 350-page ebook explains how to frame the eclipses depending on where you are along the paths. New information covers the advances in camera gear, with more details added on shooting video. Revised tutorials cover new software and processing techniques.
Above is the ebook’s Contents page, so you can see what topics it covers, over an extensive 350 pages. I provide not only advice on lots of techniques and gear, but also suggestions for what not to do, and what can go wrong!
The Fundamentals
I discuss the filters needed, comparing the various types available, and when to use them, and when to remove them. (A filter is always needed for the annular eclipse, but failing to remove the filter is a common failing at a total eclipse!)
For the 2023 annular eclipse I explain how to shoot close-ups, but also another type of image, the multiple exposure composite. Framing, timing and exposing correctly are crucial.
I do the same for the 2024 total eclipse, as a wide-angle shot of the eclipsed Sun over a landscape is one of the easiest ways to capture the event. It’s possible to set up a camera to take the images automatically, leaving you free to enjoy the view of the event without fussing with gear. I explain how best to do that.
For both eclipses, many people will want to shoot close-ups with telephoto lenses or telescopes. It takes more work and more can go wrong, but I show what’s required for equipment and exposures, and explain how to avoid the common flaws of fuzzy focus and trailed images.
But good exposure is also essential. However, for a total eclipse close-up, no one exposure is best. It takes a range of exposures to record the wide dynamic range of phenomena during totality. That demands work at the camera.
Setting Cameras
I show how we can use a camera’s auto-bracketing function to help automate the process of taking a set of exposures, from short exposures for the prominences, to long for the faint outer corona.
Another option is using a continuous burst mode to capture the fleeting moments of the diamond rings at the start and end of totality in 2024. But this can also be useful for capturing the “reverse Baily’s beads” that appear briefly as the Moon reaches the inner contact points at the start and end of the annular phase of the 2023 eclipse.
Using a tracking mount can help with shooting a set of images during totality. I describe the options for choosing the right mount and telescope, and how to set it up for accurate tracking. I discuss the advantages โ and pitfalls โย of using a tracking mount.
Shooting Video
Video is now an important feature of many cameras. But the choices of formats and settings can be daunting! 4K, 8K, 4K HQ โ what to use? I illustrate the differences, using the best practice target, the crescent Moon.
Choosing the right contrast curve for your video โ such as CLog3 here โ can also make a big difference to the final video quality. It’s important to get that right. You have only one chance!
I also devote a chapter to shooting time-lapses, with wide-angle lenses and telescopes.
Image Processing
Chapter 11 is the biggest, with 68 pages of tutorials on how to process eclipse images, using the latest software. I show the benefit new AI tools can provide, but also the oddities they can impart to eclipse images.
I illustrate how to use HDR software (comparing sample results from several popular programs) to blend multiple exposures for greater dynamic range.
I illustrate other methods of stacking and blending exposure sets, such as luminosity masks and stack modes. Examples are all with Adobe products, but the methods are applicable to other layer-based programs such as Affinity Photo.
The processing chapter ends with illustrations on how to create layered composites from images taken at multiple stages of an eclipse.
What Can Go Wrong?
The ebook ends with advice for the ambitious (!) on how best to use several cameras to capture different aspects of the eclipse. And I includes lots of tips and checklists to ensure all goes well on eclipse day โ or what to do for Plan B if all does not go well!
The ebook is available for Apple Books (for Macs and iPads) and as a PDF for all devices. Links to buy and more details on ebook content are at my website at www.amazingsky.com/EclipseBook.
I’ll be posting more eclipse “tips and techniques” blogs in the coming months, so be sure to subscribe.
May 10, 1994 Annular Eclipse taken from a site east of Douglas, Arizona showing “reverse” Bailey’s Beads โlunar mountains just touching Sun’s limb 4-inch f/6 apo refractor at f/15 with Barlow lens Ektachrome 100 slide film.
Hereโs my preview of some of the best celestial events for 2023. Mine is certainly not an exhaustive list. Iโve picked just one event per month, and Iโve focused on events best for unaided eyes or binoculars, and visible from North America. (So the solar eclipse of April 20 visible from Australia and the South Pacific, and the two minor lunar eclipses this year donโt make the cut!)
Click or tap on any of the illustrations to bring up a full-screen view with more detail and readable labels!
JANUARY
As 2023 opens, Venus is beginning its climb into the evening sky, while Saturn is sinking into the sunset. The two planets pass each other on Sunday, January 22, when they appear just one-third of a degree apart in the twilight. Use binoculars to pick out dimmer Saturn. And look for the thin day-old crescent Moon just over a binocular field below the planet pair.
FEBRUARY
A month later, on Wednesday, February 22, Venus has now ascended higher, preparing to meet up with descending Jupiter. But before they meet, the crescent Moon, with its dark side lit by faint Earthshine, joins the planets in a particularly close conjunction with Jupiter. They will appear about 1ยฐ (two Moon diameters) apart, with Venus about a binocular field below.
MARCH
Hereโs a date to circle on your calendar. On Wednesday, March 1 the skyโs two brightest planets, Venus and Jupiter, pass within half a degree of each other, in arguably the yearโs best conjunction. Theyโll be close enough to frame nicely at medium power in a telescope, though the featureless gibbous disk of Venus will appear small, about the third the size of Jupiterโs banded globe. But Venus is by far the brighter of the two worlds.
APRIL
If you want to check Mercury off your sighting list this year, this is a good week to do it. On April 11 Mercury reaches its greatest angle away from the Sun in the evening sky, and for northern hemisphere viewers, is angled at its highest in the western sky. Even so, look just a binocular field above the horizon. While youโre at it, look higher for the fine sight of Venus near the Pleiades star cluster.
MAY
Wednesday, May 17 brings a chance to see the crescent Moon pass in front of Jupiter. But it will be a tricky event to catch. While most of North America and parts of Northern Europe can see the occultation, it occurs in the daytime sky with the Moon only 25ยฐ west of the Sun. However, locations along the West Coast of North America can see either the start or end of the occultation in a bright pre-dawn sky. Vancouver, Canada sees Jupiter disappear before sunrise, while Los Angeles โ the view shown above โ sees Jupiter reappear just before sunrise. Other locations will see a close conjunction of the Moon and Jupiter low in the dawn sky.
JUNE
As June opens we have Venus still shining brightly in the evening below much dimmer Mars, now far from the Earth and tiny in a telescope. But itโll be worth a look this night even in binoculars as the red planet passes in front of the Beehive star cluster, also known as Messier 44. If you miss June 2, Mars will be close to the Beehive the night before and after.
JULY
Venus has been bright all spring, but on July 7 it officially peaks at its maximum brilliance, reaching a blazing magnitude of -4.7. It reached its greatest angle from the Sun a month earlier on June 4 and is now dropping closer to the Sun each evening. But you still canโt miss it. What you might miss is dim Mars above, now close to the star Regulus in Leo. Mars passes 3/4 of a degree above Regulus on July 9 and 10. Youโll need binoculars to pick out the pairing.
AUGUST
Everyone looks forward to the annual summer stargazing highlight โ watching the Perseid meteor shower. This is a good year, with the peak hour of the shower falling in the middle of the night of August 12/13 for North America. Thatโs a Saturday night! But most importantly, the waning Moon doesnโt rise until the wee hours, as shown here, so its light wonโt wash out the meteors. Plan to be at a dark site for an all-night meteor watch.
SEPTEMBER
By September Venus has made the transition into the morning sky and shines at its greatest dawn-sky brilliance on September 19. It will then be joined by Mercury, with the inner planet reaching its greatest angle away from the Sun on September 22 shown here. This is the best morning appearance of Mercury for Northern Hemisphere observers. The view this morning bookends the view five months earlier on April 11. If you are away from urban light pollution, also look for the faint glow of Zodiacal Light in the pre-dawn sky before Mercury rises.
OCTOBER
October is solar eclipse month! On Saturday, October 14 the shadow of the Moon passes across all of North America and most of South America. Everyone on those two continents sees a partial eclipse of the Sun. But those along a narrow path sweeping across the western U.S. and down into Mexico, Central America and across northern South America can see a rare โring of fireโ eclipse as the Moonโs dark disk eclipses the Sun, but isnโt quite large enough to totally cover it. This is an โannularโ eclipse. The view above is from Albuquerque, New Mexico, one of the largest U.S. cities in the path of annularity, second only to San Antonio, Texas.
This is the path of annularity across the western U.S. To see the Moon pass centrally across the Sun (the “ring of fire”) you have to be somewhere in that grey path. Outside the path you will see only a partial eclipse of the Sun. For detailed and zoomable eclipse path maps like the one above, please visit EclipseWise.com.
NOVEMBER
Close conjunctions between the crescent Moon and Venus are always notable. Get up early on Thursday, November 9 to see the 26-day-old Moon shining only a degree below Venus. Venus reached its greatest angle away from the Sun on October 23. It is now descending back toward the Sun, but remains high in the morning sky in early November.
DECEMBER
Though it usually puts on a better show than the summer Perseids, the Geminid meteor shower is not as popular because itโs cold! But this is also a good year for the Geminids as it peaks only two days after New Moon. The best night might be Thursday, December 14, but a good number of meteors should be zipping across the sky the night before on December 13, shown here. Start watching at nightfall and go as long as you can in the chill of a December night.
To download my free Amazing Sky 2023 Calendar in PDF format, go to my website at https://www.amazingsky.com/Books The PDF file can be printed out at home or taken to an office supply shop to be printed and bound.
Good luck in your stargazing and clear skies for 2023!
I test nine programs for processing raw files for the demands of nightscape astrophotography.
Warning! This is a long and technical blog, but for those interested in picking the best software, I think youโll find it the most comprehensive test of programs for processing nightscapes. The review is illustrated with 50 high-resolution, downloadable images which will take a while to load. Patience!
As a background, in December 2017 I tested ten contenders vying to be alternatives to Adobeโs suite of software. You can find that earlier survey here on my blog. But 2017 was ages ago in the lifetime of software. How well do the latest versions of those programs compare now for astrophotography? And what new software choices do we have as we head into 2023?
To find out, I compared eight programs, pitting them against what I still consider the standard for image quality when developing raw files, Adobe Camera Raw (the Develop module in Adobe Lightroom is essentially identical). I tested them primarily on sample nightscape images described below.
I tested only programs that are offered for both MacOS and Windows, with identical or nearly identical features for both platforms. However, I tested the MacOS versions.
In addition to Adobe Camera Raw (represented by the Adobe Bridge icon), I tested, in alphabetical order, and from left to right in the icons above:
ACDSee Photo Studio
Affinity Photo 2 (from Serif)
Capture One 23
Darktable 4
DxO PhotoLab 6
Exposure X7
Luminar Neo (from SkyLum)
ON1 Photo RAW 2023
I tested all the programs strictly for the purpose of processing, or โdevelopingโ raw files, using nightscape images as the tests. I also looked at features for preparing and exporting a large batch of images to assemble into time-lapse movies, though the actual movie creation usually requires specialized software.
NOTE: I did not test the programs with telescope images of nebulas or galaxies. The reason โ most deep-sky astrophotographers never use a raw developer anyway. Instead, the orthodox workflow is to stack and align undeveloped raw files with specialized โcalibrationโ software such as DeepSkyStacker or PixInsight that outputs 16-bit or 32-bit TIFFs, bypassing any chance to work with the raw files.
TL;DR Conclusions
Hereโs a summary of my recommendations, with the evidence for my conclusions presented at length (!) in the sections that follow:
Whatโs Best for Still Image Nightscapes?
Adobe Camera Raw (or its equivalent in Adobe Lightroom) still produces superb results, lacking only the latest in AI noise reduction, sharpening and special effects. Though, as Iโve discovered, AI processing can ruin astrophotos if not applied carefully.
The Adobe alternatives that provided the best raw image quality in my test nightscapes were Capture One and DxO PhotoLab.
ACDSee Photo Studio, Exposure X7,and Luminar Neo produced good results, but all had flaws.
ON1 Photo RAW had its flaws as well, but can serve as a single-program replacement for both Lightroom and Photoshop.
Affinity Photo works well as a Photoshop replacement, and at a low one-time cost. But it is a poor choice for developing raw images.
If you are adamant about avoiding subscription software, then a combination of DxO PhotoLab and Affinity Photo can work well, providing great image quality, and serving to replace both Lightroom and Photoshop.
I cannot recommend Darktable, despite its zero price. I struggled to use its complex and overly technical interface, only to get poor results. It also kept crashing, despite me using the new ARM version on my M1 MacBook Pro. It was worth what I paid for it.
At the end of my blog, I explain the reasons why I did not include other programs in the test, to answer the inevitable โBut what about โฆ!?โ questions.
Whatโs Best for Basic Time-Lapses?
For simple time-lapse processing, where the same settings can be applied to all the images in a sequence, all the programs except Affinity Photo, can copy and paste settings from one key image to all the others in a set, then export them out as JPGs for movie assembly.
However, for the best image quality and speed, I feel the best choices are:
Adobe, either Lightroom or the combination of Camera Raw/Bridge
Capture One 23
DxO PhotoLab 6
While ON1 Photo RAW can assemble movies directly from developed raw files, I found Capture One or DxO PhotoLab can do a better job processing the raw files. And ON1โs time-lapse function is limited, so in my opinion it is not a major selling point of ON1 for any serious time-lapse work.
Luminar Neo was so slow at Copy & Paste and Batch Export it was essentially unusable.
Whatโs Best for Advanced Time-Lapses?
None of the non-Adobe programs will work with the third-party software LRTimelapse (www.lrtimelapse.com). It is an essential tool for advanced time-lapse processing.
While ON1 offers time-lapse movie assembly, it cannot do what LRTimelapse does โ gradually shift processing settings over a sequence based on keyframes to accommodate changing lighting, and to micro-adjust exposure levels based on actual image brightness to smooth out the bane of time-lapse shooters โ image flickering.
LRTimelapse works only with Lightroom or ACR/Bridge. If serious and professional time-lapse shooting is your goal, none of the Adobe contenders will do the job. Period. Subscribe to Adobe software. And buy LRTimelapse.
Avoiding Adobe?
My testing demonstrated to me that for nightscape photography, Adobe software remains a prime choice, for its image quality and ease of use. However, the reasons to go with any program other than Adobe are:
For equal or even better image quality, or for features not offered by Adobe.
But mostly to avoid Adobeโs subscription model of monthly or annual payments.
Capture One pricing as of early 2023, in Canadian funds.
All the non-Adobe alternatives can be purchased as a โperpetual licenseโ for a one-time fee, though often with significant annual upgrade costs for each yearโs major new release. However, you neednโt purchase the upgrade; your old version will continue to run. Below, I provide purchase prices in U.S. funds, but most companies have frequent sales and discount offers.
While all of Adobeโs competitors will proclaim one-time pricing, several also offer their software via annual subscriptions, with additional perks and bonuses, such as file syncing to mobile apps, or better long-term or package pricing, to entice you to subscribe.
Keep in mind that whatever program you use, its catalog and/or sidecar files where your raw image settings are stored will always be proprietary to that program. ON1 and Affinity also each save files in their own proprietary format. Switch to any other software in the future and your edits will likely not be readable by that new software.
Raw Editing vs. Layer-Based Editing
As I mentioned, I tested all the programs strictly for their ability to process, or โdevelop,โ raw image files for nightscapes. (Raw files are likened to being digital negatives that we โdevelop.โ)
For some nightscape still images, raw developing might be all thatโs needed, especially as software companies add more advanced โAIโ (artificial intelligence) technology to their raw developers for precise selection, masking, and special effects.
In the case of time-lapse sequences made of hundreds of raw frames, raw developing is the only processing that is practical. What we need for time-lapses is to:
Develop a single key raw file to look great, then โฆ
Copy all its settings to the hundreds of other raw files in the time-lapse set, then โฆ
Export that folder of raw images to โintermediate JPGsโ for assembly into a movie, usually with a specialized assembly program.
The programs that offer layer-based editing: Adobe Photoshop, ON1 Photo RAW, and Serif Affinity Photo
However, for most still-image astrophotography, including nightscapes, we often stack and/or blend multiple images to create the final scene, for several reasons:
To stack multiple images with a Mean or Median stack mode to smooth noise.
To layer dozens of images with a Lighten blend mode to create star trails.
To layer and blend images via masking to combine the different exposures often needed to record the ground and sky each at their best.
Or often as not, a combination of all of the above!
All those methods require a layer-based program. Adobe Photoshop is the most popular choice.
Of the programs tested here, only two also offer the ability to layer multiple images for stacks, blends and composites. They are:
Affinity Photo 2
ON1 Photo RAW 2023
I did not test these two programs to compare their image layering and masking abilities vs. Photoshop, as important as those functions might be.
Fans of Skylumโs Luminar Neo will point out that it also supports image layers. In theory. In the version I tested (v1.6.2) bugs made it impossible to load files into layers properly โ the layer stack became confused and failed to display the stackโs contents. I could not tell what it was stacking! Skylum is notorious for its buggy releases.
Those determined not to use Adobe software should be aware that, apart from Affinity Photo and ON1 Photo RAW, all the other programs tested here are not replacements for Adobe Photoshop, nor are they advertised as such. They are just raw developers, and so can serve only to replace Adobe Lightroom or Adobe Camera Raw/Adobe Bridge.
The Challenge
This is the main image I threw at all nine programs, a single 2-minute exposure taken at Lake Louise, Alberta in October 2022. The lens was the Canon RF15-35mm at f/2.8 on a Canon R5 camera at ISO 800.
The original raw image
Above is the raw image as it came out of camera, with the default Adobe Color camera profile applied, but no other adjustments. The length of exposure on a static tripod meant the stars trailed. The image has:
A sky that needs color correcting and contrast enhancement.
Dark shadows in the foreground and distance that need recovery.
Bright foreground areas that need suppressing, where lights from the Chateau Lake Louise hotel illuminate the mountainsides and water.
Lens flares and lights from night hikers that need retouching out.
It is an iconic scene, but when shot at night, itโs a challenging one to process.
The untracked image developed in Adobe Camera Raw
Above is the image after development in Adobe Camera Raw (ACR), using sliders under its Basic, Optics, Detail, Curve, Color Mixer, and Calibration tabs, and applying the Adobe Landscape camera profile. Plus I added retouching, and local adjustments with ACRโs masks to affect just the sky and parts of the ground individually. This is the result I think looks best, and is the look I tried to get all other programs to match or beat. You might prefer a different look or style.
The developed tracked image
In addition, I tried all programs on another two-minute exposure of the scene (shown above) but taken on a star tracker to produce untrailed, pinpoint stars, but a blurred ground. It served to test how well each programโs noise reduction and sharpening dealt with stars.
The final layered and blended image in Adobe Photoshop
I shot that tracked version to blend with the untracked version to produce the very final image above, created from the Camera Raw edits. That blending of sky and ground images (with each component a stack of several images) was done in Photoshop. However, Affinity Photo or ON1 Photo RAW could have done the required layering and masking. I show a version done with Affinity at the end of the blog.
The Competitors
In a statement I read some time ago, DxO stated that Adobe products enjoy a 90% share of the image processing market, leaving all the competitors to battle over the remaining 10%. Iโm not sure how accurate that is today, especially as many photographers will use more than one program.
However, I think it is fair to say Adobeโs offerings are the programs all competitors are out to beat.
NOTE: Click/tap on any of the images to bring them up full screen as high-res JPGs so you can inspect them more closely.
The Established Standard
Adobe Camera Raw (included with Photoshop, Adobe Bridge and Lightroom)
Cost: $10 a month, or $120 a year by subscription for 20 Gb of cloud storage (all prices in U.S. $)
Adobe Camera Raw (ACR) is the raw development utility that comes with Photoshop and Adobe Bridge, Adobeโs image browsing application. Camera Raw is equivalent to the Develop module in Lightroom, Adobeโs cataloguing and asset management software. Camera Raw and Lightroom have identical processing functions and can produce identical results, but I tested ACR. I use it in conjunction with Adobe Bridge as an image browser. Bridge can then send multiple developed images into Photoshop as layers for stacking. All programs are included in Adobeโs Photo subscription plan.
The Contenders (in Alphabetical Order)
Here are the eight programs I tested, comparing them to Adobe Camera Raw. All but Skylumโs Luminar Neo offer free trial copies.
ACDSee Photo Studio
Cost: $100 to $150, depending on version. $50 on up for annual major upgrades. By subscription from $70 a year.
I tested Photo Studio for Mac v9. Windows users have a choice of Photo Studio Professional or Photo Studio Ultimate. All three versions offer a suite of raw development tools, in addition to cataloging functions. However, the Ultimate version (Windows only) also offers layer-based editing, making it similar to Photoshop. ACDSee assured me that Photo Studio for Mac resembles the Windows Professional version, at least for basic raw editing and image management. However, Photo Studio Professional for Windows also has HDR and Panorama merging, which the Mac version does not.
Affinity Photo 2
Cost: $70. Upgrades are free except for rare whole-number updates (in seven years thereโs been only one of those!). No subscription plan is offered.
Apart from the free Darktable, this is the lowest-cost raw developer on offer here. But Affinityโs strength is as a layer-based editor to compete with Photoshop. As such, Affinity Photo has some impressive features, such as the unique ability to calibrate and align deep-sky images, its stack modes (great for star trails and noise smoothing) which only Photoshop also has, and its non-destructive adjustment layers, filters and masks. Affinity Photo is the most Photoshop-like of all the programs here. However, it alone of the group lacks any image browser or cataloging function, so this is not a Lightroom replacement.
Capture One 23 Pro
Cost: $299. 33% off (about $200) for annual major upgrades. By subscription for $180 a year.
Capture One started life as a program for tethered capture shooting in fashion studios. It has evolved into a very powerful raw developer and image management program. While Capture One advertises that it now offers โlayers,โ these are only for applying local adjustments to masked areas of a single underlying image. While they work well, you cannot layer different images. So Capture One cannot be used like Photoshop, to stack and composite images. It is a Lightroom replacement only, but a very good one. However, it is the most costly to buy, upgrade each year, or subscribe to, which appears to be the sales model Capture One is moving toward, following Adobe.
In contrast to Capture One, you cannot argue with Darktableโs price! For a free, open-source program, Darktable is surprisingly full-featured, while being fairly well supported and updated. As with most free cross-platform programs, Darktable uses an unconventional and complex user interface lacking any menus. It has two main modules: Lighttable for browsing images, and Darkroom for editing images. Map, Slideshow, Print and Tethering modules clearly signal this program is intended to be a free version of Lightroom. The price you pay, however, is in learning to use its complex interface.
DxO PhotoLab 6 ELITE
Cost: $219. $99 for annual major upgrades. No subscription plan is offered.
DxO PhotoLab is similar to Capture One in being a very complete and feature-rich raw developer with good image management functions and a well-designed interface. While it has an image browser for culling, keywording and rating images, PhotoLab does not create a catalog as such, so this isnโt a full Lightroom replacement. But it is a superb raw developer, with very good image quality and noise reduction. While PhotoLab is also available in a $140 ESSENTIAL edition, it lacks the DeepPrime noise reduction and ClearView Plus haze reduction, both useful features for astrophotos.
Exposure X7
Cost: $129. $89 for annual major upgrades. No subscription plan is offered.
Formerly known as Alien Skin Exposure, from the makers of the once-popular utilities Blow Up and Eye Candy, Exposure X7 is a surprisingly powerful raw editor (considering you might not have heard of it!), with all the expected adjustment options, plus a few unique ones such as Bokeh for purposely blurring backgrounds. It enjoys annual major updates, so is kept up to date, though is a little behind the times in lacking any AI-based effects or masking, or even automatic edge detection. Like Capture One, Exposure offers adjustment layers for ease of applying local edits.
Luminar Neo
Cost: $149. $39 to $59 for individual Extensions. $179 for Extensions pack. By subscription for $149 a year which includes Neo and all Extensions. Frequent discounts and changing bundles make the pricing confusing and unpredictable.
By contrast to Exposure X7, Luminar Neo from Skylum is all about AI. Indeed, its predecessor was called Luminar AI. Introduced in 2022, Neo supplanted Luminar AI, whose image catalog could not be read by Neo, much to the consternation of users. Luminar AI is now gone. All of Skylumโs effort now goes into Neo. It offers the expected raw editing adjustments, along with many powerful one-click AI effects and tools, some offered as extra-cost extensions in a controversial ร la carte sales philosophy. Neoโs cataloging ability is basic and unsuitable for image management.
ON1 Photo RAW 2023
Cost: $99. $60 for annual major upgrades. $70 for individual plug-ins, each with paid annual updates. By subscription for $90 a year which includes all plug-ins and updates.
Of all the contenders tested, this is the only program that can truly replace both Lightroom and Photoshop, in that ON1 Photo RAW has cataloging, raw developing, and image layering and masking abilities. In recent years ON1 has introduced AI functions for selection, noise reduction, and sharpening. Some of these are also available as individual plug-ins for Lightroom and Photoshop at an additional cost. While the main program and plug-ins can be purchased as perpetual licences, the total cost makes an annual subscription the cheapest way to get and maintain the full ON1 suite. Like Capture One, they are moving customers to be subscribers.
Feature Focus
I have assumed a workflow that starts with raw image files, not JPGs, for high-quality results. And I have assumed the goal of making that raw image look as good as possible at the raw stage, an important step in the workflow, as it is the only time we have access to the full dynamic range of the 14-bit raw data that comes from the camera.
I judged each program based on several features I consider key to great nightscapes and time-lapses:
Browser/Cataloging Functions โBecause we often deal with lots of images from an astrophoto shoot, the program should allow us to sort, rate, and cull images before proceeding with developing the best of the set for later stacking, and to easily compare the results.
Lens Corrections โDoes the program apply automatic lens corrections for distortion and vignetting? How extensive is its lens database? Or are manual adjustments required?
Noise Reduction โWe shoot at high ISOs, so good noise reduction is essential for removing digital noise without sacrificing details such as pixel-level stars, or adding AI artifacts.
Shadow Recovery โWhile good highlight recovery can be important (and a prime reason for shooting and processing raw images), in nightscapes good shadow recovery is even more crucial. The starlit ground is dark, but rich in detail. We want to recover that shadow detail, without affecting other tonal ranges or introducing noise.
Local Adjustments and Masking โGood masking tools allow us to do more at the raw stage while we have access to the full range of image data. But how precise can the masks be? How easy is it to apply different settings to the ground and sky, the most common need for local adjustments with nightscapes.
Overall Finished Image Quality โTools such as Dehaze and Clarity can work wonders at boosting contrast in the sky. Good color adjustments from HSL sliders can help fine-tune the overall color balance. How good did the final image look? โ an admittedly subjective judgement.
Copy & Paste Settings โA program should not only develop one image well, but also then be able to transfer all of that key imageโs settings to several other images taken for noise stacking, or to what could be hundreds of images shot for a time-lapse movie or star trail scene.
Batch Export โFor stacking images for star trails, or for creating panoramas in advanced stitching programs such as PTGui, or when assembling time-lapse movies, the program should allow a โbatch exportโ of selected images to TIFFs or JPGs for use elsewhere.
Advanced Features โDoes the program support panorama stitching and HDR (High Dynamic Range) merging of selected developed raw files? If so, what type of file does it create?
Summary Comparison Table
โข = Feature is present; ticks the boxes!
โ = Feature is missing
Partial = Feature only partially implemented (e.g. Only has distortion correction but not vignetting correction, or has limited cataloging functions)
I judged other features on an admittedly subjective scale of Poor, Fair, Good, or Excellent, based on my overall impressions of the reliability, options offered, quality, and/or speed of operation.
Feature-by-Feature Details โ 1. Browsing and Cataloging
Here, feature by feature, are what I feel are the differences among the programs, comparing them using the key factors I listed above.
All programs, but one, offer a Browse or Library module presenting thumbnails of all the images in a folder or on a drive. (For Adobe Camera Raw that module is Adobe Bridge, included with the Creative Cloud Photo subscription.) From the Browse/Library module you can sort, rate and cull images.
The Catalog screens from six of the programs tested
Luminar Neoโs Catalog function (as of early 2023) allows only flagging images as favorites. It is very crude.
The other programs have more full-featured image management, allowing star rating, color label rating, pick/reject flags, keywording, grouping into collections or projects, and searching.
Capture One and ON1 Photo RAW provide the option of importing images into formal catalogs, just as Adobe Lightroom requires. However, unlike Lightroom, both programs can also work with images just by pointing them to a folder, without any formal import process. Capture One calls this a โsession.โ Adobe Bridge works that way โ it doesnโt produce a catalog.
While not having to import images first is convenient, having a formal catalog allows managing a library even when the original images are off-line on a disconnected hard drive, or for syncing to a mobile app. If thatโs important, then consider Capture One, ON1 Photo RAW, or Adobe Lightroom. They each have mobile apps.
Adobe Lightroom (but not Bridge) is also able to connect directly to what it calls โPublish Servicesโ โ Flickr, PhotoShelter, and SmugMug for example, using plug-ins offered by those services. I use that feature almost daily. ACDSee offers that feature only in its Windows versions of Photo Studio. As best I could tell, all other programs lacked anything equivalent.
SerifAffinity Photo is the lone exception lacking any form of image browser or asset management. Itโs hard to fathom why in late 2022, with their major update to Version 2 of their software suite, Serif did not introduce a digital asset management program to link their otherwise excellent Photo, Designer and Publisher programs. This is a serious limitation of Serifโs Affinity creative suite, which is clearly aimed at competing one-on-one with Adobe Photoshop, Illustrator and InDesign, yet Serif has no equivalent of Adobe Bridge for asset management.
WINNERS: Capture One and ON1 Photo RAW, for the most flexibility in informal browsing vs. formal cataloguing. Adobe Lightroom for its Publish Services.
LOSER: Affinity Photo for lacking any image management or catalog.
The wide-angle lenses we typically use in nightscape and time-lapse imaging suffer from vignetting and lens distortions. Ideally, software should automatically detect the camera and lens used and apply accurate corrections based on its equipment database.
The Lens Corrections panels from all nine programs.
Of the nine programs tested, only four โ Adobe Camera Raw, Darktable, DxO PhotoLab, and ON1 Photo Raw โ automatically applied both distortion and vignetting corrections for the Canon RF15-35mm lens I used for the test images. DxO is particularly good at applying corrections, drawing upon the companyโs vast repository of camera and lens data. If your local copy of PhotoLab is missing a camera-lens combination, what it calls a โmodule,โ DxO allows you to download it or request it.
Capture One and Exposure X7 both detected the lens used and applied distortion correction, but did nothing to adjust vignetting. I had to apply vignetting correction, a more important adjustment, manually by eye.
ACDSee and Luminar have no Auto Lens Corrections at all; distortion and vignetting both have to be dialed in manually.
Affinity Photo lacked any automatic correction data for the Canon RF15-35mm lens in question, despite the lens being introduced in 2019. I selected the similar Canon EF16-35mm lens instead, as I show above circled in blue. Affinity gets marks off for having an outdated and incomplete lens database.
WINNERS: Adobe, Darktable, DxO PhotoLab, and ON1 Photo RAW, for full Auto Lens Corrections.
LOSERS: ACDSee and Luminar, for lacking Auto Lens Corrections.
Feature-by-Feature Details โ 3. Noise Reduction and Sharpening
Absolutely essential to astrophotography is effective noise reduction, of both grainy โluminanceโ noise, as well as colorful speckles and splotches from โchrominanceโ noise. Programs should smooth noise without eliminating stars, removing star colors, or adding odd structures and artifacts.
Conversely, programs should offer a controllable level of sharpening, without introducing dark halos around stars, a sure sign of over-zealous sharpening.
Closeups of the tracked image comparing noise reduction and star image quality in all 9 programs. Tap or click to download a high-res version for closer inspection to see the pixel-level differences.
I tested noise reduction using the tracked version of my test images, as the pinpoint stars from the 45-megapixel Canon R5 will reveal any star elimination or discoloration.
Adobe Camera Rawโs aging noise reduction routine stood up very well against the new AI competitors. It smoothed noise acceptably, while retaining star colors and Milky Way structures. But turn it up too high, as might be needed for very high ISO shots, and it begins to blur or wipe out stars. AI noise reduction promises to solve this.
AI-Based Noise Reduction:
DxO PhotoLabโs Prime and DeepPrime AI-based options can also do a good job. But โฆ I find DeepPrime (shown above) and the newer DeepPrimeXD (shown below) can introduce wormy looking artifacts to starfields. The older Prime method might be a better choice. However, the annoyance with DxO PhotoLab is that it is not possible to preview any of its Prime noise reduction results full-screen, only in a tiny preview window, making the best settings a bit of a guess, requiring exporting the image to see the actual results.
ON1 Photo RAWโs NoNoise AI can also do a good job, but has to be backed off a lot from the automatic settings its AI technology applies. Even so, I found it still left large-scale color blotches, a pixel-level mosaic pattern, and worst of all, dark halos around stars, despite me applying no sharpening at all to the image. ON1 continues to over-sharpen under the hood. I criticized it for star halos in my 2017 survey โ the 2023 version behaves better, but still leaves stars looking ugly.
The other AI program, Luminar Neo with its Noiseless AI extension (an extra-cost option) did a poor job, adding strange artifacts to the background sky and colored halos around stars.
Comparing DxO’s three Prime noise reduction options on the untracked image. DeepPrimeXD is sharper!Comparing DxO’s three Prime noise reduction methods on the tracked image. DeepPrimeXD is riddled with artifacts.
So beware of AI. As I show above with DxO, because they are not trained on starfields, AI routines can introduce unwanted effects and false structures. What works wonders on high-ISO wildlife or wedding shots can ruin astrophotos.
For a more complete test of AI programs, such as Topaz DeNoise AI and Noise XTerminator, made specifically for noise reduction, see my review from November 2022, Testing Noise Reduction Programs for Astrophotography.
Non AI-Based Noise Reduction:
Capture One smoothed noise very well, but tended to bloat stars and soften fine detail with its Single Pixel control turned up even to one pixel, as here.
Affinity Photo nicely smoothed noise, but also removed star colors, yet added colored rims to some stars, perhaps from poor de-Bayering. Serif Labโs raw engine still has its flaws.
ACDSee Photo Studio also added loads of unacceptable halos to stars, and could not reduce noise well without smoothing details.
Darktable has very good noise reduction, including a panel specifically for Astrophoto Denoise. Great! Pity its routines seemed to wipe out star colors and fine structures in the Milky Way.
Exposure X7 smoothed noise well, but also wiped out details and structures, and its sharpening adds dark halos to stars.
That said, it might be possible to eke out better results from all these programs with more careful settings. Backing off sharpening or noise reduction can avoid some of the unwanted side effects I saw, but leave more noise.
Adobe Camera Raw does eliminate most random hot or dead pixels “under the hood.” However, I wish it had an adjustable filter for removing any that still remain (usually from thermal noise) and that can plague the shadows of nightscapes. Single-pixel filters are offered by Capture One, Darktable, DxO, and Exposure X7. Though turning them up too high can ruin image detail.
WINNERS: Adobe and DxO PhotoLab (if the latter is used cautiously)
LOSERS: ACDSee, Affinity, Darktable, Exposure X7, and Luminar Neo for unacceptable loss of detail and star colors, while adding in false structures (Neo)
Feature-by-Feature Details โ 4. Shadow Recovery
While all programs have exposure and contrast adjustments, the key to making a Milky Way nightscape look good is being able to boost the shadows in the dark starlit ground, while preventing the sky or other areas of the image from becoming overly bright or washed out.
Comparing Shadow Recovery in two programs (Camera Raw – top – and DxO PhotoLab – middle) that worked quite well, with Darktable (bottom) that did not.
In the three examples above I have applied only white balance and exposure correction, then โliftedโ the Shadows. I added some contrast adjustment to Darktable, to help improve it, and Smart Lighting to the DxO image, which was needed here.
Here are my findings, roughly in order of decreasing image quality, but with Adobe first as the one to match or beat.
Adobe Camera Raw has a very good Shadows slider that truly affects just the dark tonal areas and with a slight touch (turning it up to 100 doesnโt wipe out the image). Some other programsโ Shadows adjustments are too aggressive, affect too wide a range of tones, or just add a grey wash over the image, requiring further tweaks to restore contrast.
Capture One did an excellent job on Shadow recovery under its High Dynamic Range set of sliders. The dark landscape brightened without becoming flat or grey. This is a primary contributor to its excellent image quality.
DxO PhotoLabโs Shadows slider affects a wider tonal range than ACR or Capture One, also brightening mid-tones, though it has a Midtones slider to separately adjust those. On its own, the Shadows slider didnโt work as well as in ACR or Capture One. But DxOโs superb feature is its โSmart Lighting,โ which can work wonders on a scene with one click. Another unique adjustment is โClearView Plus,โ a form of Dehaze which can snap up contrast, often too aggressively, but it can be backed off in intensity. Those two adjustments alone might be reason enough to use PhotoLab.
ON1 Photo RAWโs Shadows slider affected too wide a range of tonal values, brightening the entire scene and making it look flat. This can be overcome with some tweaks to the Contrast, Blacks and Midtones sliders. It takes more work to make a scene look good.
ACDSeeโs Fill Light and Shadows sliders were also much too broad. But its unique LightEQ panel has options for โStandard” and โAdvancedโ settings which each provide an equalizer interface for making more selective tonal adjustments. It worked well, though the image looked too harsh and contrasty, despite me adding no contrast adjustments, the opposite flaw of other programs.
Luminar Neoโs Shadows slider under its DevelopRAW panel was also broad, washing out contrast, requiring a liberal application of its SuperContrast slider to return the image to a better look. But the final result looked fine.
Exposure X7โs Shadows slider also lowered overall contrast, requiring boosting Contrast and Blacks to return the image to a pleasing tonal balance.
Affinity Photoโs Shadows slider did a far better job in its new v2 (released in late 2022) than in the original Affinity Photo, which was frankly awful. Even so, I found Affinity Photo 2 still tended to produce flat results, hard to compensate for from within the Develop Persona, as its options are so limited.
Darktableโs Shadows slider (which has several sub-sliders) produced a flat result. Despite the numerous variations of other contrast and level adjustments scattered over various panels, I could not get a pleasing result. It will take a true Darktable fan and expert to exact a good image from its bewildering options, if itโs even possible.
WINNERS: Capture One and DxO PhotoLab, plus Adobe still works well
LOSERS: Affinity Photo and Darktable
Feature-by-Feature Details โ 5. Local Adjustments and Masking
This is the area where programs have made major improvements in the five years since my last survey of raw developers. Thus I devote a major section to the feature.
With accurate and easy masking it is now easier to apply adjustments to just selected areas of a raw image. We can finish off a raw file to perhaps be publication ready, without having to use a layer-based program like Photoshop to perform those same types of local adjustments. Adobe Camera RAW, Luminar Neo, and ON1 Photo Raw are leaders in this type of advanced AI masking. But other programs have good non-AI methods of masking โ and making โ local adjustments.
Adobe Camera Raw (and Adobe Lightroom) now has far better masking than in older versions that used the awkward method of applying multiple โpins.โ Masks now occupy separate layers, and AI masks can be created in one-click for the sky (and ground by inverting the Sky mask) and for key subjects in the image. Other non-AI masks can be created with brushes (with an Auto Mask option for edge detection) and gradient overlays, and with the option of luminance and color range masks. The AI-created Sky masks proved the most accurate compared to other programsโ AI selections, though they can intrude into the ground at times. But the sky masks do include the stars. In all, Camera Raw (or Lightroom) has the most powerful masking tools of the group, though they can be tricky to master.
ACDSee Photo Studio allows up to eight different brushed-on mask areas, each with its own adjustments, in addition to gradient masks. There is no edge detection as such, though the brushes can be limited to selecting areas of similar brightness and color. The โMagicโ brush option didnโt help in selecting just the sky and stars. Local adjustments are possible to only Exposure, Saturation, Fill Light, Contrast, and Clarity. So no local color adjustments are possible. In all, local adjustments are limited.
Affinity Photo has, in its Develop Persona, what it calls Overlays, where for each Overlay, or layer, you can brush on separate sets of adjustments using all the sliders in the Develop Persona. Oddly, there is no option for decreasing the opacity of a brush, only its size and feathering. While there is an Edge Aware option, it did a poor job on the test image detecting the boundary between land and sky, despite the edge being sharply defined. So local adjustments require a lot of manual brushing and erasing to get an accurate mask. The red mask Overlay, useful at times, has to be turned on and off manually. Other programs (ACR and Capture One) have the option of the colored overlay appearing automatically just when you are brushing.
Capture One offers adjustment layers for each mask required. The only โsmartโ brush is the Magic Brush which affects areas across the entire image with similar luminosity. There isnโt any edge detection option as such, so creating masks for the sky and ground is still largely a manual process requiring careful brushing. Separate layers can be added for healing and retouching. While Capture Oneโs local adjustments can work well, they require a lot more manual work than do programs equipped with AI-driven selection tools.
DxO PhotoLab allows multiple local adjustments, with the option of an Auto Mask brush that nicely detects edges, though the mask overlay itself (as shown above on the sky) doesnโt accurately show the area being affected. Strange. Masks can also be added with what are called Control Points to affect just areas of similar luminance within a wide circle, often requiring multiple Control Points to create an adjustment across a large region. Masks can also be created with adjustable brushes. Each masked area is then adjusted using a set of equalizer-like mini-controls, rather than in the main panels. In all, itโs a quirky interface, but it can work quite well once you get used to it.
Exposure X7 offers adjustment layers with options to add a gradient, or to draw or brush on an area to make a selection. There is no edge detection, only a color range mask option, so creating a sky or ground mask can require lots of hand painting. I found the preview sluggish, making it a bit of a trial-and-error exercise to make fine adjustments. However, the full range of tone and color adjustments can be applied to any local mask, a plus compared to ACDSee for example.
Luminar was first out with AI masks to automatically select the sky, and various landscape elements it detects. In all it does a good job, making it easy to add local adjustments. There are also gradient tools and normal brushes, but oddly, considering the amount of AI Luminar relies on, there is no edge detection (at least, as of early 2023). So brushing to create a mask requires a lot of finicky painting and erasing to refine the mask edge. The strong point is that masks can be added to any of Luminarโs many filters and adjustment panels, allowing for lots of options for tweaking the appearance of selected areas, such as adding special effects like glows to the sky or landscape. However, most of those filters and effects are added to the image after it is developed, and not to the original raw file.
ON1’s AI Sky mask does not include the stars.
ON1 Photo RAW has always offered good local adjustments, with each occupying its own layer. Photo RAW 2023 added its new โSuper Selectโ AI tools to compete with Adobe. But they are problematic. The select Sky AI masking fails to include stars, leaving a sky mask filled with black holes, requiring lots of hand painting to eliminate. You might as well have created the mask by hand to begin with. Plus in the test image, selecting โMountainโ to create a ground mask just locked up the program, requiring a Force Quit to exit it. However, ON1โs conventional masks and adjustments work well, with a wide choice of brush options. The Perfect Brush detects areas of similar color, not edges per se.
WINNERS: Adobe and Luminar for accurate AI masks
LOSER: Darktableโ it has no Local Adjustments at all
I provide each of the finished images for the untracked star trail example below, under Program-by-Program Results. But hereโs a summary, in what I admit is a subjective call. One program would excel in one area, but be deficient in another. But who produced the best looking end result?
Overall, I think Capture One came closest to matching or exceeding Adobe Camera Raw for image quality. Its main drawback is the difficulty in creating precise local adjustment masks.
DxO PhotoLab also produced a fine result, but still looking a little flat compared to ACR and Capture One. But it does have good AI noise reduction.
In the middle of the ranking are the group of ACDSee Photo Studio, Exposure X7, and ON1 Photo RAW. Their results look acceptable, but closer examination reveals the flaws such as haloed stars and loss of fine detail. So they rank from Fair to Good, depending on how much you pixel peep!
Luminar Neo did a good job, though achieving those results required going beyond what its DevelopRAW panel can do, to apply Neoโs other filters and effects. So in Neoโs case, I did more to the image than what was possible with just raw edits. But with Luminar, the distinction between raw developer and layer-based editor is fuzzy indeed. It operates quite differently than other programs tested here, perhaps refreshingly so.
For example, with the more conventionally structured workflow of Affinity Photo, I could have exacted better results from it had I taken the developed raw image into its Photo Persona to apply more adjustments farther down the workflow. The same might be said of ON1 Photo RAW.
But the point of this review was to test how well programs could do just at the raw-image stage. Due to the unique way it operates, Iโll admit Luminar Neo did get the advantage in this raw developer test. Though it failed on several key points.
WINNERS: Adobe and Capture One, with DxO a respectable second
Getting one image looking great is just the first step. Even when shooting nightscape stills we often take several images to stack later.
As such, we want to be able to process just one image, then copy and paste its settings to all the others in one fell swoop. And then we need to be able to inspect those images in thumbnails to be sure they all look good, as some might need individual tweaking.
While itโs a useful feature for images destined for a still-image composite, Copy & Paste Settings is an absolutely essential feature for processing a set for a time-lapse movie or a star trail stack.
The Copy and Paste Settings panels from the 8 programs that offer this feature.
I tested the programs on the set of 360 time-lapse frames of the Perseid meteor shower used next for the Batch Export test.
Adobe Bridge makes it easy to copy and paste Camera Raw settings to identically process all the files in a folder. Lightroom has a similar function. Adobe also has adaptive masks, where a sky mask created for one image will adapt to all others, even if the framing or composition changes, as it would in a motion-control time-lapse sequence or panorama set. Applying settings to several hundred images is fairly quick, though Bridge can be slow at rendering the resulting thumbnails.
ON1 Photo RAW can also copy and paste AI masks adaptively, so a Sky mask created for one image will adapt to match another image, even if the framing is different. However, applying all the settings to a large number of images and rendering the new previews proved achingly slow. And itโs a pity it doesnโt create a better sky mask to begin with.
Capture One has a single Copy and Apply Adjustments command where you develop one image, select it plus all the other undeveloped images in the set to sync settings from the processed image to all the others. But the adjustment layers and their masks copy identically; there is no adaptive masking because there are no AI-generated masks. However, applying new settings to hundreds of images and rendering their thumbnails is very fast, better than other programs.
DxO PhotoLabโs Control Point masks and local adjustments also copy identically. Copying adjustments from one image to the rest in the set of 360 test images was also very fast.
ACDSee Photo Studio and Exposure X7 also allow copying and pasting all or selected settings, including local adjustment masks. ACDSee was slow, but Exposure X7 was quite quick to apply settings to a large batch of images, such as the 360 test images.
Darktableโs function is under the History Stack panel where you can copy and paste all or selected settings, but all are global โ there are no local adjustments or masks.
Luminar Neo allows only copying and pasting of all settings, not a selected set. When testing it on the set of 360 time-lapse frames, Neo proved unworkably slow, taking as much as an hour to apply settings and render the resulting thumbnails in its Catalog view, during which time my M1 MacBook Pro warned the application was running out of memory, taking up 110 Gb! I had to Force Quit it.
Affinity Photo is capable of editing only one image at a time. There is no easy or obvious way to copy the Develop Persona settings from one raw image, open another, then paste in those settings. You can only save Presets for each Develop Persona panel, making transferring settings from one image to even just one other image a tedious process.
Affinity Photo with several raw images stacked and identically processed with the method below.
Affinity Workaround
But โฆ there is a non-obvious and unintuitive method in Affinity which works for stacking and processing a few raw files for a blend:
Process one raw image and then click Develop so it moves into the Photo Persona, as a โRAW Layer (Embedded),” a new feature in Affinity Photo 2.
Find the other raw image files (they wonโt have any settings applied) and simply drag them onto the Photo Persona screen.
Use the Move tool to align the resulting new layers with the original image.
Select all the image layers (but only the first will have any settings applied) and hit the Develop Persona button.
Then hit the Develop button โ this will apply the settings from the first image to all the others in the layer stack. Itโs the best Affinity can do for a โcopy and pasteโ function.
Change the blend mode or add masks to each layer to create a composite or star trail stack.
Each layer can be re-opened in the Develop Persona if needed to adjust its settings.
Itโs all a bit of a kludge, but it does work.
WINNERS: Capture One for blazing speed; Adobe and ON1 for adaptive masks
LOSER: Affinity Photo, for lacking this feature entirely, except for a method that is not at all obvious and limited in its use.
Feature-by-Feature Details โ 8. Batch Export
Once you develop a folder of raw images with โCopy & Paste,โ you now have to export them with all those settings โbaked intoโ the exported files.
This step creates an intermediate set of TIFFs or JPGs to either assemble into a movie with programs such as TimeLapse DeFlicker, or to stack into a star trail composite using software such as StarStaX.
The Batch Export panels from all 9 programs.
To test the Batch Export function, I used each program to export the same set of 360 developed raw files taken with a 20-megapixel Canon R6, shot for a meteor shower time-lapse, exporting them into full-resolution, low-compression JPGs.
While all programs can do the task, some are much better than others.
Adobe Bridge has a configurable Export panel (though it can be buggy at times), as does Lightroom. Its speed is good, but is beaten by several of the competitors.
Even Affinity Photo can do a batch export, done through its โNew Batch Job” function. As with its other image selection operations, Affinity depends on your operating systemโs Open dialog box to pick images. Exporting worked well, though without being able to develop a batch of raw files, Iโm not sure why you would have cause to use this batch function to export them. I had to test it with undeveloped raws. Oddly, Affinityโs exported JPGs (at 5496 x 3664 pixels) were slightly larger than the size of the original raws (which were 5472 x 3648 pixels). No other program did this.
Most programs allow saving combinations of Export settings as frequently used presets. An exception is Exposure X7 where separate presets have to be saved and loaded for each option in its Export panel, awkward. And Luminar Neoโs batch export is basic, with no option for saving Export presets at all.
In the export of the 360 test images, each program took:
Adobe Bridge 15 minutes (after 3 attempts to get it to actually work!)
ACDSee Photo Studio 33 minutes
Affinity Photo 2 32 minutes
Capture One 23 6 minutes
Darktable 4 16 minutes
DxO PhotoLab 6 8 minutes
Exposure X7 5 minutes 30 seconds
Luminar Neo 8.5 hours (!)
ON1 Photo RAW 2023 1.4 hours
This was on my M1 Max MacBook Pro. Your mileage will vary! The clear winners in the export race were Exposure X7, Capture One, and DxO. ON1 was way behind the pack. Luminar was impossibly slow. It is not a program for working with lots of images.
ON1โs Time-Lapse Function
Unique among these programs, ON1 Photo RAW provides a Time-Lapse function that allows directly exporting developed raw files to a final movie, without the need to export an intermediate JPG set. That sounds like a great time saver. Only Adobe After Effects can do the same.
However โฆ ON1โs options are limited: up to a maximum DCI 4K size, in H264 or Apple ProRes codecs, and with a choice of just three frame rates: 24, 25, or 30 frames per second. A dedicated assembly program such as TimeLapse DeFlicker can do a much better job, and faster, with more options such as frame blending, and up to 8K movie sizes.
And oddly, ON1โs Time-Lapse panel provides no option for where to save the movie or what to name it โ it defaults to saving the movie to the original folder with the images, and with the name of one of the images. I had to search for it to locate it.
WINNERS: Exposure X7 and Capture One for sheer speed
LOSER: Luminar Neo for being unusably slow
Feature-by-Feature Details โ 9. Advanced Features
Here Iโve noted what programs offer what features, but I tested only the panorama stitching function. For a panorama test I used a set of seven images shot with the Canon R5 and RF15-35mm lens at Peyto Lake, Banff.
The Panorama options from 4 programs. ON1 (lower left) failed to stitch 2 of the 7 segments).
Adobe Camera Raw (and Lightroom) offers HDR Merge and Panorama stitching plus, uniquely, the ability to merge multi-exposure HDR panoramas. But it has no Focus Stack option (thatโs in Photoshop). For panoramas, ACR offers a choice of projection geometries, and the very excellent Boundary Warp function for filling in blank areas, as well as content-aware Fill Edges. The result is a raw DNG file.
Capture One has HDR Merge and Panorama stitching, but no Focus Stack option. Like ACR, Capture Oneโs panorama mode offers a choice of projection geometries and results in a raw DNG file for further editing at the raw level. It worked well on the test set, though lacks anything equivalent to ACR’s content-aware Fill Edges and Boundary Warp options.
ON1 Photo RAW offers HDR Merge, Focus Stack, and Panorama stitching of raw files. Using the same seven images that ACR and Capture One succeeded with, ON1 failed to stitch two of the segments, leaving a partial pano. It does offer a limited choice of projection methods and, like ACR, has the option to warp the image to fill blank areas. It creates a raw DNG file.
Affinity Photo also offers HDR Merge, Focus Stack, and Panorama stitching, all from raw files. However, the panorama function is quite basic, with no options for projection geometry or content-aware fill. But it did a good job blending all segments of the test set seamlessly. The result is a raw file that can be further processed in the Develop Persona.
ACDSee Photo Studio for Mac lacks any HDR, Focus Stack, or Panorama stitching. Those functions are available in the Windows versions (Pro and Ultimate), but I did not test them.
Luminar Neo offers HDR Merge and Focus Stack through two extra-cost extensions. As of this writing it does not offer Panorama stitching, but more extensions (yet to be identified!) will be released in 2023.
Darktable offers just HDR Merge, but no Focus Stack or Panorama functions.
DxO PhotoLab 6 lacks any HDR, Focus Stack or Panorama functions. Ditto for Exposure X7. Those are serious deficiencies, as we have a need for all those functions when processing nightscapes. You would have to develop the raw files in DxO or Exposure, then export TIFFs to merge or stitch them using another program such as Affinity Photo.
WINNERS: Adobe and Capture One
LOSER: DxO for missing key functions expected in a premium โAdobe killerโ
Program-by-Program Summary
I could end the review here, but I feel itโs important to present the evidence, in the form of the final images, as best I could process them with each of the programs. I rate their overall image quality and performance on a subjective scale of Poor / Fair / Good / Excellent, with additional remarks about the Pros and Cons of each program, as I see them.
Adobe Camera Raw (also applies to Adobe Lightroom)
IMAGE QUALITY: Excellent
PROS: ACR has excellent selective shadow recovery and good noise reduction which, while not up to the level of new AI methods, doesnโt introduce any weird AI artifacts. Its panels and sliders are fairly easy to use, with a clean user interface. Its new AI masking and local adjustments are superb, though take some practice to master.
CONS: It is available only by monthly or annual subscription, and lacks the more advanced AI noise reduction, sharpening, and one-click special effects of some competitors. Using the Adobe suite requires moving between different Adobe programs to perform all functions. Adobe Bridge, a central program in my workflow, tends to be neglected by Adobe, and suffers from bugs and deficiencies that go uncorrected.
ACDSee Photo Studio (for Mac)
IMAGE QUALITY: Fair
PROS: Photo Studio in its various versions offers good image management functions, making it suitable as a non-subscription Lightroom alternative. It offers an advanced array of tonal and color adjustments in an easy-to-use interface.
CONS: It produced badly haloed stars and had poor noise reduction. Its local adjustments are limited and lag behind the competition with no AI functions. It has no panorama stitching or HDR merging functions in the Mac version โ the Windows versions get much more love and attention from ACDSee.
Affinity Photo 2
IMAGE QUALITY: Fair (for its Develop Persona) / Good to Excellent (as a Photoshop replacement)
PROS: Affinity Photo is certainly the best alternative to Photoshop for anyone looking to avoid Adobe. It is an excellent layer-based program (far better than GIMP) with unique features for astrophotographers such as stacking and gradient removal. With v2, it is now possible to transfer a raw file from the Develop Persona to the Photo Persona non-destructively, allowing re-opening the raw file for re-editing, similar to Adobeโs Camera Raw Smart Objects.
CONS: Affinity Photoโs Develop Persona for raw files is basic, with limited adjustments and producing average results at best. Transferring settings from one raw file to others is difficult, if not impossible. Affinity Photo is designed for editing single images only.
Capture One 23
IMAGE QUALITY: Excellent
PROS: Capture One has excellent shadow recovery and color adjustment controls. Local adjustments are easy to add and edit, though lack edge detection and AI selection. It has excellent cataloging functions, and overall superb image quality. Itโs a good Lightroom alternative.
CONS: Itโs costly to purchase, and more expensive than Adobeโs Creative Cloud to subscribe to. It can easily soften stars if not careful. It lacks AI masking, and overall the program tends to lag behind competitors by a few years for advanced features โ Capture One added panorama stitching only a couple of versions back. I found the program also tended to litter my drive with Capture One folders.
Darktable
IMAGE QUALITY: Poor
PROS: Itโs free! And it offers many adjustments and intricate options not found elsewhere that the technically minded will enjoy experimenting with.
CONS: Darktableโs community of developers has added a bewildering array of panels in a confusing interface, making Darktable not for beginners nor the feint of heart. I struggled with it, all for poor results. Just finding the Export function was a challenge. Darktable is a program designed by programmers for use by other programmers who love to play with image data, and who care little for a user interface friendly to โthe rest of us!โ
DxO PhotoLab 6
IMAGE QUALITY: Excellent
PROS: Along with Capture One, I found DxO PhotoLab capable of producing a good-looking image, the equal of or perhaps better than Camera Raw, partly because of DxOโs ClearView and Smart Lighting options. It has lots of downloadable camera and lens modules for automatic lens corrections. Its noise reduction was excellent, though its DeepPrime and DeepPrimeXD options can add AI artifacts.
CONS: There are no adjustment layers or masks as such. Local adjustments are done through DxOโs quirky Control Point interface which isnโt as visually intuitive nor as precise as masks and layers. As of PhotoLab 6, DxO has yet to offer panorama or HDR merging, lagging far behind the competition.
Exposure X7
IMAGE QUALITY: Fair
PROS: Exposure has a full set of tonal and color adjustments, and essential image management functions. It has good local adjustment layers, though with no AI or smart brushes to automatically detect edges. It produced acceptable final results, though still looking a little flat.
CONS: Exposure lacks any panorama stitching or HDR merging functions. Its noise reduction can wipe out stars and image details, and its sharpening adds dark halos to stars. It often crashed during my testing, by simply quitting unexpectedly. Annoying.
Luminar Neo
IMAGE QUALITY: Good to Excellent
PROS: Luminar has a clean, fresh interface with many powerful AI-driven functions and effects unique to Luminar and that are easy to apply. The final result looks fine. Its AI masks work quite well. Neo also works as a plug-in for Photoshop or Lightroom.
CONS: Luminar is expensive to purchase outright with all the Extensions, with a subscription the most economical method of acquiring, and maintaining, the full package. Its Noiseless AI didnโt handle starfields well. Neo lacks a useable cataloging function, and the version tested had numerous serious bugs. It is best for editing just single images.
ON1 Photo RAW 2023
IMAGE QUALITY: Good
PROS: ON1 Photo RAW is the only program of the set that can: catalog images, develop raw files, and then layer and stack images, performing all that Lightroom and Photoshop can do. It can serve as a one-program solution, and has excellent Effects and NoNoise AI, also available as plug-ins for Adobe software. It offers layer-based editing as well.
CONS: ON1 consistently produces dark halos around stars from over-sharpening in its raw engine. These cannot be eliminated. Its AI selection routines are flawed. Its AI noise reduction can leave artifacts if applied too aggressively, which is the default setting. Opening images from the Browse module as layers in the Edit module can be slow. It offers no stack modes (present in Photoshop and Affinity) for easy noise smoothing or star trail stacking, and the alternative โ changing layer Blend modes โ has to be done one at a time for each layer, a tedious process for a large image stack.
Why Didnโt I Test โฆ?
โฆ [Insert your favorite program here!] No doubt itโs one you consider badly neglected by all the worldโs photographers!
But โฆ as I stated at the outset, I tested only programs offered for both MacOS and Windows. I tested the MacOS versions โ and for nightscapes, which are more demanding than normal daytime scenes.
Icons for the programs not tested. How many can you identify? Hint: They are in alphabetical order.
I did not test:
Adobe Photoshop Elements โEffectively Photoshop โLite,โ Elements is available for $99 as a one-time purchase with a perpetual license, for both MacOS and Windows. Optional annual updates cost about $80. While it offers image and adjustment layers, and can open .PSD files, Elements cannot do much with 16-bit images, and has limited functions for developing raw files, in its version of Camera Raw โLite.โ And its Lightroom-like Organizer module does not not have any Copy & Paste Settings or batch export functions, making it unsuitable for batch editing or time-lapse production.
Like Appleโs Photos and other free photo apps, I donโt consider Elements to be a serious option for nightscape and time-lapse work. A Creative Cloud Photo subscription doesnโt cost much more per year, yet gets you far, far more in Adobeโs professional-level software.
Corel PaintShop โ As with ACDSeeโs product suite, Corelโs PaintShop is available in Pro and Pro Ultimate versions, both updated for 2023, and each with extensive raw and layer-based editing features. But they are only for Windows. If you are a PC user, PaintShop is certainly worth testing out. Their neglected MacOS program (also available for Windows and Linux) is the raw developer AfterShot Pro 3 (currently at v3.7.0.446). It is labeled as being from 2017, and last received a minor bug fix update in January 2021. I included it in my 2017 survey, but could not this year as it refused to recognize the CR3 raw files from my Canon R5 and R6 cameras.
Darkroom and Acorn are two Mac-only apps wth just basic features. There are no doubt numerous other similar Windows-only apps that I am not familiar with.
GIMP โ Being free, it has its loyal fans. But it is not a raw developer, so it is not tested here. It is favorite of some astrophotographers as a no-cost substitute for Adobe Photoshop or Affinity Photo. Itโs available for MacOS and Windows.
Iridient Developer โ Its anachronistic, text-only website looks like it comes from 1995, giving the impression that this raw developer should be free, open-source software. It isnโt; it costs $99. It is a basic raw developer but only for MacOS. It is updated frequently, and a trial copy is available.
Pixelmator Pro โ While it is a very capable and well-supported program with some excellent features, it too is available only for MacOS. Like Affinity Photo, it seems to be primarily for editing individual raw images, and lacks any image management functions, notably Copy & Paste Settings.
PixInsight โ This specialized astrophoto program is designed for deep-sky image processing and bringing out the most subtle structures in faint nebulas and galaxies. For those it works wonders. But it is not suitable for nightscapes. Examples Iโve seen from PI fans who have used it for nightscapes, including images Iโve sent them for their expert processing, have not impressed me.
RawTherapee โ As of early January 2023 when I completed my testing, the latest version of this free open-source program, v5.9, was available only for Windows and Linux. The MacOS version was still back at v5.8 from February 2020, a version that was unable to open the Canon CR3 raw files I was using in my tests. While the CR3 format has been out for several years, RawTherapee was still not supporting it, a hazard of open-source software dependent on the priorities of volunteer programmers who mostly use Windows. Like Darktable, RawTherapee is an incredibly complex program to use, with programmers adding every possible panel, slider and checkbox they could think of.ย [UPDATE MARCH 2023: RawTherapee 5.9 for MacOS is now available and opens Canon .CR3 files. Mac users might certainly want to try it. And Windows users, too!]
Topaz Studio โ While Topaz Labs has been busy introducing some fine AI specialty programs, such as DeNoise AI, their main photo editor, Topaz Studio, has been neglected for years and, as of late 2022, was not even listed as a product for sale. Itโs gone.
What About? โ To prevent the number of programs tested from growing even larger, I did not include a few other little-known and seldom-used programs such as Cyberlink PhotoDirector and Picktorial, though Iโm sure they have their fans.
I also did not test any camera manufacturer programs, such as Canonโs Digital Photo Professional, Nikonโs CaptureNX, or Sonyโs ImagingEdge. They will open raw images only from their own cameras. Few photographers use them unless forced to, perhaps to open new raw files not yet supported by Adobe, DxO, et al, or to access files created by special camera functions such as Pixel Shift or Raw Burst Mode.
Recommendations
Having used Adobe software for decades, Iโm used to its workings and the look it provides images. Iโve yet to see any of the competitors produce results so much better that they warrant me switching programs. At best, the competitors produce results as good as Adobe, at least for nightscape astrophotos, though with some offering unique and attractive features.
For example, the AI noise reduction routines in DxO PhotoLab and ON1 Photo RAW can outperform Adobe Camera Raw and Lightroom. Adobe needs to update its raw editing software with more advanced noise reduction and sharpening. Even so, the AI routines in the competitors are prone to creating odd artifacts, so have to be applied carefully to astrophotos.
A possible workflow: DxO PhotoLab or Capture One into Affinity Photo
As I recommended in 2017, for those who refuse to use Adobe โ or any software by subscription โ a possible combination for the best astrophoto image quality might be DxO PhotoLab 6 for raw developing and basic time-lapse processing, paired with Affinity Photo 2 for stacking and compositing still images, from finished TIFF files exported out of DxO then opened and layered with Affinity.
An example of images developed in Capture One and then layered and masked in Affinity Photo.
The pairing of Capture One with Affinity could work just as well, though is more costly. And anyone who hates software by subscription in principle might want to avoid Capture One as they are pushing customers toward buying only by subscription, as is ON1.
For a single-program solution, Iโd recommend ON1 Photo RAW more highly, if only it produced better star image quality. Its raw engine continues to over-sharpen, and its AI masking functions are flawed, though will likely improve. I routinely use ON1โs Effects plug-in from Photoshop, as it has some excellent โfinishing-touchโ filters such as Dynamic Contrast. I find ON1โs NoNoise AI plug-in also very useful.
The same applies to Luminar Neo. While I canโt see using it as a principle processing program, it works very well as a Photoshop plug-in for adding special effects, some with its powerful and innovative AI routines.
Finally โ Download Trials and Test!
But donโt take my word for all of this. Please test for yourself!
With the exception of Luminar Neo, all the programs I tested (and others I didnโt, but you might be interested in) are available as free trial copies. Try them out on your images and workflow. You might find you like one program much better than any of the others or what you are using now.
Often, having more than one program is useful, if only for use as a plug-in from within Lightroom or Photoshop. Some plug-ins made for Photoshop also work from within Affinity Photo, though it is hit-and-miss what plug-ins will actually work. (In my testing, plug-ins from DxO/Nik Collection, Exposure X7, ON1, RC-Astro, and Topaz all work; ones from Skylum/Luminar install but fail to run.)
LRTimelapse working on the meteor shower time-lapse frames.
While I was impressed with Capture One and DxO PhotoLab, for me the need to use the program LRTimelapse (shown above) for processing about 80 percent of all the time-lapse sequences I shoot means the question is settled. LRTimelapse works only with Adobe software, and the combination works great and improves wth every update of LRTimelapse.
Even for still images, the ease of working within Adobeโs ecosystem to sort, develop, layer, stack, and catalog images makes me reluctant to migrate to a mix of programs from different companies, especially when the cost of upgrading many of those programs is not much less than, or even more costly, than an Adobe Photo plan subscription.
However โฆ if itโs just a good raw developer you are after for astro work, without paying for a subscription, try Capture One 2023 or DxO PhotoLab 6. Try Affinity Photo if you want a good Photoshop replacement.
Clear skies! And thanks for reading this!
โ Alan, January 2023 / ยฉ 2023 Alan Dyer / AmazingSky.com
In mid-October 2022 I enjoyed a rare run of five clear and mild nights in the Rocky Mountains for shooting nightscapes of the stars. Hereโs a portfolio โฆ and a behind-the-scenes look at its making.
Getting two perfectly clear nights in a row is unusual in the mountains. Being treated to five is a rare treat. Indeed, had I started my shooting run earlier in the week I could have enjoyed even more of the string of cloudless nights in October, though under a full Moon. But five was wonderful, allowing me to capture some of the scenes that had been on my shot list for the last few years.
Here is a portfolio of the results, from five marvelous nights in Banff and Jasper National Parks, in Alberta, Canada.
For the photographers, I also provide some behind-the-scenes looks at the planning and shooting techniques, and of my processing steps.
Night One โ Peyto Lake, Banff National Park
Peyto Lake, named for pioneer settler and trail guide Bill Peyto who had a cabin by the lakeshore, is one of several iconic mountain lakes in Banff. Every tour bus heading along the Icefields Parkway between Banff and Jasper stops here. By day is it packed. By night I had the newly constructed viewpoint all to myself.
The stars of Ursa Major, the Great Bear, over the waters of Peyto Lake, Banff, in deep twilight. This is a stack of 6 x 30-second exposures for the ground and a single untracked 30-second exposure for the sky, all at f/2.8 with the Canon RF 15-35mm lens at 15mm, and Canon R5 at ISO 800.
I shot the classic view north in deep twilight, with the stars of Ursa Major and the Big Dipper low over the lake, as they are in autumn. A show of Northern Lights would have been ideal, but I was happy to settle for just the stars.
This is a blend of two panoramas: the first of the sky taken at or just before moonrise with the camera on a star tracker to keep the stars pinpoint, and the second taken for the ground about 20 minutes later with the tracker off, when the Moon was up high enough to light the peaks. Both pans were with the Canon RF15-35mm lens at 15mm and f/2.8, and Canon R5 at ISO 1600, with the sky pan being 7 segments for 1 minute each, and the untracked ground panorama being the same 7 segments for 2 minutes each.
The night was perfect, not just for the clarity of the sky but also the timing. The Moon was just past full, so was rising in late evening, leaving a window of time between the end of twilight and moonrise when the sky would be dark enough to capture the Milky Way. Then shortly after, the Moon would come up, lighting the peaks with golden moonlight โ alpenglow, but from the Moon not Sun.
The above is blend of two panoramas, each of seven segments, the first for the sky taken when the sky was dark, using a star tracker to keep the stars pinpoints. The second for the ground I shot a few minutes later at moonrise with no tracking, to keep the ground sharp. I show below how I blended the two elements.
The Photographer’s Ephemeris
TPE 3D
To plan such shots I use the apps The Photographerโs Ephemeris (TPE) and its companion app TPE 3D. The screen shot above at left shows the scene in map view for the night in question, with the Big Dipper indicated north over the lake and the line of dots for the Milky Way showing it to the southwest over Peyto Glacier. Tap or click on the images for full-screen versions.
Switch to TPE 3D and its view at right above simulates the scene youโll actually see, with the Milky Way over the mountain skyline just as it really appeared. The app even faithfully replicates the lighting on the peaks from the rising Moon. It is an amazing planning tool.
This is a blend of 5 x 20-second exposures stacked for the ground to smooth noise, and a single 20-second exposure for the sky, all with the Canon RF15-35mm lens at f/2.8 and Canon R5 at ISO 1600. All were untracked camera-on-tripod shots.
On the drive back from Peyto Lake to Saskatchewan River Crossing I stopped at another iconic spot, the roadside viewpoint for Mt. Cephren at Waterfowl Lakes. By this time, the Moon was well up and fully illuminating the peak and the sky, but still leaving the foreground dark. The sky is blue as it is by day because it is lit by moonlight, which is just sunlight reflecting off a perfectly neutral grey rock, the Moon!
This is from a set of untracked camera-on-tripod shots using short 30-second exposures.
Night Two โ Pyramid Lake, Jasper National Park
By the next night I was up in Jasper, a destination I had been trying to revisit for some time. But poor weather prospects and forest fire smoke had kept me away in recent years.
The days and nights I was there coincided with the first weekend of the annual Jasper Dark Sky Festival. I attended one of the events, the very enjoyable Aurora Chaserโs Retreat, with talks and presentations by some well-known chasers of the Northern Lights. Attendees had come from around North America.
This is a blend of: a stack of 4 x 1-minute tracked exposures for the sky at ISO 1600 plus a stack of 7 x 2-minute untracked exposures at ISO 800 for the ground, plus an additional single 1-minute tracked exposure for the reflected stars and the foreground water. All were with the Canon RF15-35mm lens at 15mm and f/2.8 and Canon R5.
On my first night in Jasper I headed up to Pyramid Lake, a favorite local spot for stargazing and night sky photography, particularly from the little island connected to the โmainlandโ by a wooden boardwalk. Lots of people were there quietly enjoying the night. I shared one campfire spot with several other photographers also shooting the Milky Way over the calm lake before moonrise.
This is a blend of: a stack of 4 x 1-minute tracked exposures for the sky at ISO 1600 plus a stack of 6 x 3-minute untracked exposures at ISO 800 for the ground, all with the Canon RF15-35mm lens at 20mm and f/2.8 and Canon R5. The tracker was the Star Adventurer Mini.
A little later I moved to the north end of Pyramid Island for the view of the Big Dipper over Pyramid Mountain, now fully lit by the rising waning Moon, and with some aspens still in their autumn colours. A bright meteor added to the scene.
Night Three โ Athabasca River Viewpoint, Jasper National Park
For my second night in Jasper, I ventured back down the Icefields Parkway to the โGoats and Glaciersโ viewpoint overlooking the Athabasca River and the peaks of the Continental Divide.
This is a blend of three 3-section panoramas: the first taken with a Star Adventurer Mini for 3 x 2-minute tracked exposures for the sky at ISO 800; the second immediately afterward with the tracker off for 3 x 3-minutes at ISO 800 for the ground; and the third taken about an hour later as the Moon rose, lighting the peaks with warm light, for 3 x 2.5-minutes at ISO 1600. All with the Canon RF15-35mm lens at f/2.8 and 15mm and Canon R5,
As I did at Peyto Lake, I shot a panorama (this one in three sections) for the sky before moonrise with a tracker. I then immediately shot another three-section panorama, now untracked, for the ground while it was still lit just by starlight under a dark sky. I then waited an hour for moonrise and shot a third panorama to add in the golden alpenglow on the peaks. So this is a time-blend, bending reality a bit. See my comments below!
Night Four โ Edith Lake, Jasper National Park
With a long drive back to Banff ahead of me the next day, for my last night in Jasper I stayed close to town for shots from the popular Edith Lake, just up the road from the posh Jasper Park Lodge. Unlike at Pyramid Lake, I had the lakeshore to myself.
This is a panorama of four segments, each 30 seconds untracked with the Canon RF15-35mm lens at 15mm and f/2.8 and Canon R5 at ISO 1000.
This would be a fabulous place to catch the Northern Lights, but none were out this night. Instead, I was content to shoot scenes of the northern stars over the calm lake and Pyramid Mountain.
This is a blend of a single tracked 2-minute exposure for the sky and water with the reflected stars, with a single untracked 4-minute exposure for the rest of the ground, both at f/2.8 with the Canon RF15-35mm lens at 17mm and Canon R5 at ISO 800.
This is a blend of a single tracked 2-minute exposure for the sky and water with the reflected stars, with a stack of two untracked 3-minute exposure for the rest of the ground, both at f/2.8 with the Canon RF15-35mm lens at 17mm and Canon R5 at ISO 1600. I shot this October 16, 2022.
The Moon was now coming up late, so the shots above are both in darkness with only starlight providing the illumination. Well, and also some annoying light pollution from town utility sites off the highway. Jasper is a Dark Sky Preserve, but a lot of the townโs street and utility lighting remains unshielded.
Night Five โ Lake Louise, Banff National Park
On my last night I was at Lake Louise, as the placement of the Milky Way would be perfect.
This is a blend of two sets of exposures: – a stack of two untracked 2-minute exposures for the ground at ISO 800 – a stack of four tracked 1-minute exposures for the sky at ISO 1600 All with the Canon RF15-35mm lens at f/2.8 and 20mm and Canon R5, and with the camera and tripod not moving between image sets.
Thereโs no more famous view than this one, with Victoria Glacier at the end of the blue-green glacial lake. Again, by day the site is thronged with people and the parking lot full by early morning.
By night, there were just a handful of other photographers on the lakeshore, and the parking lot was nearly empty. I could park right by the walkway up to the lake.
The Photographer’s Ephemeris
TPE 3D
Again, TPE and TPE 3D told me when the Milky Way would be well-positioned over the lake and glacier, so I could complete the untracked ground shots first, to be ready to shoot the tracked sky segments by the time the Milky Way had turned into place over the glacier.
This is a blend of three vertical panoramas: the first is a set of three untracked 2-minute exposures for the ground at ISO 800 with the camera moved up by 15ยฐ from segment to segment; the second shot immediately afterward is made of 7 x 1-minute tracked exposures at ISO 1600 for the sky, also moved 15ยฐ vertically from segment to segment; elements of a third 3-section panorama taken about 90 minutes earlier during “blue hour” were blended in at a low level to provide better lighting on the distant peaks. All with the Canon RF15-35mm lens at f/2.8 and 20mm and Canon R5.
This image is also a panorama but a vertical one, made primarily of three untracked segments for the ground and seven tracked segments for the sky, panning up from the horizon to past the zenith overhead, taking in most of the summer and autumn Milky Way from Serpens up to Cassiopeia.
Nightscape Gear
As readers always want to know what gear I used, I shot all images on all nights with the 45-megapixel Canon R5 camera and Canon RF15-35mm lens, with exposures of typically 1 to 3 minutes each at ISOs of 800 to 1600. I had other cameras and lenses with me but never used them.
Star Adventurer Mini tracker with Alyn Wallace V-Plate and AcraTech Panorama Head
For a tracker for such images, I used the Sky-Watcher Star Adventurer Mini, a compact and lightweight unit that is easy to pack and carry to shooting sites. See my review of it here at AstroGearToday.
I use the Mini with a V-Plate designed by nightscape photographer Alyn Wallace and sold by Move-Shoot-Move. It is an essential aid to taking tracked panoramas, as it allows me to turn the camera horizontally manually from one pan segment to the next while the camera is tracking the stars. Itโs easy to switch the tracker on (for the sky) and off (for the ground). The Mini tracks quite accurately and reliably. Turn it on and you can be sure it is tracking.
For those who are interested, hereโs a look at how I processed and assembled the images, using the Peyto Lake panorama as an example. This is not a thorough tutorial, but shows the main steps involved. Tap or click on an image to download a full-size version.
I first develop all the raw files (seven here) in Adobe Camera Raw, applying identical settings to make them look best for what they are going to contribute to the final blend, in this case, for the tracked sky with pinpoint stars and the Milky Way.
Camera Raw (as does Adobeโs Lightroom) has an excellent Merge to Panorama function which usually works very well on such scenes. This shows the stitched sky panorama, created with one click.
I develop and stitch the untracked ground segments to look their best for revealing details in the landscape, overexposing the sky in the process. Stars are also trailed, from the long exposures needed for the dark ground. No matter โ these will be masked out.
This shows the stack of images now in Adobe Photoshop, but here revealing just the layer for the sky panorama and its associated adjustment layers to further tweak color and contrast. I often add noise reduction as a non-destructive โsmart filterโ applied to the โsmart objectโ image layer. See my review of noise reduction programs here.
This shows just the ground panorama layer, again with some adjustment and retouching layers dedicated to this portion of the image.
The sky has to be masked out of the ground panorama, to reveal the sky below. The Select Sky command in Photoshop usually works well, or I just use the Quick Selection tool and then Select and Mask to refine the edge. That method can be more accurate.
Aligning the two panoramas requires manually nudging the untracked ground, up in this case, to hide the blurred and dark horizon from the tracked sky panorama. Yes, we move the earth! The sky usually also requires some re-touching to clone out blurred horizon bits sticking up. Dealing with trees can be a bit messy!
The result is the scene above with both panorama layers and the masks turned on. While this now looks almost complete, weโre not done yet.
Local adjustments like Dodge and Burn (using a neutral grey layer with a Soft Light blend mode) and some luminosity masks tweak the brightness of portions of the scene for subtle improvements, to emphasize some areas while darkening others. Itโs what film photographers did in the darkroom by waving physical dodging and burning tools under the enlarger.
I add finishing touches with some effect plug-ins: Radiant Photo added some pop to the ground, while Luminar Neo added a soft โOrton glowโ effect to the sky and slightly to the ground.
All the adjustments, filters, and effects are non-destructive so they can be re-adjusted later, when upon further inspection with fresh eyes I realize something needs work.
Was It Photoshopped?
I hope my look behind the curtains was of interest. While these types of nightscapes taken with a tracker, and especially multi-segment panoramas, do produce dramatic images, they do require a lot of processing at the computer.
Was it โphotoshopped?โ Yes. Was it faked? No. The sky really was there over the scene you see in the image. However, the long exposures of the camera do reveal more details than the eye alone can see at night โ that is the essence of astrophotography.
My one concession to warping reality is in the time-blending โ the merging of panoramas taken 30 minutes to an hour apart. Iโll admit that does push my limits for preferring to record real scenes, and not fabricate them (i.e. โphotoshopโ them in common parlance).
But at this shoot on these marvelous nights, making use of the perfectly timed moonrises was hard to resist!
In a detailed technical blog I compare six AI-based noise reduction programs for the demands of astrophotography. Some can work wonders. Others can ruin your image.
Over the last two years we have seen a spate of specialized programs introduced for removing digital noise from photos. The new generation of programs use artificial intelligence (AI), aka machine learning, trained on thousands of images to better distinguish unwanted noise from desirable image content.
At least thatโs the promise โ and for noisy but normal daytime images they do work very well.
But in astrophotography our main subjects โ stars โ can look a lot like specks of pixel-level noise. How well can each program reduce noise without eliminating stars or wanted details, or introducing odd artifacts, making images worse.
To find out, I tested six of the new AI-based programs on real-world โ or rather โreal-skyโ โ astrophotos. Does one program stand out from the rest for astrophotography?
NOTE: All the images are full-resolution JPGs you can tap or click on to download for detailed inspection. But that does make the blog page slow to load initially. Patience!
TL;DR SUMMARY
The new AI-trained noise reduction programs can indeed eliminate noise better than older non-AI programs, while leaving fine details untouched or even sharpening them.
Of the group tested, the winner for use on just star-filled images is a specialized program for astrophotography, NoiseXTerminator from RC-Astro.
For nightscapes and other images, Topaz DeNoise AI performed well, better than it did in earlier versions that left lots of patchy artifacts, something AI programs can be prone to.
While ON1โs new NoNoise AI 2023 performed fine, it proved slightly worse in some cases than its earlier 2022 version. Its new sharpening routine needs work.
Other new programs, notably Topaz Photo AI and Luminarโs Noiseless AI, also need improvement before they are ready to be used for the rigours of astrophotography.
For reasons explained below, I would not recommend DxOโs PureRAW2.ย [See below for comments on the newer DxO PureRaw3, which suffers from the same issues.]
The three test images in Adobe Camera Raw showing the Basic settings applied.
METHODOLOGY
As described below, while some of the programs can be used as stand-alone applications, I tested them all as plug-ins for Photoshop, applying each as a smart filter applied to a developed raw file brought into Photoshop as a Camera Raw smart object.
Most of these programs state that better results might be obtainable by using the stand-alone app on original raw files. But for my personal workflow I prefer to develop the raw files with Adobe Camera Raw, then open those into Photoshop for stacking and layering, applying any further noise reduction or sharpening as non-destructive smart filters.
Many astrophotographers also choose to stack unedited original images with specialized stacking software, then apply further noise reduction and editing later in the workflow. So my workflow and test procedures reflect that.
However, the exception is DxOโs PureRAW2. It can work only on raw files as a stand-alone app, or as a plug-in from Adobe Lightroom. It does not work as a Photoshop plug-in. I tested PureRAW2 by dropping raw Canon .CR3 files onto the app, then exporting the results as raw DNG files, but with the same settings applied as with the other raw files. For the nightscape and wide-field images taken with lenses in DxO’s extensive database, I used PureRAW’s lens corrections, not Adobe’s.
As shown above, I chose three representative images:
A nightscape with star trails and a detailed foreground, at ISO 1600.
A wide-field deep-sky image at ISO 1600 with an 85mm lens, with very tiny stars.
A close-up deep-sky image taken with a telescope and at a high ISO of 3200, showing thermal noise hot pixels.
Each is a single image, not a stack of multiple images.
Before applying the noise reduction, the raw files received just basic color corrections and a contrast boost to emphasize noise all the more.
THE CONTENDERS
In the test results for the three images, I show the original raw image, plus a version with noise reduction and sharpening applied using Adobe Camera Rawโs own sliders, with luminance noise at 40, color noise at 25, and sharpening at 25.
I use this as a base comparison, as it has been the noise reduction I have long applied to images. However, ACRโs routine (also found in Adobe Lightroom) has not changed in years. It is good, but it is not AI.
[See below for an April 2023 update with a comparison of Adobe’s new AI Denoise with DxO DeepPrimeXD and Topaz PhotoAI.]
The new smart AI programs should improve upon this. But do they?
PLEASENOTE:
I have refrained from providing prices and explaining buying options, as frankly some can be complex!
For those details and for trial copies, go to the softwareโs website by clicking on the link in the header product names below.
All programs are available for Windows and MacOS. I tested the latter versions.
I have not provided tutorials on how to use the software; I have just reported on their results. For trouble-shooting their use, please consult the software company in question.
ON1โs main product is the Lightroom/Photoshop alternative program called ON1 Photo RAW, which is updated annually to major new versions. It has full cataloging options like Lightroom and image layering like Photoshop. Its Edit module contains the NoNoise AI routine. But NoNoise AI can be purchased as a stand-alone app that also installs as a plug-in for Lightroom and Photoshop. Itโs what I tested here. The latest 2023 version of NoNoise AI added ON1โs new Tack Sharp AI sharpening routine.
Version tested: 17.0.1
Topaz DeNoise AI’s four-pane view to select the best AI model.
This program has proven very popular and has been adopted by many photographers โ and astrophotographers โ as an essential part of an editing workflow. It performs noise reduction only, offering a choice of five AI models. Auto modes can choose the models and settings for you based on the image content, but you can override those by adjusting the strength, sharpness, and recovery of original detail as desired.
A separate program, Topaz Sharpen AI, is specifically for image sharpening, but I did not test it here. Topaz Gigapixel AI is for image resizing.
Version tested: 3.7.0
Topaz Photo AI’s control interface for its three main functions: noise, sharpening and upscaling.
In 2022 Topaz introduced this new program which incorporates the trio of noise reduction, sharpening and image resizing in one package. Like DeNoise, Sharpen and Gigapixel, Photo AI works as a stand-alone app or as a plug-in for Lightroom and Photoshop. Photo AIโs Autopilot automatically detects and applies what it thinks the image needs. While it is possible to adjust settings, Photo AI offers much less control than DeNoise AI and Topazโs other single-purpose programs.
As of this writing in November 2022 Photo AI is enjoying almost weekly updates, and seems to be where Topaz is focusing its development and marketing effort.ย [See below for a test of PhotoAI v1.3.1, current as of April 2023.]
Version tested: 1.0.9
Luminar Neo’s Edit interface with choices of many filters and effects, including Noiseless AI.
Unlike the other noise reduction programs tested here, Luminar Neo from the software company Skylum is a full-featured image editing program, with an emphasis on one-click AI effects. One of those is the new Noiseless AI, available as an extra-cost extension to the main Neo program, either as a one-time purchase or by annual subscription. Noiseless AI cannot be purchased on its own. However, Neo with most of its extensions does work as a plug-in for Lightroom and Photoshop.
Being new, Luminar Neo is also updated frequently, with more extensions coming in the next few months.
Version tested: 1.5.0
DxO PureRAW’s simple interface with few choices for Noise Reduction settings.
Like ON1, DxO makes a full-featured alternative to Adobeโs Lightroom for cataloging and raw developing called DxO PhotoLab, in version 6 as of late 2022. It contains DxOโs Prime and DeepPrime noise reduction routines. However, as with ON1, DxO has spun off just the noise reduction and lens correction parts of PhotoLab into a separate program, PureRAW2, which runs either as a stand-alone app or as a plug-in for Lightroom โ but not Photoshop, as PureRAW works only on original raw files.
Unlike all the other programs, PureRAW2 offers essentially no options to adjust settings, just the option to apply, or not, lens corrections, and to choose the output format. For this testing I applied DeepPrime and exported out to DNG files.ย [See below for a test of DeepPrimeXD, now offered with PureRaw3.]
Version tested: 2.2
Noise Terminator’s controls allow adjusting strength and detail.
Unlike the other programs tested, NoiseXTerminator from astrophotographer Russell Croman is designed specifically for deep-sky astrophotography. It installs as a plug-in for Photoshop or Affinity Photo, but not Lightroom. It is also available under the same purchased licence as a โprocessโ for PixInsight, an advanced program popular with astrophotographers, as it is designed just for editing deep-sky images.
I tested the Photoshop plug-in version of Noise XTerminator. It receives occasional updates to both the actual plug-in and separate updates to the AI module.
Version tested: 1.1.2, AI model 2
NIGHTSCAPE TEST
As with the other test images, the panels show a highly magnified section of the image, indicated in the inset. I shot the image of Lake Louise in Banff, Alberta with a Canon RF15-35mm lens on a 45-megapixel Canon R5 camera at ISO 1600.
The test results on a sample nightscape.
Adobe Camera Rawโs basic noise reduction did a good job, but like all general routines it does soften the image as a by-product of smoothing out high-ISO noise.
ON1 NoNoise 2023 retained landscape detail better than ACR but softened the star trails, despite me adding sharpening. It also produced a somewhat patchy noise smoothing in the sky. This was with Luminosity backed off to 75 from the auto setting (which always cranks up the level to 100 regardless of the image), and with the Tack Sharp routine set to 40 with Micro Contrast at 0. It left a uniform pixel-level mosaic effect in the shadow areas. Despite the new Tack Sharp option, the image was softer than with last yearโs NoNoise 2022 version (not shown here as it is no longer available) which produced better shadow results.
Topaz DeNoise AI did a better job than NoNoise retaining the sharp ground detail while smoothing noise, always more obvious in the sky in such images. Even so, it also produced some patchiness, with some areas showing more noise than others. This was with the Standard model set to 40 for Noise and Sharpness, and Recover Details at 75. I show the other model variations below.
Topaz Photo AI did a poor job, producing lots of noisy artifacts in the sky and an over-sharpened foreground riddled with colorful speckling. It added noise. This was with the Normal setting and the default Autopilot settings.
Noiseless AI in Luminar Neo did a decent job smoothing noise while retaining, indeed sharpening ground detail without introducing ringing or colorful edge artifacts. The sky was left with some patchiness and uneven noise smoothing. This was with the suggested Middle setting (vs Low and High) and default levels for Noise, Detail and Sharpness. However, I do like Neo (and Skylum’s earlier Luminar AI) for adding other finishing effects to images such as Orton glows.
DxO PureRAW2 did smooth noise very well while enhancing sharpness quite a lot, almost too much, though it did not introduce obvious edge artifacts. Keep in mind it offers no chance to adjust settings, other than the mode โ I used DeepPrime vs the normal Prime. Its main drawback is that in making the conversion back to a raw DNG image it altered the appearance of the image, in this case darkening the image slightly. It also made some faint star trails look wiggly!
Noise XTerminator really smoothed out the sky, and did so very uniformly without doing much harm to the star trails. However, it smoothed out ground detail unacceptably, not surprising given its specialized training on stars, not terrestrial content.
Conclusion: For this image, Iโd say Topaz DeNoise AI did the best, though not perfect, job.
This was surprising, as tests I did with earlier versions of DeNoise AI showed it leaving many patchy artifacts and colored edges in places. Frankly, I was put off using it. However, Topaz has improved DeNoise AI a lot.
Why it works so well, when Topazโs newer program Photo AI works so poorly is hard to understand. Surely they use the same AI code? Apparently not. Photo AIโs noise reduction is not the same as DeNoise AI.
Similarly, ON1โs NoNoise 2023 did a worse job than their older 2022 version. One can assume its performance will improve with updates. The issue seems to be with the new Tack Sharp addition.
NoiseXTerminator might be a good choice for reducing noise in just the sky of nightscape images. It is not suitable for foregrounds, though as of April 2023 its performance on landscapes has improved but is not ideal.ย
WIDE-FIELD IMAGE TEST
I shot this image of Andromeda and Triangulum with an 85mm Rokinon RF lens on the 45-megapixel Canon R5 on a star tracker. Stars are now points, with small ones easily mistaken for noise. Letโs see how the programs handle such an image, zooming into a tiny section showing the galaxy Messier 33.
The test results on a sample wide-field deep-sky image.
Adobe Camera Rawโs noise and sharpening routines do take care of the worst of the luminance and chrominance noise, but inevitably leave some graininess to the image. This is traditionally dealt with by stacking multiple sub-exposures.
ON1 NoNoise 2023 did a better job than ACR, smoothing the worst of the noise and uniformly, without leaving uneven patchiness. However, it did soften star images, almost like it was applying a 1- or 2-pixel gaussian blur, adding a slight hazy look to the image. And yet the faintest stars that appeared as just perceptible blurs in the original image were sharpened to one- or two-pixel points. This was with only NoNoise AI applied, and no Tack Sharp AI. And, as I show below, NoNoise’s default “High Detail” option introduced with the 2022 version and included in the 2023 edition absolutely destroys star fields. Avoid it.
ON1 NoNoise “High Detail” option ruins star fields, as shown at right. Use “Original” instead.
Topaz DeNoise AI did a better job than Camera Raw, though it wasnโt miles ahead. This was with the Standard setting. Its Low Light and Severe models were not as good, surprising as you might think one of those choices would be the best for such an image. It pays to inspect Topazโs various modelsโ results. Standard didnโt erase stars; it actually sharpened the fainter ones, almost a little too much, making them look like specks of noise. Playing with Enhance Sharpness and Recover Detail didnโt make much difference to this behavior.
Topaz Photo AI again performed poorly. Its Normal mode left lots of noise and grainy artifacts. While its Strong mode shown here did smooth background noise better, it softened stars, wiping out the faint ones and leaving colored edges on the brighter ones.
Noiseless AI in Luminar Neo did smooth fine noise somewhat, better than Camera Raw, but still left a grainy background, though with the stars mostly untouched in size and color.
DxO PureRAW2did eliminate noise quite well, while leaving even the faintest stars intact, unlike with the deep-sky image below, which is odd. However, it added some dark halos to bright stars from over-sharpening. And, as with the nightscape example, PureRAWโs output DNG was darker than the raw that went in. I donโt want noise reduction programs altering the basic appearance of an image, even if that can be corrected later in the workflow.
Noise XTerminator performed superbly, as expected โ after all, this is the subject matter it is trained to work on. It smoothed out random noise better than any of the other programs, while leaving even the faintest stars untouched, in fact sharpening them slightly. Details in the little galaxy were also unharmed.
Conclusion: The clear winner was NoiseXTerminator.
Topaz DeNoise was a respectable second place, performing better than it had done on such images in earlier versions. Even so, it did alter the appearance of faint stars which might not be desirable.
ON1 NoNoise 2023 also performed quite well, with its softening of brighter stars yet sharpening of fainter ones perhaps acceptable, even desirable for an effect.
TELESCOPIC DEEP-SKY TEST
I shot this image of the NGC 7822 complex of nebulosity with a SharpStar 61mm refractor, using the red-sensitive 30-megapixel Canon Ra and with a narrowband filter to isolate the red and green light of the nebulas.
Again, the test image is a single raw image developed only to re-balance the color and boost the contrast. No dark frames were applied, so the 8-minute exposure at ISO 3200 taken on a warm night shows thermal noise as single โhot pixelโ white specks.
The test results on a sample deep-sky close-up.
Adobe Camera Raw did a good job smoothing the worst of the noise, suppressing the hot pixels but only by virtue of it softening all of the image slightly at the pixel level. However, it leaves most stars intact.
ON1 NoNoise 2023 also did a good job smoothing noise while also seeming to boost contrast and structure slightly. But as in the wide-field image, it did smooth out star images a little, though somewhat photogenically, while still emphasizing the faintest stars. This was with no sharpening applied and Luminosity at 60, down from the default 100 NoNoise applies without fail. One wonders if it really is analyzing images to produce optimum settings. With no Tack Sharp sharpening applied, the results on this image with NoNoise 2023 looked identical to NoNoise 2022.
Topaz DeNoise AI did another good job smoothing noise, while leaving most stars unaffected. However, the faintest stars and hot pixels were sharpened to be more visible tiny specks, perhaps too much, even with Sharpening at its lowest level of 1 in Standard mode. Low Light and Severe modes produced worse results, with lots of mottling and unevenness in the background. Unlike NoNoise, at least its Auto settings do vary from image to image, giving you some assurance it really is responding to the image content.
Topaz Photo AI again produced unusable results. Its Normal modes produced lots of mottled texture and haloed stars. Its Strong mode shown here did smooth noise better, but still left lots of uneven artifacts, like DeNoise AI did in its early days. It certainly seems like Photo AI is using old hand-me-down code from DeNoise AI.
Noiseless AI in Luminar Neo did smooth noise but unevenly, leaving lots of textured patches. Stars had grainy halos and the program increased contrast and saturation, adjustments usually best left for specific adjustment layers dedicated to the task.
DxO PureRAW2 did smooth noise very well, including wiping out the faintest specks from hot pixels, but it also wiped out the faintest stars, I think unacceptably and more than other programs like DeNoise AI. For this image it did leave basic brightness alone, likely because it could not apply lens corrections to an image taken with unknown optics. However, it added an odd pixel-level mosaic-like effect on the sky background, again unacceptable.
Noise XTerminator did a great job smoothing random noise without affecting any stars or the nebulosity. The Detail level of 20 I used actually emphasized the faintest stars, but also the hot pixel specks. NoiseXTerminator canโt be counted on to eliminate thermal noise; that demands the application of dark frames and/or using dithering routines to shift each sub-frame image by a few pixels when autoguiding the telescope mount. Even so, Noise XTerminator is so good users might not need to take and stack as many images.
Conclusion: Again, the winner was NoiseXTerminator.
Deep-sky photographers have praised โNoiseXโ for its effectiveness, either when applied early on in a PixInsight workflow or, as I do in Photoshop, as a smart filter to the base stacked image underlying other adjustment layers.
Topaz DeNoise is also a good choice as it can work well on many other types of images. But again, play with its various models and settings. Pixel peep!
ON1 NoNoise 2023 did put in a respectable performance here, and it will no doubt improve โ it had been out less than a month when I ran these tests.
Based on its odd behavior and results in all three test images I would not recommend DxOโs PureRAW2. Yes, it reduces noise quite well, but it can alter tone and color in the process, and add strange pixel-level mosaic artifacts.
COMPARING DxO and TOPAZ OPTIONS
DxO and Topaz DeNoise AI offer the most choices of AI models and strength of noise reduction. Here I compare:
Topaz DeNoise AI on the nightscape image using three of its models: Standard (which I used in the comparisons above), plus Low Light and Severe. These show how the other models didnโt do as good a job.
The set below also compares DeNoise AI to Topazโs other program, Photo AI, to show how poor a job it is doing in its early form. Its Strong mode does smooth noise but over-sharpens and leaves edge artifacts. Yes, Photo AI is one-click easy to use, but produces bad results โ at least on astrophotos.
Comparing DeNoise’s and Photo AI’s different model settings.
As of this writing DxOโs PureRAW2 offers the Prime and newer DeepPrime AI models โ I used DeepPrime for my tests.
However, DxOโs more expensive and complete image processing program, PhotoLab 6, also offers the even newer DeepPrimeXD model, which promises to preserve or recover even more โXtra Detailโ over the DeepPrime model. As of this writing, the XD mode is not offered in PureRAW2. Perhaps that will wait for PureRAW3, no doubt a paid upgrade.
[UPDATE MARCH 2023: DxO has indeed brought out PureRaw3 as a paid upgrade that, as expected, offers the DeepPrimeXD. In testing the new version I found that, while it did not seem to alter an image’s exposure as PureRaw2 did, DeepPrime and DeepPrimeXD still unacceptably ruin starry skies, by either adding a fine-scale mosaic effect (DeepPrime) or weird wormy artifacts (DeepPrimeXD). Try it for yourself to see if you find the same.]
Comparing DxO’s various Prime model settings. DeepPrimeXD is only in PhotoLab 6.
The set above compares the three noise reduction models of DxOโs PhotoLab 6. DeepPrime does do a better job than Prime. DeepPrimeXD does indeed sharpen detail more, but in this example it is too sharp, showing artifacts, especially in the sky where it is adding structures and textures that are not real.
However, when used from within PhotoLab 6, the DeepPrime noise reduction becomes more usable. PhotoLab is then being used to perform all the raw image processing, so PureRAWโs alteration of color and tone is not a concern. Conversely, it can also output raw DNGs with only noise reduction and lens corrections applied, essentially performing the same tasks as PureRAW. If you have PhotoLab, you don’t need PureRAW.
APRIL 2023 UPDATE โ TESTING ADOBE’S NEW AI Denoise
In April 2023 Adobe updated Lightroom Classic to v12.3 and the Camera Raw plug-in for Bridge and Photoshop to 15.3. The major new feature was a long-awaited AI noise reduction from Adobe called Denoise. It works only on raw files and generates a new raw DNG file to which all the raw develop settings, including AI masks, can be applied. But the DNG file is some four times larger than the original raw file from the camera.
Here’s a comparison of Camera Raw using the old noise reduction and the new AI option, with DxO’s DeepPrimeXD and Topaz’s PhotoAI, on an aurora image from April 23, 2023:
I used Topaz Photo AI as that’s the program Topaz is now putting all their development effort into, neglecting their other plug-ins such as DeNoise AI. I used DxO PhotoLab 6 with its DeepPrimeXD option to export a DNG with only noise reduction applied, for results identical to what is now offered with DxO’s separate PureRaw3 plug-in.
At 100% above, there’s very little obvious difference. They show up when pixel peeping.
400% blow-ups of the sky – Tap or click to download a full-res JPG
Above are 400% blow-ups of a section of the sky.
Compared to using Adobe’s old noise reduction sliders, their new AI Denoise did a far superior job at smoothing noise, and providing sharpening โย almost too much, making even the smallest stars pop out more, perhaps a good thing. But there’s no control of that sharpening.
DxO’s DeepPrimeXD provides a similar, or perhaps more excessive level of AI sharpening. While it smooths noise, it introduces all manner of wormy AI artifacts. It is unacceptable.
Topaz PhotoAI’s noise reduction and sharpening, here both applied with their AutoPilot settings, smoothed noise, but created a patchy appearance. It also softened the stars, despite having sharpening turned on. It was the worst of the set.
400% blow-ups of a section of the ground y – Tap or click to download a full-res JPG
In a similar set of blow-ups of the ground, the old Adobe noise reduction did just that โ it smoothed only some noise. The new AI Denoise not only smooths noise, it also applies AI-based sharpening, to the point of almost inventing detail. Here it looks believable, but in other tests I have seen it add content, such as structures in the aurora, that looked fake and out of place. Or just plain wrong!
DxO’s DeepPrimeXD’s main feature over the older DeepPrime is the “eXtra Detail” it finds. Here it produces a result similar to Adobe Denoise, though in some areas of this and other images, I find it is over-sharpening. As with Adobe, there is no option for backing off the sharpening. Other than using DeepPrime or Prime noise reduction.
Topaz PhotoAI didn’t do much to add sharpening. If anything, it made the image softer. While PhotoAI has improved with its weekly updates, it still falls far short of the competition, at least for astrophotos and nightscapes.
The bottom line โ Adobe’s new AI Denoise can do a superb job on astrophotos, and will be particularly useful for high-ISO nightscapes, perhaps better than any of the competition. But watch what it does! It can invent details or create results that look artificial. Being able to adjust the sharpening would be helpful. Perhaps that will come in an update.
COMPARING AI TO OLDER NON-AI PROGRAMS
The new generation of AI-based programs have garnered all the attention, leaving older stalwart noise reduction programs looking a little forlorn and forgotten.
Here I compare Camera Raw and two of the best of the AI programs, Topaz DeNoise AI and NoiseXTerminator, with two of the most respected of the โold-schoolโ non-AI programs:
Nik Dfine2’s control interface.
Dfine2, included with the Nik Collection of plug-ins sold by DxO (shown above), and
Reduce Noise v9 sold by Neat Image (shown below).
Neat Image’s Reduce Noise control interface – the simple panel.
I tested both by using them in their automatic modes, where they analyze a section or sections of the image and adjust the noise reduction accordingly, but then apply that setting uniformly across the entire image. However, both allow manual adjustments, with Neat Imageโs Reduce Noise offering a bewildering array of technical adjustments.
How do these older programs stack up to the new AI generation? Here are comparisons using the same three test images.
Comparing results with Neat Image and Nik Dfine2 on the nightscape test image.
In the nightscape image, Nik Dfine2 and Neat Imageโs Reduce Noise did well, producing uniform noise reduction with no patchiness. But the results werenโt significantly better than with Adobe Camera Rawโs built-in routine. Like ACR, both non-AI programs did smooth detail in the ground, compared to DeNoise AI which sharpened the mountain details.
Comparing results with Neat Image and Nik Dfine2 on the wide-field test image.
In the tracked wide-field image, the differences were harder to distinguish. None performed up to the standard of Noise XTerminator, with both Nik Dfine2 and Neat Image softening stars a little compared to DeNoise AI.
Comparing results with Neat Image and Nik Dfine2 on the deep-sky test image.
In the telescopic deep-sky image, all programs did well, though none matched NoiseXTerminator. None eliminated the hot pixels. But Nik Dfine2 and Neat Image did leave wanted details alone, and did not alter or eliminate desired content. However, they also did not eliminate noise as well as did Topaz DeNoise AI or NoiseXTerminator.
The AI technology does work!
YOUR RESULTS MAY VARY
I should add that the nature of AI means that the results will certainly vary from image to image.
In addition, with many of these programs offering multiple models and settings for strength and sharpening, results even from the same program can be quite different. In this testing I used either the programโs auto defaults or backed off those defaults where I thought the effect was too strong and detrimental to the image.
Software is also a constantly moving target. Updates will alter how these programs perform, we hope for the better. For example, two days after I published this test, ON1 updated NoNoise AI to v17.0.2 with minor fixes and improvements.
And do remember Iโm testing on astrophotos, and pixel peeping to the extreme. Rave reviews claiming how well even the poor performers here work on โnormalโ images might well be valid.
This is all by way of saying, your mileage may vary!
So donโt take my word for it. Most programs (Luminar Neo is an exception) are available as free trial copies to test out on your astro-images and in your preferred workflow. Test for yourself. But do pixel peep. Thatโs where youโll see the flaws.
WHAT ABOUT ADOBE?
As noted above, with v15.3 of Camera Raw and v12.3 of Lightroom Classic, Adobe finally introduced their contender into the AI noise reduction contest. And it is a very good entry at that.
But it works only on raw files early in the workflow, and it generates a new raw DNG file, one four times the size of the original. The suggestion is that this technology will expand so that the AI noise reduction can be applied later in the workflow to other file formats.
Indeed, in the last couple of years Adobe has introduced several amazing and powerful โNeural Filtersโ into Photoshop, which work wonders with one click.
Neural network Noise Reduction is coming to Photoshop. One day!
A neural filter for Noise Reduction is on Adobeโs Wait List for development, so perhaps we will see something in the next few months from Adobe, as a version of the AI noise reduction now offered in Lightroom and Camera Raw.
Until then we have lots of choices for third party programs that all improve with every update. I hope this review has helped you make a choice.
โ Alan, November 15, 2022 / Revised April 27, 2023 / AmazingSky.com ย
For once I was able to watch a total eclipse of the Moon under clear skies from home. Good thing, as a snowstorm would have made travel a challenge.ย
On November 8, 2022 the Full Moon once again passed through the umbral shadow of the Earth, as it has done at six-month intervals for the last two years. The Moon turned deep red for almost an hour and a half.
This is the totally eclipsed Moon of November 8, 2022 set in the stars of Aries, with the planet Uranus nearby, visible as the greenish star about three Moon diameters away from the Moon at the 10 o’clock position.
This was to be the last total eclipse of the Moon visible from anywhere in the world until March 14, 2025.
However, in the days leading up to the eclipse weather prospects looked poor. The worse snowstorm โ indeed the first major snowstorm for my area โ was forecast for the day before the eclipse, November 7. Of course!ย
Weather prospects for eclipse time from the Astrospheric app.
For all the lunar eclipses in the last decade visible from my area, I have had to chase to find clear skies, perhaps a couple of hours away or a half dayโs drive away. I documented those expeditions in previous posts, the latest of which is here for the May 15, 2022 total eclipse. In all cases I was successful.ย
However, just once it would be nice to be able to stay home. The last โTLEโ I was able to watch from home was on December 21, 2010. It had been a long decade of lunar eclipse chasing!
But, it looked like another chase might be needed. Weather maps showed possible clear skies to the west and south of me on eclipse night. But cloud over me.
Other forecast models were a bit more optimistic.
The problem was with six inches of new snow having fallen and temperatures forecast to be in the minus 20s Celsius, any drive to a remote site was going to be unwise, especially at 3 am for the start of the eclipse in my time zone in Alberta.
I decided to โ indeed was more or less forced to โ stay put at home and hope for the best. So this was the โsnowbound eclipse!โ
Luckily, as the snowstorm receded east, clear skies followed, providing better conditions than I had expected. What a pleasure it was watching this eclipse from the comfort of home. While operating camera gear at -25ยฐ C was still a challenge, at least I could retreat inside to warm up.
A wide-angle view of the total eclipse of the Moon of November 8, 2022, with the red Moon at right amid the stars of the northern winter sky, plus with bright red Mars at top. Above and left of the Moon is the blue Pleiades star cluster, while below it and to the left is the larger Hyades cluster with reddish Aldebaran in Taurus. The stars of Orion are left of centre, including reddish Betelgeuse, while at far left are the two Dog Stars: Procyon, at top, in Canis Minor, and Sirius, at bottom, in Canis Major.
The view with the naked eye of the red Moon set in the winter sky was unforgettable. And the views though binoculars were, as always, the best for showing off the subtle colour gradations across the lunar disk.
A self-portrait of me observing the total eclipse of the Moon on November 8, 2022, on a very cold (-25ยฐ C) morning at 4 am.
As has been the tradition at the last few eclipses, I shot a souvenir selfie to show I was really there enjoying the eclipse.
A view of the aurora that appeared during the November 8, 2022 total eclipse of the Moon, as the sky darkened to reveal a show of Northern Lights on this very cold and icy night at 4 am.
A bonus was the appearance of some Northern Lights during totality. As the bright Moon dimmed during its passage into Earthโs umbral shadow, darkening the sky, the aurora began to appear to the north, opposite the eclipsed Moon.ย
Not a great display, but it was the first time I can recall seeing aurora during a lunar eclipse.ย
A parting shot of the now partially eclipsed Moon setting in the west down my driveway, early in the morning of November 8, 2022. With the Canon R6 and TTArtisan 21mm lens at f/2.8.
My parting view and photo was of the now partially eclipsed (and here overexposed) Moon emerging from the shadow and shining right down my rural snowbound driveway.
It was a perfect last look from home of a sight we wonโt see again for two and half years.
In a detailed review, I test a โholy trinityโ of premium Canon RF zoom lenses, with astrophotography the primary purpose.
In years past, zoom lenses were judged inferior to fixed-focal length โprimeโ lenses for the demands of astrophotography. Stars are the severest test of a lens, revealing optical aberrations that would go unnoticed in normal images, or even in photos of test charts. Many older zooms just didnโt cut it for discerning astrophotographers, myself included.
The new generation of premium zooms for mirrorless cameras, from Canon, Nikon and Sony, are dispelling the old wisdom that primes are better than zooms. The new zoomsโ optical performance is proving to be as good, if not better than the older generation of prime lenses for DSLR cameras, models often designed decades ago.
The shorter lens-to-sensor โflange distanceโ offered by mirrorless cameras, along with new types of glass, provide lens designers more freedom to correct aberrations, particularly in wide-angle lenses.
While usually slower than top-of-the-line primes, the advantage of zoom lenses is their versatility for framing and composing subjects, great for nightscapes and constellation shots. Itโs nice to have the flexibility of a zoom without sacrificing the optical quality and speed so important for astrophotography. Can we have it all? The new zooms come close to delivering.
The โholy trinityโ of Canon zooms tested were purchased in 2021 and 2022. From L to R they are: RF15-35mm, RF28-70mm, and RF70-200mm
A good thing, because with Canon we have little choice! For top-quality glass in wide-angle focal lengths at least, zooms are the only choice for their mirrorless R cameras. As of this writing in late 2022, Canon has yet to release any premium primes for their RF mount shorter than 50mm. Rumours are a 12mm, 24mm, 28mm, and 35mm are coming! But when?
The three zooms I tested are all โLโ lenses, designating them as premium-performance models. I have not tested any of Canonโs โeconomyโ line of RF lenses, such as their 24mm and 35mm Macro STM primes. Tests Iโve seen suggest they donโt offer the sharpness I desire for most astrophotography.
Contributing to the lack of choice, top-quality third-party lenses from the likes of Sigma (such as their new 20mm and 24mm Art lenses made for mirrorless cameras) have yet to appear in Canon RF mount versions. Will they ever? In moves that evoked much disdain, Samyang and Viltrox were both ordered by Canon to cease production of their RF auto-focus lenses.
For their mirrorless R cameras, Canon has not authorized any third-party lens makers, forcing you to buy costly Canon L glass, or settle for their lower-grade STM lenses, or opt for reverse-engineered manual-focus lenses from makers such as TTArtisan and Laowa/Venus Optics. While they are good, they are not up to the optical standards of Canonโs L-series glass.
I know, as I own several RF-mount TTArtisan wide-angle lenses and the Laowa 15mm f/2 lens. You can find my tests of those lenses at AstroGearToday.com. Look under Reviews: Astrophotography Gear.
RF lenses will fit only on Canon R-series mirrorless cameras. This shows the RF15-35mm on the Canon R5 used for the lens testing.
The trio of RF lenses tested here work on all Canon EOS R-series cameras, including their R7 and R10 cropped-frame cameras. However, they will not work on any Canon DSLRs.
Two of the lenses, the RF15-35mm F/2.8 and RF70-200mm F/4, are designs updated from older Canon DSLR lenses with similar specs. The RF28-70mm F/2 does not have an equivalent focal length range and speed in Canonโs DSLR lens line-up. Indeed, nobody else makes a lens this fast covering the โnormalโ zoom range.
Together, the three lenses cover focal lengths from 15mm to 200mm, with some overlap. A trio of zooms like this โ a wide-angle, normal, and telephoto โ is often called a โholy trinityโ set, a popular combination all camera manufacturers offer to cover the majority of applications.
However, my interest was strictly for astrophotography, with stars the test subjects.
NOTE: CLICK or TAP on a test image to download a full-resolution image for closer inspection. The images, while low-compression JPGs, are large and numerous, and so will take time to fully load and display. Patience!
All images are ยฉ 2022 by Alan Dyer/AmazingSky.com. Use without permission is prohibited.
METHODOLOGY
I tested the trio of lenses on same-night exposures of a starry but moonlit sky, using the 45-megapixel Canon R5 camera mounted on a motorized star tracker to follow the rotating sky. With one exception noted, any distortion of stars from perfect pinpoints is due to lens aberrations, not star trailing. The brighter moonlit sky helped reveal non-uniform illumination from lens vignetting.
I shot each lens wide-open at its maximum aperture, as well as one stop down from maximum, to see how aberrations and vignetting improved.
I did not test auto-focus performance, nor image stabilization (only the RF28-70mm lacks internal IS), nor other lens traits unimportant for astro work such as bokeh or close focus image quality.
I also compared the RF15-35mm on same-night dark-sky tests against a trio of prime lenses long in my stable: the Rokinon 14mm SP, and Canonโs older L-series 24mm and 35mm primes, all made for DSLRs.
The lenses each come with lens hoods that use a click-on mechanism much easier to twist on and off than with the older design used on Canon EF lenses.
TL;DR SUMMARY
Each of the Canon โholy trinityโ of zoom performs superbly, though not without some residual lens aberrations such as corner astigmatism and, in the RF28-70mm, slight chromatic aberration at f/2.
However, what flaws they show are well below the level of many older prime lenses made for DSLR cameras.
The RF lensesโ major optical flaw is vignetting, which can be quite severe at some focal lengths, such as in the RF70-200mm at 200mm. But this flaw can be corrected in processing.
These are lenses that can replace fixed-focal length primes, though at considerable cost, in part justifiable in that they negate the need for a suite of many prime lenses.
The performance of these and other new lenses made for mirrorless cameras from all brands is one good reason to switch from DSLR to mirrorless cameras.
Lens Specs and Applications
Canon RF15-35mm F/2.8 L IS USM
The RF15-35mm is a fine nightscape lens. It extends slightly when zooming with the lens physically longest at its shortest 15mm focal length.
The Canon RF15-35mm F/2.8 L is made primarily for urban photography and landscapes by day. My main application is using it to take landscapes by night, and auroras, where its relatively fast f/2.8 speed helps keeps exposure times short and ISO speeds reasonably low. However, the RF15-35mm can certainly be used for tracked wide-angle Milky Way and constellation portraits.
The lens weighs a moderate 885 grams (31 ounces or 1.9 pounds) with lens hood and end caps, and accepts 82mm filters, larger than the 72mm or 77mm filter threads of most astrophoto-friendly lenses. Square 100mm filters will work well on the lens, even at the 15mm focal length. There are choices, such as from KASE, for light pollution reduction and star diffusion filters in this size and format. I have reviews of these filters at AstroGearToday.com, both here for light pollution filters and here for starglow filters.
Canon offers a lower-cost alternative in this range, their RF14-35mm. But it is f/4, a little slow for nightscape, aurora, and Milky Way photography. I have not tested one.
Canon RF28-70mm F/2 L USM
The RF28-70mm works great for tracked starfields and constellations. It extends when zooming, with it longest at its 70mm focal length.
The big Canon RF28-70mm F/2 is aimed at wedding and portrait photographers, though the lens is suitable for landscape work. While I do use it for nightscapes, my primary use is for tracked Milky Way and constellation images, where its range of fields of view nicely frames most constellations, from big to small.
I justified its high cost by deciding it replaces (more or less!) prime lenses in the common 24mm, 35mm, 50mm, and 85mm focal lengths. Its f/2 speed does bring it into fast prime lens territory. Itโs handy to have just one lens to cover the range.
Canon offers a lower-cost alternative here, too, their RF24-70mm. But it is f/2.8. While this is certainly excellent speed, I like having the option of shooting at f/2. An example is when using narrowband nebula filters such as red hydrogen-alpha filters, where shooting at f/2 keeps exposures shorter and/or ISOs lower when using such dense filters. I use this lens with an Astronomik 12-nanometre H-ฮฑ clip-in filter. An example is in one of the galleries below.
While a clip-in filter shifts the infinity focus point inward (to as close as the 2-metre mark with the RF28-70mm at 28mm, and to 6 metres at 70mm), I did not find that shift adversely affected the lensโs optical performance. Thatโs not true of all lenses.
Make no mistake, the RF28-70mm is one hefty lens, weighing 1530 grams (54 ounces or 3.4 pounds). Its front-heavy mass demands a solid tripod head. Its large front lens accepts big 95mm filters, a rare size with few options available. I found one broadband light pollution filter in this size, from URTH. Otherwise, you need to use in-body clip-in filters. Astronomik makes a selection for Canon EOS R cameras.
Canon RF70-200mm F/4 L IS USM
The RF70-200mm works well for closeups of landscape scenes such as moonrises. It extends the most of all the lenses when zooming to its longest focal length.
The Canon RF70-200mm F/4 is another portrait or landscape lens. I use it primarily for bright twilight planet conjunctions and moonrise scenes, where its slower f/4 speed is not a detriment. However, as my tests show, it can be used for tracked deep-sky images, where it is still faster than most short focal length telescopes.
The RF70-200mm lens weighs 810 grams (28 ounces, or 1.75 pounds) with lens hood and caps, so is light for a 70-to-200mm zoom. It is also compact. At just 140mm long when set to 70mm, it is actually the shortest lens of the trio. However, the barrel extends to 195mm long when zoomed out to 200mm focal length.
Canon offers the more costly and, at 1200 grams, heavier RF70-200mm F/2.8 lens which might be a better choice for deep-sky imaging where the extra stop of speed can be useful. But in this case, I chose the slower, more affordable โ though still not cheap โ f/4 version. It accepts common 77mm filters, as does the f/2.8 version.
Centre Sharpness
Canon RF15-35mm F/2.8 L IS USM
This compares 400% blow-ups of the frame centres at the two extreme focal lengths and at two apertures: wide open at f/2.8 and stopped down to f/4.
Like the other two zoom lenses tested, the RF15-35mm is very sharp on axis. Even wide open, thereโs no evidence of softness and star bloat from spherical aberration, the bane of cheaper lenses.
Coloured haloes from longitudinal chromatic aberration are absent, except at 28mm and 35mm (shown here) when wide open at f/2.8, where bright stars show a little bit of blue haloing. At f/4, this minor level of aberration disappears.
Canon RF28-70mm F/2 L USM
This compares 400% blow-ups of the frame centres at the two extreme focal lengths and at two apertures: wide open at f/2 and stopped down to f/2.8.
The big RF28-70mm is also very sharp on-axis but is prone to more chromatic aberration at f/2, showing slight magenta haloes on bright stars at the shorter focal lengths and pale cyan haloes at 70mm in my test shots. Such false colour haloes can be very sensitive to precise focus, though with refractive optics the point of least colour is often not the point of sharpest focus.
At f/2, stars are a little softer at 70mm than at 28mm. Stopping down to f/2.8 eliminates this slight softness and most of the longitudinal chromatic aberration.
Canon RF70-200mm F/4 L IS USM
This compares 400% blow-ups of the frame centres at the two extreme focal lengths and at two apertures: wide open at f/4 and stopped down to f/5.6.
Unlike prime telephotos Iโve used, the RF70-200mm shows negligible chromatic aberration on-axis at all focal lengths, even at f/4. Stars are a little softer at the longest focal length at f/4, perhaps from slight spherical aberration, though my 200mm test shots are also affected by a little mistracking, trailing the stars slightly.
Stopping down to f/5.6 sharpens stars just that much more at 200mm.
Corner Aberrations
The corners are where we typically separate great lenses from the merely good. And it is where zoom lenses have traditionally performed badly. For example, my original Canon EF16-35mm f/2.8 lens was so bad off-axis I found it mostly unusable for astro work. Not so the new RF15-35mm, which is the RF replacement for Canonโs older EF16-35mm.
To be clear โ in these test shots you might think the level of aberrations are surprising for premium lenses. But keep in mind, to show them at all I am having to pixel-peep by enlarging all the test images by 400 percent, cropping down to just the extreme corners.
Check the examples in the Compared to DSLR Lenses section and in the Finished ImagesGalleries for another look at lens performance in broader context.
Canon RF15-35mm F/2.8 L IS USM
This compares 400% blow-ups of the extreme corners at five focal lengths with the RF15-35mm wide open at f/2.8
Surprisingly, this RFโs best performance off-axis is actually at its shortest focal length. At 15mm it exhibits only some slight tangential astigmatism, elongating stars away from the frame centre. At 24mm aberrations appear slightly worse than at the other focal lengths, showing some flaring from sagittal astigmatism and perhaps coma as well, aberrations seen to a lesser degree at 28mm and 35mm, making stars look like little three-pointed triangles.
This compares 400% blow-ups of the extreme corners at five focal lengths with the RF15-35mm stopped down one stop to f/4.
The aberrations reduce when stopped down to f/4, but are still present, especially at 24mm, this lensโs weakest focal length, though only just.
While the RF15-35mm isnโt perfect, it outperforms other prime lenses I have, and that I suspect most users will own or have used in the past with DSLRs. Only new wide-angle premium primes for the RF mount, if and when we see them, will provide better performance.
Canon RF28-70mm F/2 L USM
This compare 400% blow-ups of the extreme corners at four focal lengths with the RF28-70mm wide open at f/2.
The RF28-70mmโs fast f/2 speed, unusual for any zoom lens, was surely a challenge to design for. Off-axis when wide open at f/2 it does show astigmatism at the extreme corners at all focal lengths, but the least at 50mm, and the worst at 28mm where a little lateral chromatic aberration is also visible, adding slight colour fringing.
This compare 400% blow-ups of the extreme corners at four focal lengths with the RF28-70mm stopped down one stop to f/2.8.
Sharpness off-axis improves markedly when stopped down one stop to f/2.8, where at 50mm stars are now nearly perfect to the corners. Indeed, performance is so good at 50mm, I think there would be little need to buy the Canon RF50mm prime, unless its f/1.2 speed is deemed essential.
With the RF28-70mm at f/2.8, stars still show some residual astigmatism at 28mm and 35mm, but only at the extreme corners.
Canon RF70-200mm F/4 L IS USM
This compare 400% blow-ups of the extreme corners at four focal lengths with the RF70-200mm wide open at f/4.
The RF70-200mm telephoto zoom shows some astigmatism and coma at the corners when wide open at f/4, with it worse at the shorter focal lengths. While lens corrections have been applied here, the 200mm image still shows a darker corner from the vignetting described below.
This compare 400% blow-ups of the extreme corners at four focal lengths with the RF70-200mm stopped down one stop to f/5.6.
Stopping down to f/5.6 eliminates most of the off-axis aberrations at 135mm and 200mm focal lengths but some remain at 70mm and to a lesser degree at 100mm.
This is a lens that can be used at f/4 even for the demands of deep-sky imaging, though perfectionists will want to stop it down. At f/5.6 it is similar in speed to many astrographic refractors, though most of those start at about 250mm focal length.
Frame Vignetting
In the previous test images, I applied lens corrections (but no other adjustments) to each of the raw files in Adobe Camera Raw, using the settings ACR automatically selects from its lens database. These corrections brightened the corners.
In this next set I show the lensesโ weakest point, their high level of vignetting. This light falloff darkens the corners by a surprising amount. In the new generation of lenses for mirrorless cameras, it seems lens designers are choosing to sacrifice uniform frame illumination in order to maximize aberration corrections. The latter canโt be corrected entirely, if at all, by software.
However, corrections applied either in-camera or at the computer can brighten corners, โflatteningโ the field. I show that improvement in the section that follows this one.
Canon RF15-35mm F/2.8 L IS USM
This compares the level of vignetting present in the RF15-35mm without the benefit of lens corrections, showing the difference at five focal lengths.
In the wide-angle zoom, vignetting darkens just the corners at 15mm, but widens to affect progressively more of the frame at the longer focal lengths. The examples show the entire right side of the frame. I show the effect just at f/2.8.
Though I donโt show examples with the two wider zooms, with all lenses vignetting decreases dramatically when each lens is stopped down by even one stop. The fields become much more evenly illuminated, though some darkening at the very corners remains one stop down.
Canon RF28-70mm F/2 L USM
This compares the level of vignetting present in the RF28-70mm without the benefit of lens corrections, showing the difference at four focal lengths.
In this โnormalโ zoom, vignetting performance is similar at all focal lengths, though it affects a bit more of the field at 70mm than at 28mm. Again, while Iโm not presenting an example, vignetting decreases a lot when this lens is stopped down to f/2.8. While the extra stop of speed is certainly nice to have at times, I usually shoot the RF28-70mm at f/2.8.
Canon RF70-200mm F/4 L IS USM
This compares the level of vignetting present in the RF70-200mm without the benefit of lens corrections, showing the difference at four focal lengths.
In this telephoto zoom, vignetting is fairly mild at the shorter focal lengths but becomes severe at 200mm, affecting much of the field. It is far worse than I see with my older Canon EF200mm f/2.8 prime, a lens that is not as sharp at f/4 as the RF zoom.
The faster RF70-200mm f/2.8 lens, which I had the chance to test one night last year, showed as much, if not more, vignetting than the f/4 version. See my test here at AstroGearToday.com. I thought the f/4 version would be better for vignetting, but it is not.
This shows how much the RF-70-200mmโs vignetting improves when it is stopped down.
In this case, as the vignetting is so prominent at 200mm, I show above how much it improves when stopped down to f/5.6, in a comparison with the lens at f/4, both with no lens corrections applied in processing. The major improvement comes from the smaller aperture alone. For twilight scenes, Iโd suggest stopping this lens down to better ensure a uniform sky background.
LENS Corrections
In this next set I show how well applying lens corrections improves the vignetting at the focal lengths where each of the lenses is at its worse, and with each at its widest aperture.
I show this with Adobe Camera Raw but Lightroom would provide identical results. I did not test lens corrections with other programs such as CaptureOne, DxO PhotoLab, or ON1 Photo Raw, which all have automatic lens corrections as well.
Canon RF15-35mm F/2.8 L IS USM
This compare the RF15-35mm lens at f/2.8 and 35mm with and without lens corrections applied, to show how much they improve the vignetting.
Applying lens corrections in Adobe Camera Raw certainly brightened the corners and edges, though still left some darkening at the very corners that can be corrected by hand in the Manual tab.
Canon RF28-70mm F/2 L USM
This compare the RF28-70mm lens at f/2 and 70mm with and without lens corrections applied, to show how much they improve the vignetting.
ACRโs lens corrections helped but did not completely eliminate the vignetting here. Corner darkening remained. Manually increasing the vignetting slider can provide that extra level of correction needed.
Canon RF70-200mm F/4 L IS USM
This compare the RF70-200mm lens at f/4 and 200mm with and without lens corrections applied, to show how much they improve the vignetting.
The high level of vignetting with this lens at 200mm largely disappeared with lens corrections, though not entirely. For deep-sky imaging, users might prefer to shoot and apply flat-field frames. I prefer to apply automatic and manual corrections to the raw files, to stay within a raw workflow as much as possible.
Same Focal Length Comparisons
With the trio of lenses offering some of the same focal lengths, here I show how they compare at three of those shared focal lengths. I zoom into the upper right corners here, as with the Corner Aberrations comparisons above.
RF15-35mm vs. RF28-70mm at 28mm
This compares the RF15-35mm at 28mm to the RF28-70mm also at 28mm and with both at f/2.8.
With both lenses at 28mm and at the same f/2.8 aperture (though the RF28-70mm is now stopped down one stop), itโs a toss up. Both show corner aberrations, though of a different mix, distorting stars a little differently. The RF28-70mm shows some lateral chromatic aberration, but the RF15-35mm shows a bit more flaring from astigmatism.
RF15-35mm vs. RF28-70mm at 35mm
This compares the RF15-35mm at 35mm to the RF28-70mm also at 35mm and with both at f/2.8.
The story is similar with each lens at 35mm. Stars seem a bit sharper in the RF15-35mm though are elongated more by astigmatism at the very corners. Lens corrections have been applied here and with the other two-lens comparison pairs.
RF28-70mm vs. RF70-200mm at 70mm
This compares the RF28-70mm at 70mm and f/2.8 to the RF70-200mm also at 70mm but wide open at f/4.
Here I show the RF28-70mm at f/2.8 and the RF70-200mm wide open at f/4, with both set to 70mm focal length. The telephoto lens shows a little more softening and star bloating from corner aberrations, though both perform well.
Compared to DSLR Lenses
Here I try to demonstrate just how much better at least one of the zooms on test here is compared to older prime lenses made for DSLRs. The Canon lenses are labeled EF, for Canonโs EF lens mount used for decades on their DSLRs and EOS film cameras. Both are premium L lenses.
I shot this set on a different night than the previous examples, with some light cloud present which added various amounts of glows around stars. But the test shots still show corner sharpness and aberrations well, in this case of the upper left corners of all frames.
Canon RF15-35mm at 35mm vs. Canon EF35mm L
This compares the RF15-35mm zoom at 35mm to the older EF35mm L prime lens. Some light cloud added the glows at right.
The Canon EF35mm is the original Mark I version, which Canon replaced a few years ago with an improved Mark II model. So Iโm sure if you were to buy an EF35mm lens now (or if thatโs the model you own) it will perform better than what I show here.
Both lenses are at f/2.8, wide open for the RF lens, but stopped down two stops for the f/1.4 EF lens.
The zoom lens is much sharper to the corners, with far less astigmatism and none of the lateral chromatic aberration and field curvature (softening stars at the very corner) of the old EF35mm prime. I thought the EF35mm was a superb lens, and used it a lot over the last 15 years for Milky Way panoramas. I would not use it now!
Canon RF15-35mm at 24mm vs. Canon EF24mm L
This compares the RF15-35mm zoom at 24mm to the older EF24mm L prime lens.Some light cloud added the glows at right.
Bought in the early years of DSLRs, the EF24mm tested here is also an original Mark I model, since replaced by an improved Mark II 24mm. The old 24mm is good, but shows more astigmatism than the RF lens, and some field curvature and purple chromatic aberration not present at all in the RF lens.
And this is comparing it to the RF lens at its weakest focal length, 24mm. It still handily outperforms the old EF24mm prime.
Canon RF15-35mm at 15mm vs. Rokinon 14mm SP
This compares the RF15-35mm at 15mm to the Rokinon 14mm SP prime lens.
Canon once made an EF14mm f/2.8 L prime, but Iโve never used it. For a lens in this focal length, one popular with nightscape photographers, Iโve used the ubiquitous Rokinon/Samyang 14mm f/2.8 manual lens. While a bargain at about $300, I always found it soft and aberrated at the corners. See my test of 14mm ultra-wides here.
A few years ago I upgraded to the Rokinon 14mm f/2.4 lens in their premium SP series (about $800 for the EF-mount version). While a manual lens, it does have electrical contacts to communicate lens metadata to the camera. Like all EF-mount lenses from any brand, it can be adapted to Canon R cameras using Canonโs $100 EF-EOS R lens adapter.
Older DSLR lenses like the Rokinon SP can be adapted to all Canon R cameras with the Canon lens adapter ring which transmits lens data to the camera.
The Rokinon SP is the only prime I found that beat the RF zoom. It provided sharper images to the corners than the RF15-35mm at 15mm. The Rokinon also offers the slightly faster maximum aperture of f/2.4 (which Canon cameras register as f/2.5). Vignetting is severe, but like the RF lenses can be corrected โ Camera Raw has this lens in its database. What is not so easy to correct is some slight colour shift at the corners.
Another disadvantage, as with many other 14mm lenses, is that the SP lens cannot accept front-mounted filters. The RF15-35mm can.
Nevertheless, until Canon comes out with a 12mm to 14mm RF prime, or allows Sigma to, an adapted Rokinon 14mm SP is a good affordable alternative to the RF15-35mm.
The RF15-35mm (left) takes 82mm filters, the RF28-70mm (centre) requires 95mm filters, but the RF70-200mm (right) can accept common 77mm filters.
Mechanical Points
All the RF lens bodies are built of weight-saving engineered plastic incorporating thorough weather sealing. There is nothing cheap about their fit, finish or handling. Each lens has textured grip rings for the zoom, focus and a control ring that can be programmed to adjust either aperture, ISO, exposure compensation or other settings of your choosing.
As with all modern auto-focus lenses, the manual focus ring on each lens does not mechanically move glass. It controls a motor that in turn focuses the lens, so-called โfocus-by-wire.โ However, I found that focus could be dialled in accurately. But if the camera is turned off, then on again, the lens will not return to its previous focus position. You have to refocus to infinity each time the camera is powered up, a nuisance.
Unlike some Nikon, Sony, Samyang, and Sigma lenses, none of the Canon lenses have a focus lock button, or any way of presetting an infinity focus point, or simply having the lens remember where it was last set. I would hope Canon could address that deficiency in a firmware update.
With all the zooms, I did not find any issue with โzoom creep.โ The telescoping barrels remained in place during long exposures and did not slowly retract when aimed up. While the RF28-70mm and RF70-200mm each have a zoom lock switch, it locks the lens only at its shortest focal length.
Each lens is parfocal within its zoom range. Focus at one zoom position, and it will be in focus for all the focal lengths. I usually focus at the longest focal length where it is easiest to judge focus by eye, then zoom out to frame the scene.
FINISHED IMAGES GALLERIES
Here I present a selection of final, processed images (four for each lens), so you can better see how each performs on real-world celestial subjects. To speed download, the images are downsized to 2048 pixels wide.
As per my comments at top, the RF15-35mm is my primary nightscape lens, the RF28-70mm my lens for wide-field constellation and Milky Way shots, while the RF70-200mm is for conjunctions and Moon scenes. It would also be good for eclipses.
Image Gallery withCanon RF15-35mm F/2.8 L IS USM
Image Gallery withCanon RF28-70mm F/2 L USM
Orion in H-Alpha Light with Narrowband Filter
Image Gallery withCanon RF70-200mm F/4 L IS USM
Click on the images to bring them up full screen with caption information.
CONCLUSIONs and recommendations
If you are a Canon user switching from your aging but faithful DSLR to one of their mirrorless R cameras, each of these lenses will perform superbly for astrophotography. At a price! Each is costly. But the cost of older EF lenses has also increased in recent months.
The other native RF L-series lenses in this focal length range, Canonโs RF50mm and RF85mm f/1.2 primes, are stunning โฆ but also expensive. As Iโm sure any coming RF wide-angle L primes will be, if and when they ever appear!
This shows the relative difference in size and height of the lens trio, with all collapsed to their minimum size.
The cheaper alternative โ not the least because you might already own them! โ is using adapted EF-mount lenses made for DSLRs, either from Canon or other brands. But in many cases, as Iโve shown, the new RF glass is sharper, especially when on a high-resolution camera such as the Canon R5 I used for all the testing.
And thereโs the harsh reality that Canon is discontinuing many EF lenses. You can now buy some only used. For example, the EF135mm f/2 L and EF200mm f/2.8 L are both gone.
Until Canon licenses other companies to issue approved lenses for their RF mount โ if that happens at all โ our choices for native RF lenses are limited. However, the quality of Canonโs L lenses is superb. I now use these zooms almost exclusively, and financed most of their considerable cost by selling off a ream of older cameras and lenses.
If thereโs one lens to buy for most astrophotography, it might be the big RF28-70mm F/2, a zoom lens that comes close to offering it all: flexibility, optical quality and speed. The RF24-70mm F/2.8 is a more affordable choice, though I have not tested one.
If nightscapes are the priority, the RF15-35mm F/2.8 would see a lot of use, as perhaps the only lens youโd need.
Of the trio, the RF70-200mm was the lowest priority on my wish list. But it has proven to be very useful for framing horizon scenes.
The superb optics of these and other new lenses made for mirrorless cameras is one good reason to upgrade from a DSLR to a mirrorless camera, in whatever brand you prefer.
โ Alan, September 21, 2022 / ยฉ 2022 Alan Dyer / AmazingSky.com ย
All images are ยฉ 2022 by Alan Dyer/AmazingSky.com. Use without permission is prohibited.
On August 7, 2022 we were treated to a fine aurora and a superb showing of the anomalous STEVE arc across the sky.
Where I live in southern Alberta we are well positioned to see a variety of so-called “sub-auroral” phenomena โ effects in the upper atmosphere associated with auroras but that appear south of the main auroral arc, thus the term “sub-auroral.”
An arc of a Kp-5 aurora early in the evening just starting a show, but with a fading display of noctilucent clouds low in the north as well.
The main auroral band typically lies over Northern Canada, at latitudes 58ยฐ to 66ยฐ, though it can move south when auroral activity increases. However, on August 7, the Kp Index was predicted to reach Kp5, on the Kp 0 to 9 scale, so moderately active, but not so active it would bring the aurora right over me at latitude 51ยฐ N, and certainly not down over the northern U.S., which normally requires Kp6 or higher levels.
An arc of a Kp-5 aurora over a wheatfield from home in southern Alberta. The panorama takes in the northern stars, from the Big Dipper and Ursa Major at left, to the W of Cassiopeia at top right of centre, with Perseus below Cassiopeia, and Andromeda and Pegasus at right.
So with Kp5, the aurora always appeared in my sky this night to the north, though certainly in a fine display, as I show above.
However, at Kp5, the amount of energy being pumped into the magnetosphere and atmosphere around Earth is high enough to trigger (through mechanisms only beginning to be understood) some of the unique phenomena that occur south of the main aurora. These often appear right over me. That was the case on August 7.
This is a telephoto lens panorama of a low and late-season display of noctilucent clouds in the north on August 7, 2022. This was the latest I had seen NLCs from my latitude of 51ยฐ N.
I captured the above panoramas of the aurora early in the night, when we also were treated to a late season display of noctilucent clouds low in the north. These are high altitude water-vapour clouds up almost as high as the aurora. They are common in June and July from here (we are also in an ideal latitude for seeing them). But early August was the latest I had ever sighted NLCs.
A display of a Kp-5 aurora near its peak of activity on August 7, 2022, taken from home in southern Alberta, over the wheatfield next to my acreage. STEVE appeared later this night. Moonlight from the waxing gibbous Moon low in the southwest illuminates the scene.
As the NLCs faded, the auroral arc brightened, promising a good show, in line with the predictions (which don’t always come true!). The main aurora reached a peak in activity about 11:30 pm MDT, when it was bright and moving along the northern and northeastern horizon. It then subsided in brightness and structure, giving the impression the show was over.
But that’s exactly when STEVE can โ and this night did! โ appear.
A portrait of the infamous STEVE arc of hot flowing gas associated with an active aurora, here showing his distinctive pink colour and the fleeting appearance of the green picket fence fingers that often show up hanging down from the main arc.
Sure enough, about 12:15 am, a faint arc appeared in the east, which slowly extended to cross the sky, passing straight overhead. This was STEVE, short for Strong Thermal Emission Velocity Enhancement.
STEVE is not an aurora per se, which is caused by electrons raining down from the magnetosphere. STEVE is a ribbon of hot (~3000ยฐ) gas flowing east to west. STEVE typically appears for no more than an hour, often less, before he fades from view.
A fish-eye view looking straight up. On this night the green fingers lasted no more than two minutes.
At his peak, STEVE is often accompanied by green “picket-fence” fingers hanging down from the main pink band, which also have a westward rippling motion. These do seem to be caused by vertically moving electrons.
This night I shot with three cameras, with lenses from 21mm to 7.5mm, including two fish-eye lenses needed to capture the full extent of sky-spanning STEVE. I shot still, time-lapses, and real-time videos, compiled below.
Amateur photos like mine have been used to determine the height of STEVE, which seems to be 250 to 300 km, higher than the main components of a normal aurora. Indeed, previous images of mine have formed parts of the data sets for two research papers, with me credited as a citizen scientist co-author.
A closeup of the STEVE arc of hot flowing gas associated with an active aurora.
STEVE is a unique example of citizen scientists working with the professional researchers to solve a mystery that anyone who looks up at the right time and from the right place can see. August 7-8, 2022 and my backyard in Alberta was such a time and place.
A dim Perseid meteor (at top) streaking near the Milky Way on the night of Aug 7-8, 2022, taken as part of a time-lapse set for the STEVE auroral arc in frame as the pink band.
As a bonus, a few frames recorded Perseid meteors, with the annual shower becoming active.
For a video compilation of some of my stills and videos from the night, see this Vimeo video.
A 2.5-minute music video of stills, time-lapses, and real-time videos of STEVE from August 7-8, 2022.
In a format similar to my other popular camera tests, I put the 45-megapixel Canon R5 mirrorless camera through its paces for the demands of astrophotography.
In a sequel to my popular post from September 2021 where I reviewed the Canon R6 mirrorless camera, here is a similar test of its higher-megapixel companion, the Canon R5. Where the R6 has a modest 20-megapixel sensor with relatively large 6.6-micron pixels, the R5 is (at present) Canonโs highest megapixel camera, with 45 megapixels. Each pixel is only 4.4 microns across, providing higher resolution but risking more noise.
Is the higher noise noticeable? If so, does that make the R5 less than ideal for astrophotography? To find out, I tested an R5 purchased locally in Calgary from The Camera Store in May 2022.
NOTE: CLICK orTAP on any image to bring it up full screen for closer inspection. The blog contains a lot of high-res images, so they may take a while to all load. Patience! Thanks!
All images are ยฉ 2022 by Alan Dyer/AmazingSky.com. Use without permission is prohibited.
The Canon R5 uses a full-frame sensor offering 45 megapixels, producing images with 8192 x 5464 pixels, and making 8K video possible.
TL;DR Summary
The Canon R5 proved to be surprisingly low in noise, and has worked very well for nightscape, lunar and deep-sky photography (as shown below), where its high resolution does produce a noticeable improvement to image detail, with minimal penalty from higher noise. Its 8K video capability has a place in shooting the Moon, Sun and solar eclipses. It was not so well suited to shooting videos of auroras.
This is a stack of 12 x 5-minute exposures with a Sharpstar 94EDPH refractor at f/4.5 and the Canon R5 at ISO 800, taken as a test of the R5 for deep-sky imaging. No filters were employed. Close-ups of sub-frames from this shoot with the R5, and also with the R6 and Ra, are used throughout the review.
R5 Pros
The Canon R5 is superb for its:
High resolution with relatively low noise
ISO invariant sensor performance for good shadow recovery
Good live view display with ISO boost in Movie mode
8K video has its attraction for eclipse photography
Good top LCD information screen missing in the R6
No magenta edge โamp glowโ that the R6 shows
Higher 6x and 15x magnifications for precise manual focusing
Good battery life
Pro-grade Type N3 remote port
R5 Cons
The Canon R5 is not so superb for its:
Noise in stills and movies is higher than in the R6
Propensity for thermal-noise hot pixels in shadows
Not so suitable for low-light video as the R6
Overheating in 8K video
Live View image is not as bright as in the R6โs Movie mode
High cost!
The flip-out screen of the R5 (and all recent Canon cameras) requires an L-bracket with a notch in the side (a Small Rig unit is shown here) to accommodate the tilting screen.
CHOOSING THE R5
Since late 2019 my main camera for all astrophotography has been the Canon Ra, a limited-edition version of the original R, Canonโs first full-frame mirrorless camera that started the R series. The Ra had a special infra-red cutoff filter in front of the sensor that passed a higher level of visible deep-red light, making it more suitable for deep-sky astrophotography than a standard DSLR or DSLM (mirrorless) camera. The Ra was discontinued after two years on the market, a lifetime similar to Canonโs previous astronomical โaโ models, the 20Da and 60Da.
I purchased the Canon R6 in late 2021, primarily to use it as a low-light video camera for aurora photography, replacing the Sony a7III I had used for several years and reviewed here. Over the last year, I sold all my non-Canon cameras, as well as the Canon 6D MkII DSLR (reviewed here), to consolidate my camera gear to just Canon mirrorless cameras and lenses.
The R6 has proven to be an able successor to the Sony for me, with the R6’s modest megapixel count and larger pixels making it excellent for low-light video. But the higher resolution of the R5 was still attractive. So I have now added it to my Canon stable. Since doing so, I have put it through several of my standard tests to see how suitable it is for the demands of astrophotography, both stills and video.
Here are my extensive results, broken down by various performance criteria. I hope you will find my review useful in helping you make a purchase decision.
LIVE VIEW FRAMING
This compares the back-of-camera views of the R5 vs. the R6, with both set to their highest ISO in Movie mode for the brightest preview image.
First, why go mirrorless at all? For astrophotography, the big difference compared to even a high-end DSLR, is how much brighter the โLive Viewโ image is when shooting at night. DSLM cameras are always in Live View โ even the eye-level viewfinder presents a digital image supplied by the sensor.
And that image is brighter, often revealing more than what a DSLRโs optical viewfinder can show, a great advantage for framing nightscape scenes, and deep-sky fields at the telescope.
The R5 certainly presents a good live view image. However, it is not as bright nor as detailed as what the R6 can provide when placed in its Movie mode and with the ISO bumped up to the R6โs highest level of ISO 204,800, where the Milky Way shows up, live!
The R5 only goes as high as ISO 51,200, and so as I expected it does not provide as bright or detailed a preview at night as the R6 can. However, the R5 is better than the original R for live-view framing, and better than any Canon DSLR Iโve used.
LIVE VIEW FOCUSING
As with other Canon mirrorless cameras, the R5 offers a Focus Assist overlay (top) to aid manual focusing. It works on bright stars. It also has a 6x and 15x magnifications for even more precise focusing.
Like the R6, the R5 can autofocus accurately on bright stars and planets. By comparison, while the Ra can autofocus on distant bright lights, it fails on bright stars or planets.
Turning on Focus Peaking makes stars turn red, yellow or blue (your choice of colours) when they are in focus, as a reassuring confirmation.
Turning on Focus Guide provides the arrowed overlays shown above.
In manual focus, an additional Focus Aid overlay, also found in the R6, provides arrows that close up and turn green when in focus on a bright star or planet.
Or, as shown above, you can zoom in by 6x or 15x to focus by eye the old way by examining the star image. These are magnification levels higher than the 5x and 10x of the R6 and most other Canon cameras, and are a great aid to precise focusing, necessary to make full use of the R5โs high resolution, and the sharpness of Canonโs RF lenses. The 15x still falls short of the Raโs 30x for ultra-precise focusing on stars, but itโs a welcome improvement nonetheless.
In all, while the R5 is not as good as the R6 for framing in low light, it is better for precise manual focusing using its higher 15x magnification.
NOISE PERFORMANCE โ NIGHTSCAPES
The key camera characteristic for astrophoto use is noise. There is no point in having lots of resolution if, at the high ISOs we use for most astrophotography, the detail is lost in noise. But I was pleasantly surprised that proved not to be the case with the R5.
As I show below, noise is well controlled, making the R5 usable for nightscapes at ISOs up to 3200, if not 6400 when needed in a pinch.
This compares the noise on a dark nightscape at the typical ISOs used for such scenes. A level of noise reduction shown has been applied in Camera Raw.
With 45 megapixels, at the upper end of what cameras offer today, the R5 has individual pixels, or more correctly โphotosites,โ that are each 4.4 microns in size, the โpixel pitch.โ
This is still larger than the 3.7-micron pixels in a typical 24-megapixel cropped-frame camera like the Canon R10, or the 3.2-micron pixels found in a 32-megapixel cropped-frame camera like the Canon R7. Both are likely to be noisier than the R5, though will provide even higher resolution, as well as greater magnification with any given lens or telescope.
By comparison, the 30-megapixel full-frame R (and Ra) has a pixel pitch of 5.4 microns, while the 20-megapixel R6โs pixel pitch is a generous 6.6 microns. Only the 12-megapixel Sony a7SIII has larger 8.5-micron pixels, making it the low-light video champ.
The bigger the photosites (i.e. the larger the pixel pitch), the more photons each photosite can collect in a given amount of time โ and the more photons they can collect, period, before they overfill and clip highlights. More photons equals more signal, and therefore a better signal-to-noise ratio, while the greater โfull-well depthโ yields higher dynamic range.
However, each generation of camera improves the signal-to-noise ratio by suppressing noise via its sensor design and improved signal processing hardware and firmware. The R5 and R6 each use Canonโs latest DIGIC X processor.
This compares the R5 to the R6 and Ra cameras at the high ISOs of 3200 and 6400 often used for Milky Way nightscapes.
In nightscapes the R5 did show more noise at high ISOs, especially at ISO 6400, than the R6 and Ra, but the difference was not large, perhaps one stop at most, if that. What was noticeable was the presence in the R5 of more hot pixels from thermal noise, as described later.
This compares the R5 to the R6 and Ra cameras at the more moderate ISOs of 800 and 1600 used for brighter nightscapes.
At slower ISOs the R5 showed a similar level of noise as the R6 and Ra, but a finer-grained noise than the R6, in keeping with the R5โs smaller pixels. In this test set, the R5 did not exhibit noticeably more noise than the other two cameras. This was surprising.
NOTE: In these comparisons I have not resampled the R5 images down to the megapixel count of the R6 to equalize them, as thatโs not what you would do if you bought an R5. Instead, I have magnified the R6 and Raโs smaller images so we examine the same area of each cameraโs images.
As with the R6, I also saw no โmagic ISOโ setting where the R5 performed better than at other settings. Noise increased in proportion to the ISO speed. The R5 proved perfectly usable up to ISO 3200, with ISO 6400 acceptable for stills when necessary. But I would not recommend the R5 for those who like to shoot Milky Way scenes at ISO 12,800.
For nightscapes, a good practice that would allow using lower ISO speeds would be to shoot the sky images with a star tracker, then take separate long untracked exposures for the ground.
NOTE: In my testing I look first and foremost at actual real-world results. For those interested in more technical tests and charts, I refer you to DxOMarkโs report on the Canon R5.
NOISE PERFORMANCE โ DEEP-SKY
This compares the R5 at the typical ISO settings used for deep-sky imaging, with no noise reduction applied to the raw files for this set. The inset shows the portion of the frame contained in the blow-ups.
Deep-sky imaging with a tracking mount is more demanding, due to its longer exposures of up to several minutes for each โsub-frame.โ
On a series of deep-sky exposures through a telescope, above, the R5 again showed quite usable images up to ISO 1600 and 3200, with ISO 6400 a little too noisy in my opinion unless a lot of noise reduction was applied or many images were shot to stack later.
This compares the R5 to the R6 and Ra cameras at ISO 6400, higher than typically used for deep-sky imaging. No noise reduction was applied to the raw files.
As with the nightscape set, at high ISOs, such as at ISO 6400, the R5 did show more noise than the R6 and Ra, as well as more colour splotchiness in the dark sky, and lower contrast. The lower dynamic range of the R5โs smaller pixels is evident here.
Just as with nightscapes, the lesson with the R5 is to keep the ISO low if at all possible. That means longer exposures with good auto-guiding, but thatโs a best practice with any camera.
This compares the R5 to the R6 and Ra cameras at the lower ISOs of 800 and 1600 best for deep-sky imaging, for better dynamic range. No noise reduction was applied to the raw files.
At lower ISOs that provide better dynamic range, shown above, the difference in noise levels between the three cameras was not that obvious. Each camera presented very similar images, with the R6 having a coarser noise than the Ra and R5.
In all, I was surprised the R5 performed as well as it did for deep-sky imaging. See my comments below about its resolution advantage.
ISO INVARIANCY
The flaw in many Canon DSLRs, one documented in my 2017 review of the 6D Mark II, was their poor dynamic range due to the lack of an ISO invariant sensor design.
Canon R-series mirrorless cameras have largely addressed this weakness. As with the R and R6, the sensor in the R5 appears to be nicely ISO invariant.
Where ISO invariancy shows itself to advantage is on nightscapes where the starlit foreground is often dark and underexposed. Bringing out detail in the shadows in raw files requires a lot of Shadow Recovery or increasing the Exposure slider. Images from an ISO invariant sensor can withstand the brightening โin postโ far better, with minimal noise increase or degradations such as a loss of contrast, added banding, or horrible discolourations.
This shows the same scene with the R5 progressively underexposed by shooting at a lower ISO then boosted in exposure in Adobe Camera Raw.
As I do for such tests, I shot sets of images at the same shutter speed, one well-exposed at a high ISO, then several at successively lower ISOs to underexpose by 1 to 4 stops. I then brightened the underexposed images by increasing the Exposure in Camera Raw by the same 1 to 4 stops. In an ideal ISO invariant sensor, all the images should look the same.
The R5 performed well in images underexposed by up to 3 stops. Images underexposed by 4 stops started to fall apart with low contrast and a magenta cast. This was worse performance than the R6, which better withstood underexposure by as much as 4 stops, and fell apart at 5 stops of underexposure.
While it can withstand underexposure, the lesson with the R5 is to still expose nightscapes as well as possible, likely requiring a separate longer exposure for the dark ground. Expose to the right! Donโt depend on being able to save the image by brightening โin post.โ But again, thatโs a best practice with any camera.
THERMAL NOISE
Here I repeat some of the background information from my R6 review. But it bears repeating, as even skilled professional photographers often misunderstand the various forms of noise and how to mitigate them.
All cameras will exhibit thermal noise in long exposures, especially on warm nights. This form of heat-induced noise peppers the shadows with bright or โhotโ pixels, often brightly coloured.
This is not the same as the shot and read noise that adds graininess to high-ISO images and that noise reduction software can smooth out later in post.
This shows a long-exposure nightscape scene both without and with Long Exposure Noise Reduction turned on. LENR eliminated most, though not all, of the hot pixels in the shadows.
I found the R5 was prone to many hot pixels in long nightscape exposures where they show up in dark, underexposed shadows. I did not find a prevalence of hot pixels in well-exposed deep-sky images.
LONG EXPOSURE NOISE REDUCTION
With all cameras a setting called Long Exposure Noise Reduction (LENR) eliminates this thermal noise by taking a โdark frameโ and subtracting it in-camera to yield a raw file largely free of hot pixels, and other artifacts such as edge glows.
The LENR option on the R5 did eliminate most hot pixels, though sometimes still left, or added, a few (or they might be cosmic ray hits). LENR is needed more on warm nights, and with longer exposures at higher ISOs. So the extent of thermal noise in any camera can vary a lot from shoot to shoot, and season to season.
This compares a long exposure of nothing (with the lens cap on), both without LENR (left) and with LENR (right), to show the extent of just the thermal noise.
The comparison above shows just thermal noise in long exposures with and without LENR, to show its effectiveness. However, bear in mind in this demo the raw files have been boosted a lot in exposure and contrast (using DxO PhotoLab with the settings shown) to exaggerate the visibility of the noise.
Like the R6, when LENR is actively taking a dark frame, the R5โs rear screen indicates โBusy,โ which is annoyingly bright at night, exactly when you would be employing LENR. To hide this display, the only option is to close the screen. Instead, the unobtrusive top LCD screen alone should be used to indicate a dark frame is in progress. It does with the Ra, though Busy also displays on its rear screen as well, which is unnecessary.
As with all mirrorless cameras, the R5 lacks the โdark frame bufferโ present in Canon full frame DSLRs that allows several exposures to be taken in quick succession even with LENR on.
Long Exposure Noise Reduction is useful when the gap in time between exposures it produces is not critical.
With all Canon R cameras, turning on LENR forces the camera to take a dark frame after every light frame, doubling the time it takes to finish every exposure. Thatโs a price many photographers arenโt willing to pay, but on warm nights I find it can be essential, and a best practice, for the reward of cleaner images out of camera. I found it is certainly a good practice with the R5.
TIP: If you find hot pixels are becoming more obvious over time, try this trick: turn on the Clean Manually routine for 30 seconds to a minute. In some cameras this can remap the hot pixels so the camera can better eliminate them.
STAR QUALITY
Using LENR with the R5 did not introduce any oddities such as oddly-coloured, green or wiped-out stars. Even without LENR I saw no evidence of green stars, a flaw that plagues some Sony cameras at all times, or Nikons when using LENR.
This is a single developed raw frame from the stack of four minute exposures used to create the final image shown at the top. It shows sharp and nicely coloured stars, with no odd green stars.
Canons have always been known for their good star colours, and the R5 maintains the tradition. According to DPReview the R5 has a mild low-pass anti-alias filter in front of its sensor. Cameras which lack such a sensor filter do produce sharper images, but stars that occupy only one or two pixels might not de-Bayer properly into the correct colours. I did not find that an issue with the R5.
As in the R6, I also saw no evidence of โstar-eating,โ a flaw Nikons and Sonys have been accused of over the years, due to aggressive in-camera noise reduction even on raw files. Canons have largely escaped charges of star-eating.
RED SENSITIVITY
The R5 I bought was a stock โoff-the-shelfโ model. It is Canonโs now-discontinued EOS Ra that was โfilter-modifiedโ to record a greater level of the deep-red wavelength from red nebulas in the Milky Way. As I show below, compared to the Ra, the R5 did well, but could not record the depth of nebulosity the Ra can, to be expected for a stock camera.
However, bright nebulas will still be good targets for the R5. But if itโs faint nebulosity you are after, both in wide-field Milky Way images and telescopic close-ups, consider getting an R5 โspectrum modifiedโ by a third-party supplier. Or modifying an EOS R.
This compares identically processed four-minute exposures at ISO 800 with the R5 vs. the red-sensitive Ra.
EDGE ARTIFACTS and EDGE GLOWS
DSLRs are prone to vignetting along the top and bottom of the frame from shadowing by the upraised mirror and mirror box. Not having a mirror, and a sensor not deeply recessed in the body, largely eliminates this edge vignetting in mirrorless cameras.
While the Ra shows a very slight vignetting along the bottom of the frame (visible in the example above), the R5 was clean and fully illuminated to the edges, as it should be.
I was also pleased to see the R5 did not exhibit any annoying โamp glowsโ โ dim, often magenta glows at the edge of the frame in long exposures, created by heat emitted from sensor electronics adding infrared (IR) glows to the image.
I saw noticeable amp glows in the Canon R6 which could only be eliminated by taking LENR dark frames. It’s a flaw that has yet to be eliminated with firmware updates. Taking LENR darks is not required with the R5, except to reduce thermal hot pixels as noted above.
With a lack of IR amp glows, the R5 should work well when filter-modified to record either more visible Hydrogen-alpha red light, or deeper into the infrared spectrum.
Resolution โ Nightscapes
Now we come to the very reason to get an R5, its high resolution. Is the difference visible in typical astrophotos? In a word, yes. If you look closely.
If people only see your photos on Facebook or Instagram, no one will ever see any improvement in your images! But if your photos are seen as large prints, or you are simply a stickler for detail, then you will be happy with the R5โs 45 megapixels. (Indeed, you might wish to wait for the rumoured even higher megapixel Canon 5S!)
This compares identically processed four-minute exposures at ISO 800 with the R5 vs. the red-sensitive Ra.
Nightscapes, and indeed all landscape photos by day or by night, is where you will see the benefit of more megapixels. Finer details in the foreground show up better. Images are less pixelated. In test images with all three cameras, the R5 did provide sharper images to be sure. But you do have to zoom in a lot to appreciate the improvement.
Resolution โ lunar imaging
This compares blow-ups of images of the Moon taken through a 5-inch f/6 refractor (780mm focal length) with the R6 and R5.
The Moon through a telescope is another good test of resolution. The above comparison shows how the R5โs smaller 4.4-micron pixels do provide much sharper details and less pixelation than the R6.
Of course, one could shoot at an even longer focal length to increase the โplate scaleโ with the R6. But at that same longer focal length the R5 will still provide better resolution, up to the point where its pixels are sampling more than what the atmospheric seeing conditions permit to be resolved. For lunar and planetary imaging, smaller pixels are always preferred, as they allow you to reach the seeing limit with shorter and often faster optical systems.
Resolution โ deep sky
This compares extreme blow-ups of images of the North America Nebula used for the other tests, shot with a 94mm f/4.5 refractor with the three cameras.
On starfields, the difference is not so marked. As I showed in my review of the R6, with โonlyโ 20 megapixels the R6 can still provide detailed deep-sky images.
However, in comparing the three cameras above, with images taken at a focal length of 420mm, the R5 does provide sharper stars, with faint stars better recorded, and with less blockiness (i.e. โsquare starsโ) on all the star images. At that focal length the plate scale with the R5 is 2.1 arc seconds per pixel. With the R6 it is 3.2 arc seconds per pixel.
This is dim green Comet PanSTARRS C/2017 K2, at top, passing above the star clusters IC 4756 at lower left and NGC 6633 at lower right on May 25-26, 2022. This is a stack of ten 5-minute exposures with a William Optics RedCat 51 at f/4.9 and the Canon R5 at ISO 800.
The R5 is a good choice for shooting open and globular star clusters, or any small targets such as planetary nebulas, especially with shorter focal length telescopes. Bright targets will allow using lower ISOs, mitigating any of the R5โs extra noise.
With an 800mm focal length telescope, the plate scale with the R5 will be 1.1 arc seconds per pixel, about the limit most seeing conditions will permit resolving. With even longer focal length telescopes, the R5โs small pixels would be oversampling the image, with little gain in resolution, at least for deep-sky subjects. Lunar and planetary imaging can benefit from plate scales of 0.5 arc seconds per pixel or smaller.
CAN YOU CreatE resolution?
This compares an original R6 image with the same image rescaled 200% in ON1 Resize AI and Topaz Gigapixel AI, and with those three compared to an original R5 image.
Now, one can argue that todayโs AI-driven scaling programs such as ON1 Resize AI and Topaz Gigapixel AI can do a remarkable job up-sizing images while enhancing and sharpening details. Why buy a higher-megapixel camera when you can just sharpen images from a lower-resolution model?
While these AI programs can work wonders on regular images, Iโve found their machine-learning seems to know little about stars, and can often create unwanted artifacts.
In scaling up an R6 image by 200%, ON1 Resize AI 2022 made a mess of the stars and sky background. Topaz Gigapixel AI did a much better job, leaving few artifacts. But using it to double the R6 image in pixel count still produced an image that does not look as sharp as an original R5 image, despite the latter having fewer pixels than the upsized R6 image.
Yes, we are definitely pixel-peeping! But I think this shows that it is better to have the pixels to begin with in the camera, and to not depend on software to generate sharpness and detail.
VIDEO Resolution
The R5โs 45-megapixel sensor also makes possible its headline selling point when it was released in 2020: 8K movie recording, with movies sized 8192 x 4320 (DCI standard) or 7680 x 4320 (UHD standard) at 29.97 frames per second, almost IMAX quality.
Where the R6โs major selling point for me was its low-light video capability, the R5โs 8K video prowess was less important. Or so I thought. With testing, I can see it will have its place in astrophotography, especially solar eclipses.
The R5 offers the options of 8K and 4K movies each in either the wider DCI Digital Cinema standard (8K-D and 4K-D) or more common Ultra-High Definition standard (8K-U and 4K-U), as well as conventional 1080 HD.This shows the Moon shot with the same 460mm-focal length telescope, with full-width frame grabs from movies shot in 8K, 4K, and 4K Movie Crop modes.
Unlike the original Canon R and Rp, the R5 and R6 can shoot 4K movies sampled from the full width of their sensors, so there is no crop factor in the field of view recorded with any lens.
However, like the R6, the R5 also offers the option of a Movie Crop mode which samples a 4K movie from the central 4096 (4K-D) or 3840 (4K-U) pixels of the sensor. As I show above, this provides a โzoomed-inโ image with no loss of resolution, useful when wide field of view is not so important as is zooming into small targets, such as for lunar and solar movies.
This compares close-ups of frame grabs of the Moon movies shown in full-frame above, as well as a frame from an R6 movie, to compare resolutions.
So what format produces the best resolution when shooting movies? As I show above, magnified frame grabs of the Moon demonstrate that shooting at 8K provides a much less pixelated and sharper result than either the 4K-Fine HQ (which creates a โHigh-Qualityโ 4K movie downsampled from 8K) or a standard 4K movie.
Shooting a 4K movie with the R6 also produced a similar result to the 4K movies from the R5. The slightly softer image in the R5โs 4K frame can, I think, be attributed more to atmospheric seeing.
Solar eclipse use
Shooting the highest resolution movies of the Moon will be of prime interest to astrophotographers when the Moon happens to be passing in front of the Sun!
That will happen along a narrow path that crosses North America on April 8, 2024. Capturing the rare total eclipse of the Sun in 8K video will be a goal of many. At the last total solar eclipse in North America, on August 21, 2017, I was able to shoot it in 4K by using a then state-of-the-art top-end Canon DSLR loaned to me by an IMAX movie production company!
And who knows, by 2024 we might have 100-megapixel cameras capable of shooting and recording the firehose of data from 12K video! But for now, even 8K can be a challenge.
This compares the R5 at 8K with it in the best quality 4K Fine HQ vs. the R5 and R6 in their 4K Movie Crop modes.
However, do you need to shoot 8K to get sharp Moon, Sun or eclipse movies? The above shows the 8K frame-grab compared to the R5โs best quality full-frame 4K Fine, and the R5โs and R6โs 4K Movie Crop mode that doesnโt resample or bin pixels from the larger sensor to create a 4K movie. The Cropped movies look only slightly softer than the R5 at 8K, with less pixelation than the 4K Fine HQ movie.
When shooting the Sun or Moon through a telescope or long telephoto lens, the wide field of a full-frame movie might not be required, even to take in the two- or three-degree-wide solar corona around the eclipsed Sun.
However, if a wide field for the maximum extent of the outer corona, combined with sharp resolution is the goal, then a camera like the Canon R5 capable of shooting 8K movies will be the ticket.
And 8K will be ideal for wide-angle movies of the passage of the Moonโs shadow during any eclipse, or for moderate fields showing the eclipsed Sun flanked by Jupiter and Venus on April 8, 2024.
Canon CLOG3
This shows the difference (using frame grabs from 4K movies) between shooting in Canon C-Log3 and shooting with normal โin-cameraโ colour grading. The exposures were the same.
Like the R6, the R5 offers the option of shooting movies in Canonโs C-Log3 profile, which records internally in 10-bit, preserving more dynamic range in movies, up to 12 stops. The resulting movie looks flat, but when โcolour gradedโ later in post, the movie records much more dynamic range, as I show above. Without C-Log3, the bright sunlit lunar crescent is blown out, as will be the Sunโs inner corona.
The bright crescent Moon with dim Earthshine is a good practice-run stand-in for the eclipsed Sun with its wide range of brightness from the inner to the outer corona.
Sample Moon Movies
For the full comparison of the R5 and R6 in my test shoot of the crescent Moon, see this narrated demo movie on Vimeo for the 4K movies, shot in various modes, both full-frame and cropped, with C-Log3 on and off.
Keep in mind that video compression in the on-line version may make it hard to see the resolution difference between shooting modes.
A “private link” 10-minute video on Vimeo demonstrating 4K video clips with the R5 and R6.
For a movie of the 8K footage, though downsized to 4K for the Vimeo version (the full sized 8K file was 29 Gigs!), see this sample movie below on Vimeo.
A “private link” video on Vimeo demonstrating 8K video clips with the R5.
LOw-Light VIDEO
Like the R6, the R5 can shoot at a dragged shutter speed as slow as 1/8-second. That slow shutter, combined with a fast f/1.4 to f/2 lens, and ISOs as high as 51,200 are the keys to shooting movies of the night sky.
Especially auroras. Only when auroras get shadow-casting bright can we shoot at the normal 1/30-second shutter speed of movies and at lower ISOs.
This compares frame grabs of aurora movies shot the same night with the R5 at 8K and 4K with the Canon R6 at 4K, all at ISO 51,200.
I was able to shoot a decent aurora one night from home with both the R5 and R6, and with the same fast TTArtisan 21mm f/1.5 RF lens. The sky and aurora changed in brightness from the time I shot with the R6 first to the R5 later. But even so, the movies serve as a look at how the two cameras perform for real-time aurora movies.
Auroras are where we need to shoot full-frame, for the maximum field of view, and at high ISOs. The R5โs maximum ISO is 51,200, while the R6 goes up to 204,800, though it is largely unusable at that speed for actual shooting, just for previewing scenes.
As expected, the R6 was much less noisy than the R5, by about two stops. The R5 is barely usable at ISO 51,200, while the R6 works respectably well at that speed. If auroras get very bright, then slower ISOs can be used, making the R5 a possible camera for low-light use, but it would not be a first choice, unless 8K auroras are a must-have.
Sample aurora Movies
For a narrated movie comparing the R5 and R6 at 4K on the aurora, stepping both through a range of ISO speeds, see this movie at Vimeo.
A “private link” video on Vimeo demonstrating 4K aurora clips with the R5 and R6.
For a movie showing the same aurora shot with the R5 at 8K, see this movie. However, it has been down-sized to 4K for on-line viewing, so youโll see little difference between it and the 4K footage. Shooting at 8K did not improve or smooth noise performance.
A “private link” video on Vimeo demonstrating 8K aurora clips with the R5.
BATTERY LIFE โ Stills and video
Canonโs new LP-E6NH battery supports charging through the USB-C port and has a higher 2130mAh capacity than the 1800mAh LP-E6 batteries. However, the R5 is compatible with the older batteries.
Like the R6, the R5 comes with a new version of Canonโs standard LP-E6 battery, the LP-E6NH.
On mild nights, I found the R5 ran fine on one battery for the 3 to 4 hours needed to shoot a time-lapse sequence, or set of deep-sky images, with power to spare. Now, that was with the camera in โAirplane Mode,โ which I always use regardless, to turn off the power-consuming WiFi and Bluetooth, which I never use on cameras.
As I noted with the R6, for demanding applications, especially in winter, the R5 can be powered by an outboard USB power bank that has Power Delivery or โPDโ capability.
The exception for battery use is when shooting videos, especially 8K. That can drain a battery after an hour of recording, though it takes only 10 to 12 minutes of 8K footage to fill a 128 gigabyte card. While less than half that length will be needed to capture any upcoming total eclipse from diamond ring to diamond ring, the result is still a massive file.
OVERHEATING
More critically, the R5 is also infamous for overheating and shutting down when shooting 8K movies, after a time that depends on how hot the environment is. I found the R5 shot 8K or 4K Fine HQ for about 22 minutes at room temperature before the overheat warning first came on, then shut off recording two or three minutes later. Movie recording cannot continue until the R5 cools off sufficiently, which takes at least 10 to 15 minutes.
That deficiency might befoul unwary eclipse photographers in 2024. The answer for โno-worryโ 8K video recording is the Canon R5C, the video-centric version of the R5, with a built-in cooling fan.
Features and usability
While certainly not designed with astrophotography in mind, the R5 has several hardware and firmware features that are astrophoto friendly.
The R5โs Canon-standard flip screen
Like all Canon cameras made in the last few years, the R5 has Canonโs standard articulated screen, which can be angled up for convenient viewing when on a telescope. It is also a full touch screen, with all important camera settings and menus adjustable on screen, good for use at night.
With 2.1 million dots, the R5โs rear screen has a higher resolution than the 1.62-million-dot screen of the R6, and much higher than the 1 million pixels of the Rpโs screen, but is the same resolution as in the R and Ra.
The R5โs top-mounted backlit LCD screen
The R5, like the original R, has a top backlit LCD screen for display of current camera settings, battery level and Bulb timer. The lack of a top screen was one of my criticisms of the R6.
Yes, the hardware Mode dial of the R6 and Rp does make it easier to switch shooting modes, such as quickly changing from Stills to Movie. However, for astrophotography the top screen provides useful information during long exposures, and is handy to check when the camera is on a telescope or tripod aimed up to the sky, without spoiling dark adaptation. I prefer to have one.
The R5โs front-mounted N3-style remote port
The R5โs remote shutter port, used for connecting external intervalometers or time-lapse motion controllers, is Canonโs professional-grade three-pronged N3 connector. Itโs sturdier than the 2.5mm mini-phono plug used by the Rp, R and R6. Itโs a plus for the R5.
As with all new cameras, the R5โs USB port is a USB-C type. A USB-C cable is included.
The R5โs back panel buttons and controls
Like the R6, the R5 has a dedicated magnification button on the back panel for zooming in when manually focusing or inspecting images. In the R and Ra, that button is only on the touch panel rear screen, where it has to be called up by paging to that screen, an inconvenience. While virtual buttons on a screen are easier to see and operate at night than physical buttons, I find a real Zoom button handy as itโs always there.
The R5โs twin cards, a CFexpress Type B and an SD UHS-II
To handle the high data rates of 8K video and also 4K video when set to the high frame rate option of 120 fps, one of the R5โs memory card slots requires a CFexpress Type B card, a very fast but more costly format.
As I had no card reader for this format, I had to download movies via a USB cable directly from the camera to my computer, using Canonโs EOS Utility software, as Adobe Downloader out of Adobe Bridge refused to do the job. Plan to buy a card reader.
Allocating memory card use
In the menus, you can choose to record video only to the CFexpress, and stills only to the SD card, or both stills and movies to each card for a backup, with the limitation that 8K and 4K 120fps wonโt record to the SD card, even very fast ones.
FIRMWARE FEATURES
Setting the Interval Timer
Unlike the Canon R and Ra (which both annoyingly lack a built-in intervalometer), but like the R6, the R5 has an Interval Timer in its firmware. This can be used to set up a time-lapse sequence, but with exposures only up to the maximum of 30 seconds allowed by the cameraโs shutter speed settings, true of most in-camera intervalometers. Even so, this is a useful function for simple time-lapses.
Setting the Bulb Timer
As with most recent Canon DSLRs and DSLMs, the R5 also includes a built-in Bulb Timer. This allows setting an exposure of any length (many minutes or hours) when the camera is in Bulb mode. However, it cannot be combined with the Interval Timer for multiple exposures; it is good only for single shots. Nevertheless, I find it useful for shooting long exposures for the ground component of nightscape scenes.
Custom button functions
While Canon cameras donโt have Custom Function buttons per se (unlike Sonys), the R5โs various buttons and dials can be custom programmed to functions other than their default assignments. I assign the * button to turning on and off the Focus Peaking display and, as shown, the AF Point button to a feature only available as a custom function, one that temporarily brightens the rear screen to full, good for quickly checking framing at night.
Assigning Audio Memos to the Rate button
A handy feature of the R5 is the ability to add an audio notation to images. You shoot the image, play it back, then use the Rate button (if so assigned) to record a voice memo of up to 30 seconds, handy for making notes in the field about an image or a shoot. The audio notes are saved as WAV files with the same file number as the image.
The infamous Release Shutter Without Lens command
Like other EOS R cameras, the R5 has this notorious โfeatureโ that trips up every new user who attaches their Canon camera to a telescope or manual lens, only to find the shutter suddenly doesnโt work. The answer is to turn ON โRelease Shutter w/o Lensโ found buried under Custom Functions Menu 4. Problem solved!
OTHER FEATURES
I provide more details of other features and settings of the R5, many of which are common to the R6, in my review of the R6 here.
Multi-segment panoramas with the R5, like this aurora scene, yield superb resolution but can become massive in size, pressing the ability of software and hardware to process them.
CONCLUSION
No question, the Canon R5 is costly. Most buyers would need to have very good daytime uses to justify its purchase, with astrophotography a secondary purpose.
That said, other than low-light night sky videos, the R5 does work very well for all forms of astrophotography, providing a level of resolution that lesser cameras simply cannot.
Nevertheless, if it is just deep-sky imaging that is of interest, then you might be better served with a dedicated cooled-sensor CMOS camera, such as one of the popular ZWO models, and the various accessories that need to accompany such a camera.
But for me, when it came time to buy another premium camera, I still preferred to have a model that could be used easily, without computers, for many types of astro-images, particularly nightscapes, tracked wide-angle starfields, as well as telescopic images.
Since buying the R5, after first suspecting it would prove too noisy to be practical, it has in fact become my most used camera, at least for all images where the enhanced red sensitivity of the EOS Ra is not required. But for low-light night videos, the R6 is the winner.
However, to make use of the R5โs resolution, you do have to match it with sharp, high-quality lenses and telescope optics, and have the computing power to handle its large files, especially when stitching or stacking lots of them. The R5 can be just the start of a costly spending spree!
โ Alan, June 23, 2022 / ยฉ 2022 Alan Dyer / AmazingSky.com
Once again, catching the eclipsed Moon required a chase to clear skies.
As with every previous eclipse of the Moon visible from my area in the last decade, I didn’t have the luxury of watching it from home, but had to chase to find clear skies.
However, the reward was the sight of the reddened Moon from one of my favourite locations in Alberta, Reesor Lake, in Cypress Hills Interprovincial Park.
The eclipse in question was the total lunar eclipse of May 15/16, 2022. As with any eclipse, planning starts with a look at the weather forecasts, or more specifically cloud forecasts.
A few days prior, conditions didn’t look good from my home, to the west of the red marker.
Cloud forecast two days prior.
But as the chart from the app Astrospheric shows, very clear skies were forecast for southeast Alberta, in the Cypress Hills area, where I have shot many times before.
Except as eclipse evening drew closer, the forecast got worse. Now, the clouds were going to extend to my chosen site, with a particularly annoying tongue of cloud right over my spot. Clouds were going to move in just as the total eclipse began. Of course!
Cloud forecast the morning of the eclipse.
I decided to go for it anyway, as the Moon would be to the east, in the direction of the clear skies. It didn’t need to be clear overhead. Nor did I want to drive any farther than I really needed, especially to another location with an unknown foreground.
The spot I chose was one I knew well, on the west shore of scenic Reesor Lake, near the Alberta/Saskatchewan border, but on the Alberta side of Cypress Hills Interprovincial Park.
Handily, TPE provides moonrise times and angles for the chosen location, as well as eclipse times for that time zone.
The companion app, TPE 3D, provides a preview of the scene in 3D relief, with the hills depicted, as a check on Moon altitude and azimuth with respect to the horizon below.
TPE 3D’s simulation
As you can see the simulation matched reality quite well, though the image below was from an earlier time than the simulation, which was for well after mid-totality.
The eclipse over Reesor Lake, in the last stages of the partial eclipse.
However, true to the predictions, clouds were moving in from the west all during the eclipse, to eventually obscure the Moon just as it entered totality and became very dim. Between the clouds and the dark, red Moon, I lost sight of it at totality. As expected!
Below is my last sighting, just before totality began.
The eclipsed Full Moon rising over Reesor Lake in Cypress Hills Interprovincial Park, Alberta, on May 15, 2022.
However, I was content at having captured the eclipse from a photogenic site. More images of a complete eclipse would have been nice, but alas! I still consider the chase a success.
A panorama of the eclipsed Full Moon rising over Reesor Lake in Cypress Hills Interprovincial Park, Alberta, on May 15, 2022.
Just for fun, I shot a quick panorama of three segments, and it turned out to be my favourite image from the eclipse, capturing the scene very well. Pelicans and geese were plying the calm waters of the lake. And owls were hooting in the woods. It was a fabulous evening!
Me at Reesor Lake after shooting the lunar eclipse of May 15, 2022, with the Moon now in clouds behind me.
Before departing, I took my customary “trophy” shot, of the eclipse hunter having bagged his game.
Interestingly, this eclipse was a close repeat of one 19 years earlier to the day, because of the so-called Metonic Cycle where eclipses of the Sun and Moon repeat at 19-year intervals on the same calendar day, at least for 2 or 3 cycles.
The trophy shot from May 15, 2003.
On May 15, 2003, we also had a total lunar eclipse in the early evening, with the eclipsed Moon rising into a spring twilight sky. I also chased clear skies for that one, but in the opposite direction from home, to the southwest, to the foothills. At that time it was all film, and medium format at that.
Total eclipse of the Moon seen May 15, 2003 from southern Alberta (from a site west of Nanton). The Moon rose as totality started so was deep into totality by the time it was high enough to see and sky dark enough to make it stand out. Pentax 67 camera with 165mm lens at f/2.8 with Fujichrome 100F slide film.
So it was another (partially!) successful eclipse chase.
The next opportunity is on the night of November 7/8, 2022, a time of year not known for clear skies!
Just once I would like to see one from home, to make it easier to shoot with various telescopes and trackers, as the reddened Moon will be west of the photogenic winter Milky Way, and very close to the planet Uranus. Plus for me in Alberta the November eclipse occurs in the middle of the night, making a home eclipse much more convenient. After that, the next chance is March 13/14, 2025.
But no matter the eclipse, I suspect another chase will be in order! It just wouldn’t be a lunar eclipse without one.
Two total eclipses of the Moon, an all-planet array across the sky, and a fine close approach of Mars highlight the astronomical year of 2022.
In this blog, I provide my selection of the best sky sights of 2022. I focus on events you can actually see, and from North America. I also emphasize photogenic events, such as gatherings of the Moon and planets at dawn or dusk, and the low Full Moons of summer.
The sky charts are for my longitude in Alberta and my home latitude of 51ยฐ N, farther north than many readers will likely live. From more southerly latitudes in North America, the low planet gatherings at dawn or dusk will be more obvious, with the objects higher and in a darker sky than my charts depict.ย
Feel free to share the link to my blog, or to print it out for reference through the year.
Highlights: Lunar Eclipses, Planet Array and Mars
As in 2021, this year we have two lunar eclipses, both total this year, six months apart in May and in November. On the night of May 15/16 eastern North America gets the best view of a deep total eclipse that lasts 85 minutes. Six lunar cycles later, western North America gets the best view of another 85-minute-long total lunar eclipse.ย
The year begins with four planets in the evening sky, but not for long. They all soon move into the morning sky for the rest of the first half of 2022. In fact, in late June we have the rare chance to see all five naked eye planets lined up in order (!) across the morning sky.
The โstarโ planet of 2022 is Mars, as it reaches one of its biennial close approaches to Earth, and a decent one at that, with its disk relatively large and the planet high in the winter sky, making for excellent telescope views. The night Mars is directly opposite the Earth and at its brightest coincides with a Full Moon, which just happens to also pass in front of Mars that night! Thatโs a remarkable and rare event to round out a year of stargazing.
The RASC has also partnered with Firefly Books to publish a more popular-level guide to the coming yearโs sky for North America, as the 2022 Night Sky Almanac, authored by Canadian science writer Nicole Mortillaro. It provides excellent monthly star charts to help you learn the sky.
January
The year begins with a chance to see four planets together at dusk. But catch them quick!ย
January 4 โ Mercury, Venus (just!), Jupiter and Saturn, plus the Moon
Venus is sinking out of sight fast, as it approaches its January 8 conjunction with the Sun, putting it out of sight. But Mercury is climbing higher, approaching its January 7 greatest angle away from the Sun.
This night the waxing crescent Moon appears below Saturn. It was below Mercury on January 3, and will be below Jupiter on January 5. On January 13, Mercury shines 3.5 degrees (ยฐ) below Saturn, just before both disappear close to the Sun.
This is a comparison pair of the Full Moon at apogee (farthest from Earth for the year) at left, and at perigee (closest to Earth) at right, with the perigean Moon being a so-called “Supermoon”.
January 17 โ The 2022 Mini-Moon
The Full Moon this night is the most distant, and therefore the smallest, of 2022. Shoot it and the Full Moon of July with identical gear to collect a contrasting pair of Mini and Super Moons, as above.ย
January 29 โ Waning Moon and Morning Planets
By the end of January, Mercury and Venus have both moved into the morning sky, where they join Mars. The waning crescent Moon appears below magnitude 1.5 Mars this morning, as the famed red planet begins its fine appearance for 2022.ย
February
The main planet action migrates to the morning sky, while Zodiacal Light season begins in the evening. ย
February 16 โ Mercury As a Morning Star
Though not a favourable elongation for northern latitudes, on February 16 Mercury reaches its highest angle away from the Sun low in the eastern dawn, below Venus and Mars, with Venus having just reached its greatest brilliancy (at a blazing magnitude -4.9!) on February 12, shining above much dimmer Mars. (Magnitude 0 to 1 is a bright star; magnitude 6 is the faintest naked-eye star; any magnitude of -1 to -5 is very bright.)ย
While at magnitude 0, elusive Mercury shines a magnitude and a half brighter than Mars, Mercuryโs lower altitude will make it tougher to see. Use binoculars to pick it out. But Venus remains a brilliant and easy โmorning starโ for the next few months.
A 360ยฐ panorama of the spring sky over the Badlands of Dinosaur Provincial Park, Alberta, on March 29, 2019. At bottom is the tapering pyramid-shaped glow of the Zodiacal Light
February 18 โ 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. This glow is caused by sunlight reflecting off cometary dust particles in the inner solar system. The next moonless window for the evening Zodiacal Light is March 20 to early April.ย Spring is the best season for seeing and shooting the Light in the evening sky.
February 27 โ Moon Joins the Morning Planet Party
The waning crescent Moon appears very low below Mars and Venus, with Mercury still in view, and Saturn just beginning to emerge from behind the Sun.
March
Equinox brings a favourable season for great auroras, while the morning planets begin to cluster in the east.ย
A panorama of the auroral arc seen from home in southern Alberta (latitude 51ยฐ N) on April 14/15, 2021.
March 1 on โ Prime Aurora Season Begins
While great auroras can occur in any month, statistically the best displays often occur around the two equinoxes in spring and autumn. No one can predict more than 12 to 48 hours ahead (and still with a great deal of uncertainty) when a display will be visible from mid-latitudes. But watch sites such as SpaceWeather.com for heads-up notices.
A capture of a line of geosats (geostationary communication satellites) as they flare in brightness during one of their semi-annual “flare” seasons near the equinoxes.
March 1 on โ Flaring Geosat Season Begins
In the weeks prior to the spring equinox, and in the few weeks after the autumn equinox, the string of communication satellites in geostationary orbit catch the sunlight and flare to naked-eye brilliance. Long-exposure tracked photos of the area below Leo (in spring, as here) will catch them as streaks, as the camera follows the stars causing the stationary satellites to trail.
March 12 โ Venus and Mars in Conjunction
Venus and Mars reach their closest separation 4ยฐ apart low in the southeastern dawn sky.
March 20 โ Equinox at 11:33 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, great for urban photo ops.
March 27 โ Moon and a Planetary Triangle
The waning crescent Moon appears to the west of Venus and Mars, with Venus about 2ยฐ above Saturn. The view will be better the next morning, March 28, with the thin Moon directly below the close pairing of Venus and Saturn. But the Moon will be even lower in the sky, making it more difficult to sight.
April
Mercury puts on its best evening show of 2022, near the Pleiades, and with a possible comet nearby. The month ends with a very close conjunction of Venus and Jupiter at dawn.ย
This is a 160ยฐ-wide panorama of the Milky Way arching over the Badlands formations at Dinosaur Provincial Park, Alberta, taken on a moonlit night in May.
April 1 โ Milky Way Arch Season Opens
With the Moon out of view, the next two weeks bring 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. Catching the arch takes a very late-night shoot in early April. But the Milky Way moves into prime position two hours earlier each month.
April 5 โ Mars and Saturn 1/2ยฐ apart
The two planets appear almost the same brightness as a close โdouble starโ in the dawn, not far from brighter Venus. Mars and Saturn will also be close the morning before, on April 4.
April 27 โ Moon Joins Venus and Jupiter
Jupiter is now emerging from behind the Sun to meet up with Venus, for a grouping of the skyโs two brightest planets. On this morning the waning Moon appears 4.5ยฐ below the pair.
April 29 โ Mercury Appears Beside the Pleiades
Just as Mercury reaches its greatest angle away from the Sun for its best evening appearance of 2022, it also appears just 1ยฐ away from the famous Pleiades star cluster low in the west.
April 30 โ Venus and Jupiter in Close Conjunction
This is an early morning sight well worth getting up for! Venus passes only 1/3ยฐ below Jupiter this morning, but low in the eastern dawn sky. They will be almost as close on May 1.
April 30 โ A Bonus Comet?
Comet PanSTARRS (C/2021 O3) might become bright enough to be a binocular object, and a photogenic target, right next to the Pleiades and Mercury pairing. Maybe! Some predictions suggest this comet could fizzle and break up earlier in April. Even if the comet survives and performs, youโll need a very clear sky to the northwest to catch this rare sight.ย
May
On May 15-16 a totally eclipsed Moon shines red in the south at midnight for eastern North America, and in the southeast after sunset from the west.
May 15-16 โ Total Eclipse of the Moon
The first of two total lunar eclipses in 2022 can be seen in its entirety from eastern North America, with totality beginning at 11:30 p.m. EDT on May 15 and lasting 85 minutes until 12:55 a.m. EDT. At mid-eclipse just after midnight from eastern North America the Moon will appear nearly due south, with the summer Milky Way to the east, shining brightly as the sky darkens during totality. Travel to a dark site to see and shoot the Moon and Milky Way.
Those in western North America see the totally eclipsed Moon rising into the southeast with some portion of the eclipse in progress, as depicted above. Once the sky darkens, the reddened Moon should become visible. Over a suitable landscape this should be a photogenic scene, though with the core of the Milky Way not yet risen. But a Milky Way arch panorama with a red Moon at one end will be possible. Choose your scenic site well!ย
Courtesy Fred Espenak/EclipseWise.com
See Fred Espenakโs EclipseWise.com page for details on timing and viewing regions. The dark region on this map does not see any of this eclipse.
May 18 โ Red Planet Meets Blue Planet
Mars passes just 1/2ยฐ south of Neptune this morning, though both planets are very low in the east. They will appear close enough to frame in a telescope (the red circle is 1ยฐ wide).ย
May 24 โ Moon with Mars and Jupiter
As it does every month in early 2022, the waning crescent Moon joins the morning planets, on this day grouping with Mars and Jupiter before dawn.
May 27 โ Moon with Venus, plus Mars and Jupiter Close
Later that week the thinner waning Moon passes 4ยฐ below bright Venus, still shining at magnitude -4. But higher up Mars and Jupiter are reaching a close conjunction, passing about 1/2ยฐ apart on May 28 and May 29. Mars is still a dim magnitude +0.7; Jupiter is at -2.2.
June
Noctilucent cloud season begins for northerners, as does prime Milky Way core season for southerners. But the unusual sight is the line of all five naked eye planets, and in order!ย
The northern summer Milky Way over Middle Waterton Lake at Driftwood Beach in Waterton Lakes National Park, Alberta on a July night.
June 1 on โ Milky Way Core Season at its Prime
In early June with no Moon to interfere, and monthly for the next four months, the Milky Way core is ideally placed to the south through the night for nightscapes. However, for those at more northern latitudes the sky in June doesnโt get dark enough to make deep Milky Way shots feasible.
The brightest section of the massive “grand display” of noctilucent clouds at dusk on June 16, 2021.
June 1 on โ Noctilucent Cloud Season Begins
Instead, northerners are rewarded by the occasional sight of noctilucent clouds to the north through June and well into July (even into August for sub-arctic latitudes). The Sun illuminates these high-altitude electric-blue clouds during the weeks around the summer solstice. However, there is no predicting on what night a good display will appear.ย
June 14 โ First of the Summer Supermoons
The Moon is full on the night of June 14-15, when it also reaches one of its closest perigees (closest approach to Earth) of 2022. In modern parlance, that makes it a โsupermoon.โ It will look impressive shining low in the south all night, with the low-altitude โMoon illusionโ making it appear even larger. It is a good night for nightscapes with the Moon, though exposures are a challenge โ try blending short exposures for the lunar disk with long exposures for the sky and ground.
June 21 โ Solstice at 5:14 a.m. EDT
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 24 โ All Planets in a Row
As fast-moving Mercury rises into view at dawn in mid-June, it completes the set to provide the rare chance to see all five naked eye planets โ Mercury, Venus, Mars, Jupiter and Saturn โ in a row along the ecliptic, the path of the planets. Even more fun, they are in the correct order out from the Sun! The scene shown here depicts the morning of June 24, when the Moon sits between Venus and Mars, just where it should be in order of distance from the Sun as well.
A panorama of several stitched images will be best for capturing the scene which spans 120ยฐ. Uranus and Neptune are there, too, though not in order and faint enough (below naked eye brightness) they will be tough to capture in a wide-angle scene. Long exposures with a tracker might do the job! But by the time Mercury rises high enough, the sky might be getting too bright to nab the faintest planets.
June 26 โ Inner World Gathering
The select club of just inner worlds gathers for a meeting this morning, with the waning crescent Moon 2.5ยฐ above Venus. The rising stars of Taurus serve as a fine backdrop in the dawn twilight.
July
Once the pesky full supermoon gets out of the way, the heart of Milky Way season will be infull swing. ย
July 13 โ Second of the Summer Supermoons
It will be a battle of summer supermoons in 2022! But Julyโs Moon wins on a technicality, as it is ever so slightly closer (by about 200 km) than the June Moon. It also appears slightly farther south, so lower in the sky than a month before. This is a good night for lunar (looney?) photo ops, though donโt expect to see the Milky Way as shown here โ moonlight will wash it out.
July 26 โ Dawn Moon and Morning Star
Another photo op comes on July 26 when the waning crescent Moon passes 3ยฐ above Venus, still bright at magnitude -3.8. The last week of July and the first week of August are prime weeks for shooting the Milky Way core to the south over scenic nightscapes, assuming we get clear skies free of forest fire smoke.
August
The popular Perseid meteors are mooned out, but late in the month under dark skies, the Milky Way reigns supreme.ย
August 1 โ Red Planet Meets Green Planet
As it did in May, Mars meets up with an outer planet, passing close enough to Uranus this night for both to appear in a low-power telescope field (the red circle is 2ยฐ wide). ย
August 12-13 โ Perseid Meteor Shower Peaks
The annual and popular Perseid meteor shower peaks tonight, but with a nearly Full Moon in Aquarius (as shown above) lighting the sky all night. Under a transparent sky, youโll still see some bright meteors radiating from Perseus in the northeast. But youโll need to be patient, as bright meteors are infrequent. But why not enjoy a moonlit summer night under the stars anyway?
August 14-15 โ Saturn at Opposition
Saturn is at its closest and brightest for 2022 tonight, rising at sunset and shining due south in eastern Capricornus in the middle of the night. Through a telescope the rings appear tipped at an angle of 13ยฐ, about half the maximum possible at Saturnian solstices. The northern face of the rings is tipped toward us.
August 16 on โ Prime Milky Way Season
After it spoils the Perseids, the waning gibbous Moon takes a long time to get out of the way. As it does so, mid-August brings some good nights to shoot the Milky Way to the south as the rising waning Moon to the east illuminates the landscape with warm โbronze hourโ lighting. By the last week of August, nights are finally moonless enough for an all-night dark-sky shoot.
August 25 โ Thin Moon Above Venus
Those enjoying an all-nighter under the stars on August 24 will be rewarded with the sight of the thin waning Moon and Venus rising together at dawn on August 25. They will be 5ยฐ apart in the morning twilight, against the backdrop of the winter stars rising.
September
Itโs Harvest Moon time, with this annual special Full Moon coming early before the equinox this year.ย
The G2 auroral storm of October 11/12, 2021 with the curtains exhibiting a horizontal “dunes” structure.
September 1 on โ Prime Aurora Season Begins
As in spring, some of the best weeks for sighting auroras traditionally occur around the autumn equinox. Solar activity is on the rise in 2022, heading toward an expected solar maximum in late 2024 or 2025. So we can expect some good shows this year, including some that should extend south into the northern half of the lower 48 in the U.S.ย
The full Harvest Moon rising over the Badlands of Dinosaur Provincial Park on September 20, 2021.
September 10 โ Full โHarvestโ Moon
Occurring 12 days before the equinox, this is the closest Full Moon to the equinox, making it the official Harvest Moon of 2022. With it occurring early this year, the Harvest Moon will rise well south of due east at sunset and set well south of due west at sunrise on September 11.
Sunset at the September equinox, in this case on September 22, 2021.
September 22 โ Equinox at 9:04 p.m. EDT
Autumn officially begins for the northern hemisphere, spring for the southern, as the Sun crosses the celestial equator heading south. As in March, the Sun rises due east and sets due west for photo ops on east-west aligned roads, as above.
The Zodiacal Light in the dawn sky, September 14, 2021, from home in Alberta.
September 23 โ 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. The end of October brings another moonless morning window of opportunity for the Zodiacal Light.ย
September 26-27 โ Jupiter at opposition
Jupiter, now in southern Pisces, reaches its closest and brightest for 2022 tonight, also rising at sunset and shining due south in the middle of the night. Jupiter has now moved far enough along the ecliptic to place it high in the sky for northern observers, providing us with sharper telescope views than weโve had for many years.
October
Mercury rises into the dawn, while the Moon occults the planet Uranus.ย
October 8 โ Mercury at Its Morning Best
This is the best time to sight Mercury in the morning, as it reaches its greatest angle away from the Sun today, while the steep angle of the ecliptic on autumn mornings swings the inner planet up as high and clear from horizon haze it can get for the year.
October 11 โ Moon Hides Uranus
While many observers might not have seen Uranus, hereโs a chance to see it, then not see it! The waning gibbous Moon passes in front of magnitude 5.7 Uranus this night, occulting the planet for about an hour around midnight. Exact times will vary with location. Seeing the planet reappear from behind the dark limb of the Moon, as shown here, will be the easiest sighting, but a telescope will be essential.
October 21 โ Orionid Meteor Shower Peaks
With both the Perseids and Geminids mooned out this year, the weaker but reliable Orionids remain as perhaps the best meteor shower of 2022. The meteors (expect only about 10 per hour) all appear to radiate from northern Orion, which doesnโt rise until just before midnight.ย Mars shines bright above the radiant point.
October 25 โ Partial Solar Eclipse for Europe
While my list is aimed at North American stargazers, I should mention the partial eclipse of the Sun (there are no total solar eclipses this year) that observers across parts of Asia, Africa, Europe and the U.K. (as shown above) can see.
Courtesy Fred Espenak/EclipseWise.com
At maximum eclipse from Siberia about 86% of the Sunโs disk will be covered. No part of the eclipse is visible from North America. For details, see the page at EclipseWise.com.ย
October 30 โ Mars Begins Retrograde Motion
Mars stops its eastward motion this night and begins to retrograde westward for the next two months centred on the date of opposition, December 7. It then stops retrograding and resumes its prograde motion on January 12, 2023. Naked-eye Mars watchers can follow the changing position of Mars easily, using the stars of Taurus, including yellowish Aldebaran below, as a guide.
November
The second total lunar eclipse of 2022 brings a red Moon to the skies over western North America.ย
November 8 โ Total Eclipse of the Moon
In a mirror-image of the May eclipse, this eclipse also lasts 85 minutes, but can be seen best from western North America. From the east, the Moon sets at dawn with some portion of the eclipse in progress.
But from the west the Moon is fully eclipsed during the wee hours of November 8, with the Moon sitting west of the winter Milky Way, making for good wide-angle photos.
The Moon sits just a degree west of Uranus during totality. From Asia the eclipsed Moon actually passes in front of the planet for a rare eclipse and occultation combination. We have to be content with seeing the green planet east of the reddened Moon. A telescope with 600mm focal length should nicely frame the pairing.
The total phase of the eclipse begins at 5:16 a.m. EST (3:16 a.m. MST) and ends at 6:41 a.m. EST (4:41 a.m. MST).
Courtesy Fred Espenak/EclipseWise.com
For details see Fred Espenakโs EclipseWise site. As above, the dark region on this map does not see any of this lunar eclipse.
November 17 โ Leonid Meteor Shower Peaks
As with the Orionids, this is normally a weak shower, but this year we have to be content with watching the weak showers. The waxing crescent Moon shining below Leo (as shown above) shouldnโt hinder observations of the Leonids too much. But with Leo not rising until late, this is another shower that requires a long, late night to observe.ย
December
Mars reaches its closest point to Earth since October 2020, with the Moon occulting Mars on peak night.ย
December 1 โ Mars at Its Closest
Mars is closest to Earth this night, at 81 million kilometres away. This is not as close as it was in October 2020 when it was 62 million km away. Its disk then appeared large, at 22.5 arc seconds across. Maximum size on this night is 17.2 arc seconds, still good enough for fine telescope views.
Take the opportunity on every clear night to view Mars, as this is as good as we will see the planet until the early 2030s. As it happens, the most interesting side of Mars, featuring the prominent dark Syrtis Major region and bright Hellas basin (shown above in a simulated telescope view), faces us in North America on closest approach night.ย
Wide-angle views and photos will also be impressive, with reddish Mars shining brightly at magnitude -1.8 in Taurus with its photogenic star clusters, and near the winter Milky Way.ย
December 7/8 โ Mars at Opposition
This is the night Mars is officially at opposition, meaning it lies directly opposite the Sun and shines at its brightest. As it rises at sunset and into the early evening (as above), it is accompanied by the Full Moon, also at opposition this night, as all Full Moons are.ย
By midnight (above), the Moon and Mars lie due south high in the sky. If you can keep warm and keep an eye on Mars over this long night of opposition, youโll see surface features on Mars change as the planet rotates, bring new areas into view, with the fork-shaped Sinus Meridiani region rotating into view as triangular Syrtis Major rotates out of sight.
December 7 โ Moon Occults Mars
This is very rare! On opposition night, not only does the Full Moon appear close to Mars, it actually passes in front of it during the early evening for North America. The occultation lasts about an hour, and exact times will vary with location. Binoculars will show the event, as will even the naked eye. But the best view will be through a telescope (as above), where you will be able to see the edge of the Moon cover Mars over about half a minute. Ditto on the reappearance. This is an event worth traveling to seek out clear skies if needed.ย
December 13-14 โ Geminid Meteor Shower Peaks
The most prolific meteor shower of the year peaks with a waning gibbous Moon rising about 10 p.m. local time (as above), lighting the sky for the rest of the night. But the early evening is dark, and with Gemini just rising we might see some long Earth-grazing fireballs from the Geminids.ย So certainly worth a watch on a cold December night.
December 21 โ Solstice at 4:48 p.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 24 โ Inner Planets at Dusk
On Christmas Eve the waxing crescent Moon joins Mercury and Venus low in the southwest evening twilight. Mercury is three days past its greatest elongation, so is easier to see than usual, though it will be three and a half magnitudes fainter than magnitude -3.9 Venus.
December 28 โ Mercury and Venus in Conjunction
This evening, descending Mercury passes 1.5ยฐ above Venus, now ascending into the evening twilight sky. Venus is just beginning what will be a spectacular evening appearance for early 2023, featuring close conjunctions with Saturn (on January 22, 2023) and Jupiter (on March 1, 2023).ย
A selfie of the successful eclipse hunter having bagged his game, on the morning of November 19, 2021.
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.
We had another lunar eclipse in 2021, six lunar cycles earlier on May 26, an eclipse that was barely total and, for me, positioned low in the southwest at dawn. I chased that eclipse north to Rocky Mountain House, Alberta, to find clear skies on eclipse morning.
A composite “time-lapse” blend of the setting Full Moon entering the Earth’s umbral shadow on the morning of May 26, 2021.
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.
The Environment Canada forecast for eclipse time at 2 am Nov 19, as of the afternoon of Nov. 17.
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.
The Environment Canada forecast for eclipse time at 2 am Nov 19, as of the morning of Nov. 18, eclipse day!
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.
Satellite view eclipse evening, with my area in Alberta at centre.
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 โ and hopefully as far as I need to get โ to be assured of clear skies.
A selfie of the successful eclipse hunter observing the eclipse of the Moon, on the morning of November 19, 2021.
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 deep partial eclipse of the Moon of November 19, 2021, with the reddened Moon below the Pleiades star cluster, M45, in Taurus, the hallmark feature of this eclipse which at maximum at 2:03 am MST (about 8 minutes after this sequence was taken at 1:55 am MST) was 97% partial, so not quite total. This is a stack of 2 x 30-second exposures at ISO 3200 for the base sky, blended with 30s, 8s, 2s, and 0.6s exposures at ISO 800, all with the Canon EOS R6 camera on the William Optics RedCat astrograph at f/4.9, and on the Sky-Watcher Star Adventurer tracker at the sidereal rate.
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 โ a tracker deciding to come loose from the tripod, and a lens that refused to focus โ I also took some wider shots of the Moon among the stars of Taurus.
This is a stack of 2 x 30-second exposures at ISO 1600 for the base sky, blended with 10s, 4s, 1s, and 0.3s exposures at ISO 800, all with the Canon EOS Ra camera and Canon RF28-70mm lens at f/2.8 and on the Sky-Watcher Star Adventurer Mini tracker.
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!
This is a stack of 2 x 30-second exposures at ISO 3200 for the base sky, blended with 15s, 4s, 1s, and 0.25s exposures at ISO 400, all with the Canon EOS R6 camera and Canon RF28-70mm lens at 28mm and f/2.8 and on the Sky-Watcher Star Adventurer Mini tracker.
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. Hereโs how to capture the scene.
Seeing and shooting this eclipse will demand staying up late or getting up very early. Thatโs the price to pay for an eclipse everyone on the continent can see.
Also, this is not a total eclipse of the Moon. But itโs the next best thing, a 97% partial eclipse โ almost total! So the main attraction โ a red Moon โ 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 Earthโs 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, thatโs when the Moon first enters the outer lighter penumbral shadow. Nothing unusual can be seen at that point, as the darkening of the Moonโs disk by the penumbra is so slight, you wonโt notice any difference over the normally bright Full Moon.
The extent of the umbra and penumbra at the October 2004 total lunar eclipse.
It isnโt 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 โ the colours can vary from eclipse to eclipse, depending on the clarity of the Earthโs 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 total lunar eclipse of August 2007. At the November 18 eclipse the bottom edge of the Moon, as it did here, will be bright, but brighter than it appears here.
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 Earthโs upper atmosphere and ozone layer. This can tint the shadow edge blue or even green.
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.
The start, middle and end times of the umbral eclipse for Eastern and Pacific time zones. The background image is a simulation of the path of the November 18/19, 2021 eclipse when the Moon travels through the southern part of the umbra.
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, youโll be sadly disappointed as you will have missed it. Itโs 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).
The sky at mid-eclipse from my home on Alberta, Canada (51ยฐ N)
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 view from the West Coast.
The high altitude of the Moon (some 60ยบ to 70ยบ 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 180ยฐ 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.
The view from the East Coast.
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 30ยบ 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 โ 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).
Framing the scene from the East Coast.
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.
Thereโs 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.
Framing the scene from the West.
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.
Total eclipse of the Moon, December 20/21, 2010, taken from home with 15mm lens at f/3.2 and Canon 5D MkII at ISO 1600 for 1 minute single exposure, toward the end of totality.
Total eclipse of the Moon, December 20/21, 2010, taken from home with Canon 5D MKII and 24mm lens at f2.8 for stack of 4 x 2 minutes at ISO 800. Taken during totality..
However, as my images above from the December 2010 eclipse show, if thereโs 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 โ 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.
Camera on a Star Adventurer tracker showing the field of a 24mm lens.
From a dark site, make use of the Moonโs 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.
Showing the field of a 50mm lens.
A 50mm lens (again assuming a full frame camera) frames the Moon with the Pleiades and Hyades star clusters in Taurus.
Showing the field of an 85mm lens,
Switching to an 85mm lens frames the clusters more tightly and makes the Moonโs 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.
Showing the field of 200mm and 250mm lenses.
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.
Typical settings for tracker images, with an image of the January 2019 eclipse.
Take lots of exposures over a range of settings โ 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 โ 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.
Phone on a simple Dobsonian reflector.
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 havenโt shot the Moon with this gear before, eclipse night is not the time to learn. Practice on the Moon before the eclipse.
DSLR on a beginner refractor telescope showing the adapter.
For shooting with a DSLR camera through a telescope youโll need a special camera adapter nosepiece and T-ring for your camera. Again, if you donโt have the gear and the experience doing this, I would suggest not making the attempt at two in the morning on eclipse night!
DSLR on a beginner reflector with an often necessary Barlow lens.
For example, owners of typical beginner reflectors are often surprised to find their cameras wonโt 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.
An exposure composite of short and long exposures.
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 โhigh dynamic rangeโ blend of several exposures.
A series of the September 27, 2015 total lunar eclipse to demonstrate an exposure sequence from partial to total phase.
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 โ 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.
A small apo refractor on an equatorial mount with typical settings for mid-eclipse.
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. Itโs that orbital motion that takes it from west to east (right to left) through the Earthโs shadow.
The fields of view and size of the Moon’s disk with typical telescope focal lengths.
Filling the camera frame with the Moon requires a surprising amount of focal length. The Moon appears big to our eyes, but is only 1/2ยบ 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 wouldnโt 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.
A camera on an alt-azimuth GoTo Schmidt-Cassegrain.
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 wonโt 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 wonโt be possible if you need to preserve the framing for a composite.
PHOTO OPTIONS 5 โ 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.
An HDR composite from the December 2010 eclipse.
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.
The January 2019 eclipse layered and blended in Photoshop.
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 โ 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.
The track of the September 2015 eclipse, accurately assembled to correct scale.
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 โsimulateโ 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 Moonโs 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.
Framing the eclipse path for the start of the sequence. Framing the path so the Moon ends up at a desired location on the frame.
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 Moonโs 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 โ ECLIPSE SHADOW COMPOSITE
One of the most striking types of lunar eclipse images is a close-up composite showing the Moon passing through the Earthโs 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.
A composite of the Moon moving through the umbra.
But to create an image that is more accurate, it is possible to do it โin camera.โ Unlike in the film days, we donโt 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.
Framing for a shadow composite.
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 Nightโข 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!
A shadow-defining composite from January 2019, with the Moon near the Beehive cluster.
An interesting variation would be using a 200mm to 250mm lens to frame the Moonโs 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.
Iโll 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.
The 4-day-old waxing crescent Moon on April 8, 2019 in a blend of 7 exposures from 1/30 second to 2 seconds, blended with luminosity masks in Photoshop.
PRACTICE!
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 isnโt 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.ย
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 Moonโs bright and dark parts canโt be captured in one exposure. So itโs a good test for the range of exposures youโll 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.
A selfie of me looking up at the total eclipse of the Moon on January 20, 2019, using binoculars to enjoy the view.
DONโT FORGET TO LOOK!
Amid all the effort needed to shoot this or any eclipse, lunar or solar, donโt forget to just look at it. No photo can ever quite capture the glowing nature of the eclipsed Moon set against the stars.
A selfie of the successful eclipse chaser bagging his trophy, the total lunar eclipse of January 20, 2019.
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.
My free Amazing Sky Calendar for 2018 is now available for download! Plan your astronomical year!
As in recent years, I have prepared a free 12-month Calendar listing loads of celestial events, Moon phases, highlighted space events, and with small charts to show what’s happening in the sky for the coming year. The monthly pages are illustrated with my favourite images from 2017.
You can download it as a 25-megabyte PDF at my website at
I present suggestions for how to ensure everything under your control will go well on eclipse day. The secret is: Practice, Practice, Practice!
The techniques I suggest practicing are outlined in my previous blog, Ten Tips for the Solar Eclipse. Itโs prerequisite reading.
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 thereโs only one eclipse?
Here are my “Top 10” suggestions:
Total eclipse of the Sun, November 3, 2013 as seen from the middle of the Atlantic Ocean, from the Star Flyer sailing ship. I took this with a Canon 5D MkII and 16-35mm lens at 19mm for 1/40s at f/2.8 and ISO 800 on a heavily rolling ship.
Wide-Angle Shots โย Shoot a Twilight Scene
The simplest way to shoot theย 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?ย
With Telephotos and Telescopes โ 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.ย
Framing and Focusing
Youโll need to have your safe and approved solar filter purchased (donโt 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. Itโs 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?
The partial eclipse of the Sun, October 23, 2014, shot through thin cloud, but that makes for a more interesting photo than one in a clear sky. Despite the cloud, this was still shot through a Mylar filter, on the front of telescope with 450mm focal length, using the Canon 60Da for 1/25 sec exposure at ISO 100.
Exposure Times
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.
Solar filters that clamp around the front of lenses are easier to remove than ones that screw onto lenses. They will bind and get stuck!
Filter Removal
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 itโs important to also test this with the camera and tripod aimed up high.
Articulated LCD screens are a great aid for framing and viewing the eclipse in Live View when the camera is aimed up high, as it will be!
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.
The east-to-west motion of the sky will carry the Sun its own diameter across the frame during totality, making consistent framing an issue with very long lenses and telescopes.
Sun Motion
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, youโll want to ensure the Sun doesnโt move too far off center.
An equatorial mount like this is great but needs to be at least roughly polar aligned to be useful.
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 siteโs latitude, and aiming the polar axis as close as you can to due and true north. You donโt need precise polar alignment to gain the benefits of a tracking mount โย it keeps the Sun centered โย for the few minutes of totality.
The Full Moon is the same brightness as the Sun’s inner corona.
Telephotos and Telescopes โย Shoot Full Moon Closeupsย
Exposure Check
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. Itโs 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.
The crescent Moon has a huge range in brightness and serves as a good test object. Remember, the Moon is the same size as the Sun. That’s why we get eclipses!
Telescopes and Telescopes โย Shoot Crescent Moon Closeups
Exposure Check
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. Itโs 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 โฆ
Good focus matters for recording the fine prominences and sharp edge of the Moon.
Sharpness Check
In the resulting images, check for blurring from vibration (from you handling the camera), from wind, and from the skyโs east-to-west motion moving the Moon across the frame, during typical exposures of 1 second or less.
By practicing, youโll 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 …
My 295-page ebook on photographing the August 21 total eclipse of the Sun is now available. See http://www.amazingsky.com/eclipsebook.html It covers all techniques, for both stills, time-lapses, and video, from basic to advanced, plus a chapter on image processing. And a chapter on What Can Go Wrong?! The web page has all the details on content, and links to order the book from Apple iBooks Store (for the best image quality and navigation) or as a PDF for all other devices and platforms.
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 donโt 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.
An iPhone in a tripod bracket and on a small tabletop tripod.
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 Sunโs 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 cameraโs auto exposure take care of the rest. Itโll work fine.
That way youโll 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.
A wide shot of the 2006 eclipse in Libya with a high altitude Sun. 10mm lens on a cropped-frame Canon 20Da camera.
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, thatโll likely mean a 10mm to 24mm lens.
By going wide you wonโt 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.
A sequence of shots of the 2012 eclipse from Australia, with a wide 15mm lens and camera on Auto Exposure showing the change of sky color.
The total eclipse of the Sun, November 14, 2012, from a site near Lakeland Downs, Queensland, Australia. Shot with the Canon 5D Mark II and 15mm lens for a wide-angle view showing the Moon’s conical shadow darkening the sky and the twilight glow on the horizon. Taken near mid-eclipse.
TIP #3: Shoot on Auto Exposure
For wide shots, thereโs no need to attend to the camera during the eclipse. Set the camera on Auto Exposure โย 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. Iโve used this technique at many eclipses and it works great.
An accessory intervalometer set for an interval of 1 second.
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. Donโt shoot at longer intervals, or youโll miss too much. Shutter speeds wonโt likely exceed one second.
Again, be sure your cameraโs memory card has enough free space for several hundred images. And donโt worry about a solar filter on your lens. Itโll be fine for the several minutes youโll have it aimed up.
Out of the many images youโll get, pick the best ones, or turn the entire set into a time-lapse movie.
A Nikon DSLR and lens set to Manual Focus.
TIP #5: Shoot on Manual Focus
Use Auto Exposure and an intervalometer. But โฆ donโt 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 donโt touch focus after that. If you leave your lens on Auto Focus the shutter might not fire if the camera decides it canโt focus on the blank sky.
A comparison of a Raw image as it came from the camera (left) and after developing in Lightroom (right).
TIP #6: Shoot Raw
For demanding subjects like a solar eclipse always shoot your images in the Raw file format. Look in your cameraโs 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.
A 200mm telephoto and 1.4x Extender, with the camera on a sturdy and finely adjustable tripod head.
TIP #7: OK, Use a Telephoto Lens! But โฆ
If you really want to shoot close-ups, great! But donโt 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 donโt need a monster 600mm lens or a telescope, which typically have focal lengths starting at 600mm. With long focal lengths come headaches like:
โขย 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. Iโm trying to keep things simple!
โขย 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 โฆ
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.
A re-processed version of a still frame of the total solar eclipse of November 14, 2012 taken from our site at Lakeland Downs, Queensland, Australia. This is a still frame shot during the shooting of an HD video of the eclipse, using the cropped-frame Canon 60Da and Astro-Physics Traveler 4-inch apo refractor telescope at f/5.8 (580mm focal length). The image is 1/60th second at ISO 100. This is a full-sized still not a frame grab taken from the movie.
A sequence from a movie showing the camera adjusting the exposure automatically when going from a filtered view (left) to an unfiltered view of the diamond ring (right).
TIP #8: Use Auto Exposure, or โฆ 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 coronaโs 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.
Donโt 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 donโt need ISO 800 to 3200.
Even on Auto Exposure, youโll get good shots, just not of the whole range of phenomena an eclipsed Sun displays.
Or, once again and better yet โย 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 skyโs 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 โฆ except โฆ
A small refractor telescope with a solar filter over the front aperture. That filter has to be removed for totality.
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 โฆ 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 donโt 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.
The partial eclipse of the Sun, October 23, 2014, shot through a mylar filter, on the front of the 66mm f/7 apo refractor shown above (450mm focal length), using a cropped-frame Canon 60Da camera for 1/8000 second exposure at ISO 100. Focus on the sharp tips of the crescent Sun or a sunspot if one is present.
TIP #10: Focus!
Everyone worries about getting the โbest exposure.โ Donโt! Youโll 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 neednโt worry about re-focusing after you remove the filter. The focus will not change with the filter off.
Me in Libya in 2006 with my eclipse setup: a small telescope on an alt-azimuth mount.
TIP #1 AGAIN: Keep It Simple!
Iโll remind you to keep things simple for a reason other than giving you time to enjoy the view, and thatโs 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 โTen Tipsโ 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 โฆ and feeling โฆ the eclipse.
However … may I recommend …
My 295-page ebook on photographing the August 21 total eclipse of the Sun is now available. See http://www.amazingsky.com/eclipsebook.html ย It covers all techniques, for both stills, time-lapses, and video, from basic to advanced, plus a chapter on image processing. And a chapter on What Can Go Wrong?! The web page has all the details on content, and links to order the book from Apple iBooks Store (for the best image quality and navigation) or as a PDF for all other devices and platforms. Thanks! Clear skies on eclipse day, August 21, 2017.
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.
After a year of work, the new edition of my Nightscapes and Time-Lapse ebook is on the e-shelves at the Apple iBooks Store.ย
In the two years since I first published this ebook, the field of nightscape shooting has enjoyed many changes, to equipment, software and techniques. Not to mention I’ve learned a lot!
All those changes are reflected in this new and expanded edition. It is 100 pages bigger โ 500 pages now โ than the first edition. It contains:
โข 60 step-by-step image processing tutorials, all with current late-2016 software
โข a dozen galleries of comparison “before-and-after” images
โข 40 HD videos of time-lapse examples
โข reviews of current equipment
โข reviews of software, some very new – like this week! โ to use in place of Adobe
โข information on Nikon and Pentax cameras, as well as Canons
โข In addition, many images can be tapped on to zoom up. And most text can now be enlarged in a Scrolling View for use on small-screen devices.
The previous 2014 edition garnered rave reviews, with readers calling it:
โIncredibly well put together and visually stunning.โ
โSimply amazing! From hardware to software, it’s all covered. Alan Dyer got it right!โ
and โIt is a must-have resource for anyone doing nightscape and time-lapse photography.โ
As with the first edition, I’ve designed theย ebook to appeal to both amateur astronomers and landscape photographers by providing what I feel is theย most comprehensive information available in any ebook on theย hugely popular field of nightscape and time-lapse photography.
This isn’t a simple 50-page PDF pamphlet, as so many ebooks are. This is an extensive and detailed tutorial, with loads of interactive and multi-media content.
There’s loads of information on cameras and lenses
I’ve included information on setting Nikons and Pentaxes. Sony mirrorless camera will wait for the next edition!
I’ve added many new images, with lots of information on how to set cameras for many sky subjects.
The ever popular Milky Way gets its own chapter, with information on how to โ and how NOT to โ process the Milky Way.
I’ve included lots of information about new time-lapse gear, including some units, like the TimeLapse+ View bramping intervalometer that aren’t even available for general sale yet.
Lots of embedded HD videos illustrate time-lapse techniques. A book about shooting time-lapse movies ought to have time-lapse movies in it. Most don’t!
Step-by-step tutorials show you how to process with Lightroom, Camera Raw, Photoshop, and LRTimelapse (shown here), an essential tool for time-lapse work.
Tutorials cover still image processing, from the basics to advanced techniques such as masking and compositing. Stacking meteor showers and star trails? It’s all covered!
The size and media content of the ebook make it impossible to publish on Kindle/Amazon or Google Play/Android.
How to Photograph & Process Nightscapes and Time-Lapses is available worldwide exclusively through the Apple iBooks Store, for the iBooks app on Apple Macs, iPads and iPhones.
Owners of the original edition get the update for FREE! Just open iBooks on your Mac or iOS device and check Purchased and Updates.
For new buyers, the price remains unchanged: $24.99 US (prices vary with country due to exchange rates and local GST). The book is sold in every one of the 51 countries Apple sells into.
Enjoy! And do leave a review or star rating for the new edition at iTunes/iBooks Store.
I’m pleased to announce that after a year in production, our video tutorial series, Nightscapes and Time-Lapses: From Field to Photoshop, is now available.ย
It’s been quite a project! Over the last few years I’ve presented annual astrophoto workshops in conjunction with our local telescope dealer All-Star Telescope to great success.
However, we always had requests for the workshops on video. Attempts to video the actual workshops never produced satisfactory results. So we spent a year shooting in the field and in the studio to produce a “purpose-built” series of programs.
They are available now as a set of three programs, totalling 4 hours of instruction, for purchase and download at Vimeo at
For those wanting “hard copies” we will also be selling the programs on mailed USB sticks. See All-Star Telescope for info and prices. The downloaded version can also be ordered from there.
This series deals with the basics of capturing, then processing nightscape still images and time-lapse movies of the night sky and landscapes lit by moonlight and starlight.
Here’s the content outline:
Program 1 โ Choosing Equipment (1 Hour)
โข Tips for Getting Started โข Essential Gear โขย Choosing A Camera โขย Photo 101 โ Exposure Triangle โขย Setting Exposure โขย Expose to the Right โขย Setting a Camera โ File Types โขย Photo 101 โ Noise Sources โขย Setting a Camera โ Noise Reduction โขย Setting a Camera โ Focusing โขย Setting a Camera โ Other Menus โขย Choosing Lenses โขย Choosing an IntervalometerSummary and Tips
Program 2 โ Shooting in the Field (1 hour)
โขย Climbing the Learning Curve โขย Twilights โขย Astronomy 101 โ Conjunctions โขย Shooting Conjunctions โขย Moonrises โขย Shooting Auroras โขย Astronomy 101 โ Auroras โขย Photo 101 โ Composing โขย Moonlit Nightscapes โขย Astronomy 101 โ Where is the Moon? โขย Choosing a Location โขย Shooting the Milky Way โขย Astronomy 101 โ Where is the Milky Way? โขย Astronomy 101 โ Daily Sky Motion โขย Tracking the Sky โขย Shooting Star Trails โขย Shooting Time-Lapses โขย Calculating Time-Lapses โขย A Pre-Flight Checklist โขย Summary and Tips
Program 3 โ Processing Nightscapes and Time-Lapses (2 hours)
โขย Workflows โขย Using Adobe Bridge โ Importing and Selecting โขย Photo 101 โ File Formats โขย Using Adobe Lightroom โ Importing and Selecting โขย Adobe Camera Raw โ Essential Settings โขย Adobe Camera Raw โ Developing Raw Images โขย Adobe Lightroom โ Develop Module โขย Adobe Photoshop โ Introduction โขย Photoshop โ Setup โขย Photoshop โ Smart Filters โขย Photoshop โ Adjustment Layers โขย Photoshop โ Masking โขย Photoshop โ Processing Star Trails & Time-Lapses โขย Stacking Star Trails โขย Assembling Time-Lapse Movies โขย Archiving โขย Summary & Finale
If this first introductory series is successful we may produce follow-up programs on more advanced techniques.
Thanks for looking!
โ Alan, October 18, 2016 / ยฉ 2016 Alan Dyer / amazingsky.com
With the harvest in full swing, the aurora and Moon lit the fields on a clear September evening.
This night, September 19, showed prospects for a good display of Northern Lights, and sure enough as it got dark a bright, well-defined arc of Lights danced to the north.
I headed off to some photogenic spots near home, on the prairies of southern Alberta. By the time I got in place, the aurora had already faded.
However, the arc still photographed well and provided a great backdrop to these rural scenes. The rising Moon, then 3 days past full, lit the foreground. In the lead image, lights from combines and trucks working the field behind the bins are at left.
A diffuse arc of aurora and the rising waning gibbous Moon light the sky over the old barn near home at harvest time, September 19, 2016. The glows from Strathmore and Calgary light the clouds to the west at far left. The Big Dipper shines over the barn, with Capella and the stars of Perseus at right. The Pleiades are rising to the left of the Moon. This is a panorama of 5 segments, with the 20mm lens and Nikon D750. Stitched with ACR.
The image above was from later in the night, just down the road at a favourite and photogenic grand old barn.
The Big Dipper and a diffuse aurora over the old barn near home, in southern Alberta, on September 16, 2016. The waning gibbous Moon off camera at right provides the illumination. This is a stack of 4 exposures, averaged, for the ground to smooth noise and one exposure for the sky to keep the stars untrailed. All 13 seconds at f/2.8 with the Sigma 20mm lens, and ISO 1600 with the Nikon D750. Diffraction spikes on stars added with Noel Carboniโs Astronomy Tools actions.
Note the Big Dipper above the barn. A waning and rising Moon like this is great for providing warm illumination.
The time around equinox is usually good for auroras, as the interplanetary and terrestrial magnetic fields line up better to let in the electrons from the Sun. So perhaps we’ll see more Lights, with the Moon now gradually departing the evening sky.
On Friday night the Harvest Moon rose amid the arching shadow of the Earth.
This was the view on Friday, September 16 at moonrise on the Red Deer River. The view is from the Orkney Viewpoint overlooking the Badlands and sweeping curve of the river.
Above is the wideย arch of the dark shadow of the Earth rising into the deepening twilight. Almost dead centre in the shadow is the Full Moon, the annual Harvest Moon.
Hours earlier the Moon passed through the shadow of our planet out at the Moon’sย distance from Earth, creating a minor penumbral eclipse. No part of that eclipse, such as it was anyway, was visible from here.
But the alignment did place the Moon in the middle of our planet’s shadow projected into our atmosphere, as it doesย at every sunset and sunrise.
But it takes a very clear sky for the shadow to stand out as well as this in the darkening sky. I like how the curve of the shadow mirrors the curve of the river.
This is a marvellous spot for photography. I shared the site with one other photographer, at far right, who also came to capture the rising of the Harvest Moon.
The image is a 7-segment panorama with a 20mm lens, stitched with Adobe Camera Raw.
โ Alan, September 17, 2016 / ยฉ 2016 Alan Dyer /AmazingSky.com
The aurora has been lighting up our skies a lot in recent nights, in a great sweeping arc across the northern sky.
It’s been a good week or so for Northern Lights, with several nights in a row of fine displays. These images are from one night, taken near home in southern Alberta, on September 2.
The lead image at top shows the display at its best, with the arc of curtains reflected in a nearby pond. The green curtains fade to shades of magenta as they tower into the high atmosphere, as one process of glowing oxygen giving off green light transitions to another emitting red light.
A 180ยฐ panorama of the Northern Lights exhibiting classic concentric ars across the north, with an isolated arc to the east at far right. This is a stitch of 10 segments, each 2-second exposures with the 20mm Sigma Art lens at f/1.6 and Nikon D750 at ISO 3200. Stitched with PTGui.A little later the curtains had changed form, into a more homogenous arc above a set of sharper curtains below that are farthest north. People in northern Alberta or the Northwest Territories would have been seeing these curtains dancing above them.
What we are seeing is the classic curving arc of the auroral oval, the ring of light created by electrons raining down into our atmosphere in roughly an oval sweeping across the continent and centred on the magnetic pole in the Canadian Arctic.
However, at right, you can see a odd detached bit of more southerly aurora, with a dominant red colour.
An isolated auroral arc to the east on September 2, 2016, shot from near home during a fine display with active curtains to the north at left. A single 8-second exposure with the 20mm lens at f/1.4 and Nikon D750 at ISO 3200.This is a closeup, showing the characteristic form of these odd “isolated arcs” โ usually featureless, often thin, without much motion, and often red.
An isolated auroral arc to the west on September 2, 2016, shot from home during a fine display with active curtains to the north. A single 13-second exposure with the 20mm lens at f/1.4 and Nikon D750 at ISO 3200.Later, the arc had brightened and expanded to cross the sky. The above view is looking west from home, with the arc now displaying a mix of pink, white and green.
An isolated overhead auroral arc on September 2, 2016, shot from home during a fine display with active curtains to the north. The Summer Triangle stars stand out here due to high cloud fuzzing their images. A single 13-second exposure with the 20mm lens at f/1.4 and Nikon D750 at ISO 3200.Here, we are looking up the isolated arc, with the impression of it being a thin sheet seen at an angle, with the bottom green component being closest and the red top being highest and farthest away.
An isolated auroral arc to the southeast on September 2, 2016, shot from home during a fine display with active curtains to the north. This one displays the classic picket fence apperarance, with fingers of green aurora that moved along the band during a time-lapse of the scene. A single 13-second exposure with the 20mm lens at f/1.4 and Nikon D750 at ISO 3200.This is the view looking southeast to the strange aurora. For a time it broke up and displayed a “picket fence” formation. And it moved!
Just what these isolated arcs are is a mystery. They have been called “proton arcs,” under the assumption they are caused by incoming protons, not electrons. But while there are such things as proton arcs and auroras, they are diffuse and invisible to the eye and camera in normal visible light. So these features are not proton arcs.
Nevertheless, these odd arcs are not like the usual auroral curtains, and likely have a different origin. But just what is still the object of research. Images by amateur astronomers such as these can help in the study.
What a night this was – perfect skies overย an iconic location in the Rockies. And an aurora to top it off!
On August 31 I took advantage of a rare clear night in the forecast and headed to Banff and Moraine Lake for a night of shooting. The goal was to shoot a time-lapse and stills of the Milky Way over the lake.
The handy planning app, The Photographer’s Ephemeris, showed me (as below) that the Milky Way and galactic centre (the large circles) would be ideally placed over the end of the lake as astronomical twilight ended at 10:30 p.m. I began the shoot at 10 p.m. as the sky still had some twilight blue in it.
I planned to shoot 600 frames for a time-lapse. From those I would extract select frames to create a still image. The result is below.
This is looking southwest with the images taken about 11:15 pm on August 31, 2016.The ground is illuminated by a mix of starlight, lights from the Moraine Lake Lodge, and from a display of aurora brightening behind the camera to the north.ย The starclouds of Scutum and Sagittarius are just above the peaks of the Valley of Ten Peaks. This is a stack of 16 images for the ground, mean combined to smooth noise, and one exposure for the sky, untracked, all 15 seconds at f/2 with the Sigma 20mm Art lens and Nikon D750 at ISO 6400. The frames are part of a 450-frame time-lapse.
As the caption explains, the still is a composite of one exposure for the sky and 16 in succession for the ground, averaged together in a technique to smooth noise. The camera wasn’t tracking the sky, so stacking sky images isn’t feasible, as much as I might like to have the lower noise there, too. (There are programs that attempt to align and stack the moving sky but I’ve never found they work well.)
About midnight, the Valley ofย Ten Peaks around the lake began to light up. An aurora was getting active in the opposite direction, to the north. With 450 frames shot, I stopped the Milky Way time-lapse and turned the camera the other way. (I was lazy and hadn’tย hefted a second camera and tripod up the steep hill to the viewpoint.)
The lead-image panorama is the first result, showing the sweeping arc of Northern Lights over Desolation Valley.
The Northern Lights in a fine Level 4 to 5 display over Desolation Valley at Moraine Lake, Banff National Park, on the night of August 31/Sept 1. This is one frame from a 450-frame time-lapse with the aurora at its best. This is a 2-second exposure at f/2 with the Sigma 20mm Art lens and Nikon D750 at ISO 5000.
Still images shot, I began a time-lapse of the Lights, grabbing another 450 frames, this time using just 2-second exposures at f/1.6 for a rapid cadence time-lapse to help freeze the motion of the curtains.
The final movies and stills are in a music video here:
I ended the night with a parting shot of the Pleiades and the winter stars rising behind the Tower of Babel formation. I last photographedย that scene with those same stars in the 1980s using 6×7 film.
The early winter stars rising behind the Tower of Babel formation at Moraine Lake, Banff National Park, with a bright aurora to the north at left. Visible are the Pleiades at centre, and Capella and the stars of Auriga at left. Just above the mountain are the Hyades and Taurus rising. At top are the stars of Perseus. Aries is just above the peak of Babel. The aurora in part lights the landscape green. This is a stack of 16 images for the ground, mean combined to smooth noise, and 1 image for the sky, untracked, all for 15 seconds at f/2.2 with the Sigma 20mm Art lens, and Nikon D750 at ISO 3200. All with LENR turned on.
In a summer of clouds and storms, this was a night to make up for it.
Saturn, Mars and the Milky Way appeared in the twilight over the Bow River.
I shot this scene on August 24 from the viewpoint at Blackfoot Crossing Historical Park, overlooking the Bow River. Mars appears between Saturn above and Antares below, in a line of objects west of the Milky Way.
The valley below is the traditional meeting place of the Blackfoot Nation, and the site of the signing of Treaty Seven between Chief Crowfoot and Colonel MacLeod of the North West Mounted Police in 1877.
The image is a panorama of two images, each 20-second exposures at f/2 and ISO 1600 with the 24mm lens. I shot them just prior to shooting time-lapses of the moving sky, using two cameras to create a comparison pair of videos, to illustrate the choices in setting the cadence when shooting time-lapses.
The movies, embedded here, will be in the next edition of my Nightscapes and Time-Lapse ebook, with the current version linked to below. The text explains what the videos are showing.
Choose Your Style
When shooting frames destined for a time-lapse movie we have a choice:
Shoot fewer but longer exposures at slower ISOs and/or smaller apertures.
OR …
Shoot lots of short exposures at high ISOs and/or wide apertures.
The former yields greater depth of field; the latter produces more noise. But with time-lapses, the variations also affect the mood of a movie in playback.
This comparison shows a pair of movies, both rendered at 30 frames per second:
Clip #1 was taken over 2 hours using 20-second exposures, all at ISO 2000 and f/2 with 1-second intervals. The result was 300 frames.
Clip #2 was taken over 1 hour using 5-second exposures also at f/2 and 1-second intervals, but at ISO 8000. The result was 600 frames: twice as many frames in half the time.
Clip #2 exhibits enough noise that I couldnโt bring out the dark foreground as well as in Clip #1. Clip 2 exhibits a slower, more graceful motion. And it better โtime-resolvesโ fast-moving content such as cars and aircraft.
Which is better? It depends …
Long = Fast
The movie taken at a longer, slower cadence (using longer exposures) and requiring 2 hours to capture 300 frames resulted in fast, dramatic sky motion when played back. Two hours of sky motion are being compressed into 10 seconds of playback at 30 frames per second. You might like that if you want a dramatic, high-energy feel.
Short = Slow
By comparison, the movie that packed 600 frames into just an hour of shooting (by using short exposures taken at fast apertures or fast ISOs) produced a movie where the sky moves very slowly during its 10 seconds of playback, also at 30 frames per second. You might like that if you want a slow, peaceful mood to your movies.
So, if you want your movie to have a slow, quiet feel, shoot lots of short exposures. But, if you want your movie to have a fast, high-energy feel, shoot long exposures.
As an aside โ all purchasers of the current edition of my ebook will get the updated version free of charge via the iBooks Store once it is published later this year.ย
โ Alan, August 26, 2016 / ยฉ 2016 Alan Dyer / AmazingSky.com
I present a montage of time-lapses illustrating the motion of the sky in the Northern Hemisphere.ย
Any stargazer should be familiar with how the sky moves, with stars rising in the east and setting in the west.
From the northern hemisphere, when we look north we see the sky rotating counter-clockwise around the North Celestial Pole, near Polaris. As you’ll see in the video, even Polarisย moves, though not much over the night. The stars that never set, but just moveย across the northern horizon, are the circumpolar stars.
When we look south we see the seasonal constellations, the ones that rise and set, and change over the seasons.
I shot the images for these sequences from southern Arizona, in early December 2015.
So the night starts with the summer stars setting in the west and the autumn stars dominating the sky. But then Orion and the winter stars rise and march across the sky over the night, setting before dawn, as the spring stars rise.
The south-looking movie is a dusk-to-dawn sequence. Note the Zodiacal Light in the west at right in the early evening, then reappearing in the east at left before dawn brightens the sky, and as Venus and the Moon rises.
Also note the moving bands of red and green airglow, a natural phenomenon of the upper atmosphere.
I posted a matching set of moviesin my previous blog post, shot from the Southern Hemisphere. But here’s the link to the movie.
Both sets of movies were shot from nearly identical latitudes โ about 31ยฐ, but 31ยฐ N for Portal, Arizona and 31ยฐ S for Coonabarabran, Australia.
As such the Celestial Poles appear at equal altitudes above the horizon. And the angles that the stars rise and set at in relation to the horizon are the same.
But the direction they move is opposite. When looking 180ยฐ away from the Pole, the seasonal stars move from left to right in the Northern Hemisphere, but from right to left in the Southern Hemisphere.
Visitors from one hemisphere to the other are bound to get turned around!
โ Alan, August 25, 2016 / ยฉ 2016 Alan Dyer / AmazingSky.com
Nothing amazes even the most inveterate skywatcher more than traveling to another hemisphere and seeing sky move. It moves the wrong way!
Whether you are from the southern hemisphere traveling north, or as I do, travel south from the Northern Hemisphere, watching how the sky moves can be disorienting.
Here I present a video montage of time-lapses shot last April in Australia, at the annual OzSky Star Party near Coonabarabran in New South Wales.
Select HD and Enlarge button to view at full screen at best quality.
You’ll see the sky set in the west but traveling in arcs from right to left, then in the next clip, rise in the east, again moving from rightย to left. That’s the wrong angle for us northerners.
Looking north you see the seasonal constellations, the ones that rise and set over a night and that change with the seasons. In this case, the night starts with Orion (upside-down!) to the north but setting over in the west, followed by Leo and bright Jupiter. The sky is moving from east to west, but that’s from right to left here. The austral Sun does the same thing by day.
Looking south, we see the circumpolar constellations, the ones that circle the South Celestial Pole. Only there’s no bright “South Star” to mark the pole.
The sky, including the two Magellanic Clouds (satellite galaxies to the Milky Way) and the spectacular Milky Way itself, turns around the blank pole, moving clockwise โ the opposite direction to what we see up north.
I shot theย sequences over four nights in early April, as several dozen stargazers from around the world revelled under the southern stars, using an array of impressive telescopes supplied by the Three Rivers Foundation, Australia, for us to explore the southern sky.
It was a great night for shooting meteors as the annual Perseids put on a show.
For the Perseid meteor shower I went to one of the darkest sites in Canada, Grasslands National Park in southern Saskatchewan, a dark sky preserve and home to several rare species requiring dark nights to flourish โ similar to astronomers!
This year a boost in activity was predicted and the predictions seemed to hold true. The lead image records 33 meteors in a series of stacked 30-second exposures taken over an hour.
It shows only one area of sky, looking east toward the radiant point in the constellation Perseus โ thus the name of the shower.
Extrapolating the count to the whole sky, I think it’s safe to sayย there would have beenย 100 or more meteors an hour zipping about, not bad for my latitude of 49ยฐ North.
A lone Perseid meteor streaking down below the radiant point in Perseus, with the sky and landscape lit by the waxing gibbous Moon, August 11, 2016. Perseus is rising in the northeast, Andromeda is at right, with the Andromeda Galaxy right of centre. Cassiopeia is at top. Taken from the 70 Mile Butte trailhead in Grasslands National Park, Saskatchewan.
The early part of the evening was lit by moonlight, which lent itself to some nice nightscapes scenes but fewer meteors.
The 2016 Perseid meteor shower, in a view looking north to the Big Dipper and with the radiant point in Perseus at upper right, the point where the meteors appear to be streaking from. This is a stack of 10 frames, shot over one hour from 1:38 a.m. to 2:37 a.m. CST. The camera was on the Star Adventurer tracker so all the sky frames aligned. The ground is from a stack of four frames, mean combined to smooth noise, and taken with the tracker motor off to minimize ground blurring, and taken at the start of the sequence. All exposures 40 seconds at f/3.2 with the 16-35mm lens and Canon 6D at ISO 6400.
But once the Moon set and the sky darkened the show really began. Competing with the meteors was some dim aurora, but also the brightest display of airglow I have even seen.
It was bright enough to be visible to the eye as grey bands, unusual. Airglow is normally sub-visual.
But the camera revealed the airglow bands as green, red, and yellow, from fluorescing oxygen and sodium atoms. The bands slowly rippled across the sky from south to north.
Airglow is something you can see only from dark sites. It is one of the wonders of the night sky, that can make a dark sky not dark!
TECHNICAL:
The lead image is stack of 31 frames containing meteors (two frames had 2 meteors), shot from 1:13 am to 2:08 a.m. CST, so over 55 minutes. The camera was not tracking the sky but was on a fixed tripod. I choose one frame with the best visibility of the airglow as the base layer. For every other meteor layer, I used Free Transform to rotate each frame around a point far off frame at upper left, close to where the celestial pole would be and then nudged each frame to bring the stars into close alignment with the base layer, especially near the meteor being layered in.
This placed each meteor in its correct position in the sky in relation to the stars, essential for showing the effect of the radiant point accurately.
Each layer above the base sky layer is masked to show just the meteor and is blended with Lighten mode. If I had not manually aligned the sky for each frame, the meteors would have ended up positioned where they appeared in relation to the ground but the radiant point would have been smeared โ the meteors would have been in the wrong place.
Unfortunately, itโs what I see in a lot of composited meteor shower shots.
It would have been much easier if I hadย had this camera on a tracker so all frames would have been aligned coming out of the camera. But the other camera was on the tracker! It took the other composite image, the one looking north.
The ground is a mean combined stack of 4 frames to smooth noise in the ground. Each frame is 30 seconds at f/2 with the wonderful Sigma 20mm Art lens and Nikon D750 at ISO 5000. The waxing Moon had set by the time this sequence started, leaving the sky dark and the airglow much more visible.
The waning Moon shone near the bright star Aldebaran in the dawn sky.
This was a beautiful sight this morning, before dawn on July 29. The crescent Moon, its night side illuminated by Earthshine, shone just below the brightest star in Taurus.
We are currently in 3-year period when the Moon’s path is taking it near or in front of Aldebaran every month. However, most of these occultations or conjunctions are not well-timed for any particular location. And many involve the too-brilliant gibbous or full Moon.
But this morning the timing and Moon phase were perfect. From my longitude on Earth in Alberta, the Moon passed closest to the star just before the sky was getting too bright with dawn. Having them set against the deep blue twilight was perfect.
From farther east the Moon would not have appeared as close to Aldebaran as this before sunrise. From farther west the Moon and star would have appeared much lower in the sky at closest approach.
TECHNICAL:
For this image I shot 6 exposures, from 2 seconds for the Earthshine, twilight sky colour and stars, to 1/125th second for the bright crescent. I then stacked, aligned, and blended them together using luminosity masks โ masks that hide or reveal parts of the image based on the brightness of the scene. You can see them in the Photoshop screen shot – Click on the image to enlarge it.
How do you create these masks?
โข Turn off all the layers except the one you want to create a mask for.
โข Go to Channels and Command/Control Click on the RGB Channel.
โข That automatically selects all the highlights.
โข Go back to the image layer and then hit the Add Mask button down at the bottom of the Layers panel (the rectangle with the black dot in it).
โข Done. Repeat that for each image layer.
More traditional high dynamic range or “HDR” stacking left odd colour fringing artifacts and double images on the slowly moving Moon, despite applying what is called “de-ghosting” and despite using a mount tracking at the lunar rate. I tried merging the images withย HDR, but it didn’t work.
A nifty Photoshop action from the Astronomy Tools set by Noel Carboni added the diffraction spikes.
I shot all images with the 130mm Astro-Physics refractor at f/6 and the Canon 60Da camera at ISO 400.
The sky presented a pyrotechnic display of light and colour in the sunset sky.
What a show tonight, July 18, as a thunderstorm lit the sky with bolts of lightning. As the storm retreated, the Sun broke through, ideal lighting for a rainbow. In this case I was able to capture the rainbow pierced by bolts of lightning. See below for tech details.
A little later, the sunlight got stronger and the rainbow grew to span the sky, in a beautiful display of a double rainbow lit by the red light of the setting Sun.
A double rainbow at sunset on July 18, 2016 after a pyrotechnic thunderstorm. The low Sun is providing the red lighting, with some shafts of sunlight and shadow converging to the anti-solar point. This is a 2-frame panorama with the 16-35mm lens at 16mm, stitched with Adobe Camera Raw.
As the beams of sunlight lit the clouds, it looked like the rainbow was on fire.
A double rainbow at sunset with the last rays of the setting Sun lighting the clouds and making the rainbow look like its on fire. A single image with the 16-35mm lens.
It has been a stormy start to summer in Alberta, but at times the sky has put onย a stunning show. That was certainly the case tonight.
Technical on the Lightning and Rainbow shot at top:
This is a stack of 35 consecutive video frames taken with HD (1920 x 1080) resolution at 30 frames per second with the Canon 6D, and extracted as an image sequence with Photoshop, then processed in Adobe Camera Raw, then stacked with Russell Brownโs Stack-A-Matic into a smart object with maximum stack mode, to accumulate the frames taken over about 1 second into one still frame.
So I could have got this with a single 1-second exposure with the lens stopped way down and a ND filter, but my timing would have had to have been very, very lucky!
I am pleased to present my latest music video featuring Alberta Skies in motion, set to the music of Ian Tyson.
Myย 5-minute video features time-lapse imagery shot over the last three years in the plains, badlands, and mountains of Alberta.
Do click through to Vimeo and view in HD for the best quality.
The footage is set to the music of Alberta singer/songwriter Ian Tyson, and his superb rendition of Home on the Range. It is used by kind permission of Ian Tyson and Stony Plain Records. Thanks!
It was hearing Ian’s version of this song on CBC one day in 1992 when hisย album And Stood There Amazed came out that inspired me to move back to Alberta and the great landscapes of the west that I knew I wanted to capture.
Little did I know at the time how it was going to be possible in the 2000s to do it in time-lapse.
We achieved our funding goal on Kickstarter with 10 days to go.
Hurray! We made it to the top, with funding now secure to complete the production of our video tutorial series.
But the Kickstartercampaign doesn’t end now! You have until July 15 to back us, and get the videos at a big discount off the final retail prices when they are released later this year. So there’s still time to act and save!
A bright display of noctilucent clouds last night prompts me to remind northerners to look north at this prime season for night shining clouds.
Noctilucent clouds (NLCs) can be seen only in summer and are best in the few weeks before and after (mostly after) summer solstice. I shot all these images in the middle of the night. Indeed, the two images above and just below areย from 3 am on the morning of June 27.
NLCsย are high altitude clouds at the edge of space some 80 kilometres above the Earth, far above any normal weather clouds. Their height allows sunlight streaming over the pole to illuminate them all night long.
Noctilucent clouds at 3 am on June 27 over a prairie pond in southern Alberta. The NLCs were visible as an arc across the north for at least 2 hours and were still there as dawn twilight brightened at 3:30 am. This is looking due north with the bowl of the Big Dipper at upper left. Capella is at lower right. Shot with the 24mm lens.
Their cause is a mystery. They may formย by water vapour condensing on meteoric dust particles.
They look luminescent, as if glowing on their own. But these are not auroras. They shine only by reflected sunlight.
And they have complex structures, with intricate waves and ripples.
A display of noctilucent clouds, the first good display of the season from my area of southern Alberta, on June 17/18. 2016. This is with a 105mm telephoto and the Nikon D750, and is the first frame of a 1000-frame time-lapse sequence. However, as the Sun dropped farther below the horizon the clouds did lose illumination and faded, from the top down.
And they move very slowly, as this time-lapse from June 17 shows.
Readers living at a latitude between 45ยฐ and 55ยฐ are best situated to see “NLCs.” From farther south the clouds will be below the horizon. From farther north the sky may be too bright with twilight and the angle of illumination wrong for optimum viewing.
Unlike auroras, there is no predicting when they might appear. Some nights when it is clear where you are, no NLCs appear. Perhaps that’s because of cloud much farther north blocking the pathย of light from the Sun on the other side of the planet to the clouds on our side of the Earth.
But by the end of July NLC season is coming to an end as the Sun drops farther below the northern horizon at night, and the nights get darker.
So over the next four weeks, look low in the north for night shining clouds.
On the night before the solstice Full Moon, the sky added a coloured halo around the Moon.
On June 19 I was at Waterton Lakes National Park, Alberta to teach a workshop on night photography, as one of the programs of the Park’s annual Wildflower Festival. The night proved hazy, but that added the attraction of an ice crystal halo around the Moon.
The lead image above is from Driftwood Beach, looking south across Middle Waterton Lake. Note Mars shining above the mountains at right.
Earlier in the night, at Red Rock Canyon, we watched the Moon rise in the twilight, then climb up the side of Mt. Blakiston. Here (below) it shines above the summit, surrounded by its hazy halo.
Lunar halo in a hazy sky at Red Rock Canyon, Waterton Lakes National Park, Alberta, with the Full Moon over Mt. Blakiston. This is a high-dynamic range stack of 6 exposures, to avoid the area around the Moon from blowing out too much while recorded detail in the dark foreground. All with the 20mm lens and Nikon D750.
The workshop participants made the best of the night, shooting the moonlit scene down the canyon, toward the north and Cassiopeia.
Nightscape photographer at a workshop I was presenting, shooting Red Rock Canyon in the moonlight at Waterton Lakes National Park, June 19, 2016. Cassiopeia is in the sky to the north. This is a single exposure for 13 seconds at f/2.8 and ISO 800 with the 20mm lens and Nikon D750.
And as here, shooting from the canyon footbridge, toward the very photogenic Anderson Peak, with Jupiter just above the peak.
A workshop group of photographers at Red Rock Canyon at Waterton Lakes National Park, Alberta, during the 2016 Wildflower Festival, June 19, 2016. Taken by the light of the Full Moon at solstice. Jupiter is the bright object behind Anderson Peak.
In keeping with the wildflower theme, I shot wild roses, Alberta’s provincial flower, in the moonlight, with Anderson Peak and stars in the distance.
Alberta wild roses in the moonlight with Anderson Peak in the background, at Red Rock Canyon, Waterton Lakes National Park, Alberta. Taken on Full Moon night June 19, 2016, at a workshop on nightscape imaging I was teaching as part of the Waterton Wildflower Festival. This is a single exposure at f/8 for 20 seconds at ISO 3200 with the 20mm lens and Nikon D750.
While we might like dark skies when going to places like Waterton, there are many magical options for photography when the Moon is shining.
Our video tutorial project is now live on Kickstarter!
For the last two years I’ve been involved in a project to produce a set of comprehensive video tutorials on how to shoot and process Nightscapes and Time-Lapses, to complement myย ebook by the same name.
If you’ve not been able to attend my workshops โ or even if you have! โ these videos will provide you with all the information, and more, in a format you can review over and over.
We’ve shot all the field and studio footage, but to complete the production, we need your help. Back us on Kickstarterand we’ll be able to make the programs available this September, as downloads and on aย shipped USB drive.
Ourย Kickstarter page has all the details. Early backers can purchaseย the tutorial programs now for as little as $55 – and that’s Canadian! โ vs. $80 for the final retail price. The final programs willย provide several hours of instruction, both in the field and at the computer.
If you have not participated in a Kickstarter campaign before, it is no risk. Nothing is charged to your credit card until and when the project is successfully funded after the 30-day campaign. If it isn’t successful, you are charged nothing.
Here’s our promo video describing the programs.
We have 30 days to make our goal. We invite you to joinย usย in making our project a reality.
The nights were short and never fully dark, but early June provided a run of clear nights in the Rockies to enjoy Mars and the Milky Way.
Weather prospects looked good for a run of five nights last week so I took advantage of the opportunity to shoot nightscapes from Banff and, as shown here, in Yoho National Park across the Continental Divide in B.C.
The lead image above is a sweeping panorama at Emerald Lake, one of the jewels of the Rockies. Though taken at 1:30 a.m., the sky still isn’t dark, but has a glow to the north that lasts all night near summer solstice. Even so, the sky was dark enough to reveal the Milky Way arching across the sky.
The mountain at centre is Mt. Burgess, home of the famous Burgess Shale Fossils, an incredible collection of fossilized creatures from the Cambrian explosion.
The image is a panoramic stitch ofย 24 segments but cropped in quite a bit from the original, and all shot with an iPano motorized panning unit. Each exposure was 30 seconds at f/2.2 with the Sigma 24mm lens and Nikon D750 at ISO 4000. One short exposure of the lodge was blended in to reduce its light glare. The original, stitched withย PTGui software, is 15,000 x 9,000 pixels.
The Milky Way over the side pond at Emerald Lake, Yoho National Park, BC., from the bridge to the Lodge. This is a stack of 8 x 25-second exposures for the foreground (mean combined to smooth noise), and one untracked exposure for the sky (to minimize trailing), all at f/2.8 with the Rokinon 14mm lens and Canon 6D at ISO 6400.
The viewย above, a single frame image, shows the view to the south as the Milky Way and galactic centre descend toward the horizon over the south end of the lake. Lights from the Lodge illuminate the trees.
Mars, at right, reflected in Emerald Lake at twilight in Yoho National Park, BC, June 7, 2016. This is a single 6-second exposure at f/3.2 with the Sigma 20mm lens and Nikon D750 at ISO 100.
The next night (above) I was at the same spot to shoot Mars in the deepening twilight, and reflected in the calm waters of Emerald Lake, with Cathedral Peak at left.
This is a vertical panorama of 4 segments, taken with the iPano unit, and with each segment a 30-second exposure at f/2.2 with the Sigma 24mm Art lens and Nikon D750 at ISO 4000. Stitched with Adobe Camera Raw.
Another multi-frame panorama, this time sweeping up from the horizon, captures Cassiopeia (the “W”) and the rising autumn constellations reflected in the lake waters.
Vega is at top, Deneb below it, while the stars of Perseus and Pegasus are just rising.
It was a magical two nights in Yoho, a name that means “wonderful!” Both by day and by night.
โ Alan, June 9, 2016 / ยฉ 2016 Alan Dyer / AmazingSky.com
How many sources of skyglow can you pick out here?
There are at least five:
โข the Milky Way (at left),
โข green airglow (below the Milky Way),
โข all too prevalent light pollution (especially reflected off the clouds coming in from the west at right),
โข lingering blue twilight across the north (at left and right), common in May and June from my northern latitude,
โข and even a touch of aurora right at the northern horizon at far left.
In this scene from May 28, the Milky Way arches over an abandoned pioneer farmstead from the 1930s and 40s near my home in southern Alberta.
Mars (very bright and in some clouds) and Saturn shine at lower centre, while Jupiter is the bright object in clouds at right just above the old house.
Arcturus is the brightest star here at upper right of centre, made more obvious here by shining through the clouds. The Big Dipper, distorted by the map projection used in the this panorama, is at upper right.
Technical: This is a 360ยฐย horizon to zenith panorama taken with the iPano motorized panning unit, using the 24mm lens at f/2.8 and Nikon D750 at ISO 6400, for a stitch of 28 panels, in 4 tiers of 7 segments each. Stitched with PTGui. South is at centre, north to either end. The original is 25,700 x 7,700 pixels.
Just afterย I shot the panorama I captured the International Space Station passingย directly overhead in one of several passes this night.
The second Space Station pass of May 28/29, 2016, at 1:40 a.m., with cloud moving in adding the glows to all the stars. Taken with the 8mm fish-eye lens from home. The Big Dipper is high in the west at right. Mars is bright at bottom, to the south. Several other satellites are in the sky as well. This is a stack of 3 exposures, each 2.5-minutes with the camera on the Star Adventurer tracker.
At this time of year the ISS is lit all night by the Sun that never sets for the astronauts. We see the ISS cross the sky not once but several times in a night at 90-minute intervals.
While the sky near solstice is never dark at my latitude, it does have its compensations and attractions.
โ Alan, May 29, 2016 / ยฉ 2016 Alan Dyer / AmazingSky.com
Mars is now shining brightly in the evening sky, as close and as bright as it has been since 2005.
Look southeast to south after dark and you’ll see a brilliant reddishย “star.” That’s Mars, now at opposition, and retrogradingย slowly westward each night through Scorpius into Libra.
My image above captures Mars set in the entirety of the northern spring sky, complete with the arch of the Milky Way, twilight glows to the north (at left), some satellite trails …
… and Mars itself as the brightest objectย just right of centre shining above the landscape of Dinosaur Provincial Park.
Just to the left of Mars is Saturn, while below both is the star Antares in Scorpius, for a neat triangle of objects. Jupiter is the bright object in Leo at far right.
Technical: I shot the lead imageย on the evening of May 25. It is aย 360ยฐ and horizon-to-zenith panorama stitchedย from 44 images, taken in 4 tiers of 11 panelsย each, shot with aย motorized iOptron iPano mount. I used aย 35mm Canon lens at f/2.8 for 30-second exposures with the Canon 6D at ISO 6400. Iย stitched the images with PTGui. The original image is a monster 32,500 pixels wide by 8,300 pixels high.
This is a stitch in Adobe Camera Raw of 9 segments, each with the Canon 35mm lens at f/5.6 and Canon 6D at ISO 800.
I shot the panorama above earlier in the evening, when Mars and Saturn were just rising in the southeast at left, and the sky to the northwest at right was still bright with twilight.
This shows the geometry of Mars at opposition. It lies opposite the Sun and is so rising at sunset and directly opposite the sunset point. The Sun, Earth and Mars are in a straight line across the solar system with Earth in the middle and as close to Mars as we get.
Actual date of opposition was May 22 but Earth is closest to Mars on May 30. That’s when it will look largest in a telescope. But to the unaided eye it appears as a bright red star.
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 โ 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 myย 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:
โขย Manitoba (1979)
โขย Chile (1994)
โขย Curaรงao (1998)
โขย Turkey (1999)
โข Zimbabwe (2001)
โข Australia (2002)
โขย Over Antarctica (2003)
โขย South Pacific near Pitcairn Island (2005)
โขย Libya (2006)
โขย Over Arctic Canada (2008)
โข South Pacific near the Cook Islands (2009)
โขย Australia (2012)
โขย 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:
Mars is approaching! It now shines brightly in the midnight sky as a red star in Scorpius.
You can’t miss Mars now. It is shining brighter than it has since 2005, and is about to come as close to Earth as it has in 11 years as well.
Mars is now approaching opposition, when the Earth comes closest to Mars, and the Sun, Earth and Mars lie along the same line. Opposition date is May 22. That’s when Mars shines at its brightest, at magnitude -2.1, about as bright as Jupiter. Only Venus can be a brighter planet and it’s not in our sky right now.
A week later, on May 30, Mars comes closest to Earth, at a distance of 75 million kilometres. That’s when the disk of Mars looks largest in a telescope. Andย you will need a telescope at high power (150x to 250x) to make out the dark markings, north polar cap, and bright white clouds on Mars.ย
Mars above Antares, with Saturn to the left, low in the south on May 13, 2016, in the moonlight of a waxing quarter Moon, from home in Alberta. This was one week before opposition and two weeks before closest approach, so Mars is particularly bright and red. However, from my latitude of 50ยฐ N Mars appears low in the south. This is a single 15-second exposure, untracked, at f/2.5 with the 35mm lens and Canon 6D at ISO 2000.
In these views, I show Mars shining as a bright reddish star low in my western Canadian sky. I shot the lead image from Dinosaur Provincial Park on May 16. The image just above was from my backyard the night before.
This week, Mars is passing between Beta and Deltaย Scorpii, two bright stars in the head of Scorpius,ย as the red planet retrogrades westward against the background stars.
Saturn shines to the east (left) of Mars now, with both planets shining above the red giant star Antares in Scorpius. In these photos they form a neat triangle.
Even without a telescope to magnify the view, it’ll be rewarding to watch Mars with the unaided eye or binoculars as it treks west out ofย Scorpius into Libra this spring and summer. It stops retrograding on June 30, then starts looping back into Scorpius, for a rendezvous with Antares and Saturn in late August.
This little compilation of time-lapse movies shows Mars, Saturn, and the rest of the sky, rising into the southeast and across the south on two nights this past week.
Be sure to explore Mars this month and next, whether by eye or by telescope. It’s the best we’ve seen it in a decade.
It’s next close approach in 2018 will be even better, though Mars will appear even lower in our northern sky.
On May 9, a last-minute chase into clear skies netted me a view of the rare transit of Mercury across the Sun.
Theย forecast calledย forย typical transit weather โ 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 โ 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 observingย sites, but I was happy! I had my clear skies!
I set up two telescopes, above: a 130mm refractorย to shoot through, and an 80mm refractorย to look through. Both with dense solar filters!
Bothย 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.
The May 9, 2016 transit of Mercury taken about half an hour after sunrise, as the Sun emerged from low horizon cloud. Taken from Kamloops, British Columbia, where the transit was well underway at sunrise. Mercury appears as the circular dot at lower left, with a sunpot group above centre. I shot this with the 130mm Astro-Physics refractor at f/6 prime focus with the Canon 60Da camera at ISO 100. Shot through a Kendrick white light solar filter. The low atltitude added much of the yellow colouration.
There it was โ 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.
The May 9, 2016 transit of Mercury taken about 45 minutes after sunrise, as the Sun emerged from low horizon cloud. I shot this with the 130mm Astro-Physics refractor at f/6 prime focus with the Canon 60Da camera at ISO 100. Shot through a Kendrick white light solar filter.
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 movementย around the Sun. A transit is one of the fewย times you can easily see a planet actually orbiting the Sun.
For all images I used the 130mm f/6 Astro-Physics refractor with a 2X Barlow for an effective focal length of 1560mm and the Canon 60Da camera (at ISO 100) to yield an image size with the Sun just filling the frame. Exposures were 1/250th second through a Kendrick white light Mylar filter. Yellow colouration of the solar disk added in processing.
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 cloneย 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!
The sky and sea present an ever-changing panorama of light and colour from the viewย point of an Australian lighthouse.
Last week I spent a wonderful four nights at the Smoky Cape Lighthouse, in Hat Head National Park, on the Mid-North Coast of New South Wales. I was after panoramas of seascapes and cloudscapes, and the skies didn’t disappoint.
At sunset, as below, the sky to the east glowed with twilight colours, with the bright clouds providing a beautiful contrast against the darkening sky. The kangaroo at far right was an added bonus as he hopped into frame just at the right time.
A 270ยฐ or so panorama of the Smoky Cape Lighthouse near South West Rocks on Trial Bay, NSW, Australia, and in Hat Head National Park. This is a stitch of 12 segments, each a single 1.6-second exposure at f/8 with the 35mm lens in landscape orientation. Stitching with Adobe Camera Raw.
At sunrise, the Sun came up over the ocean to the east, providing a stunning sceneย to begin the day.
I shot this at dawn on April 28, 2016. This is a 7-section panorama with each section being a 5-exposure HDR stack, all stacked and stitched in Adobe Camera Raw.
The Smoky Cape Lighthouse was lit up for the first time inย 1891. It was staffed for decades by three keepers and their families who lived in the cottages visible in the panoramas above. They tended to the kerosene lamps, to cleaning the lenses, and to winding the weight-driven clockwork mechanism that needed resettingย every two hours to keep the reflector and lens assembly turning. By day, they would draw the curtains across to keep the Sun from heating up the optics.
The huge optical assembly uses a set of nine lenses, each a massive fresnel lens, to shot focused beams out to sea. The optics produce a trio of beams, in three sets.
Each night you could see the nine beams sweeping across the sky and out to sea, producing a series of three quick flashes followed by a pause, then another three flashes, the characteristic pattern of the Smoky Bay Light. Each lighthouse has its own flashing pattern.
Beams from the Smoky Cape Lighthouse in the twilight sky, beaming out beside the stars of the Southern Cross and the Pointers (Alpha and Beta Centauri) below, rising into the southeast sky in the deepening blue twilight. This is a single 0.6-second exposure at f/2.8 with the 35mm lens and Canon 6D at ISO 6400.
The lead photo, repeated above, shows the beams in the twilight, with the stars of the Southern Cross as a backdrop. Three beams are aimed toward the camera while the otherย two sets of beam trios are shooting away out to sea.
The image below shows the beam trio shining out over the water toward one of the dangerous rocks off shore.
The trio of beams from the Smoky Cape Lighthouse scanning across the sea and sky in an exposure shot as short as possible to freeze the beams. This is a single 1.6-second exposure at f/1.4 and ISO 12800, wide and fasrt to keep the beams from blurring too much.
The Lighthouse was converted to electricity in 1962, when staff was reduced. Then in the 1980s all lighthouses were automated and staff were no longer needed.
While we might romanticize the life of a lighthouse keeper, it was a lonely and hard life. Keepers were usually married, perhaps with children. While that may have lessened the isolation, it was still a difficultย life for all.
Today, some of the cottages have been converted into rentable rooms. I stayed in the former house of the main light keeper, filled with memorabilia from the glory days of staffed lighthouses.
The Southern Cross, Crux, and the Pointer Stars, Alpha and Beta Centauri, above in the moonlight of the waning gibbous Moon before dawn, from the Smoky Cape Lighthouse looking southwest, on the coast of New South Wales, Australia. The Cape was named by James Cook in 1770 for the fires he saw on shore here. This is a single 5-second exposure at f/2.8 with the 35mm lens and Canon 6D at ISO 1000.
The image above takes in the Southern Cross over the moonlit beach in the dawn twilight.
The last image below is my final astrophoto taken on my current trip to Australia, a 360ยฐ panorama of the Milky Way and Zodiacal Light from the back garden of the Lighthouse overlooking the beach at Hat Head National Park.
A 360ยฐ panorama and from horizon to zenith of the southern sky and Milky Way from Smoky Cape and the grounds of the Lighthouse and Cottages. The panorama is a stitch of 9 segments, each shot with the 15mm full-frame fish-eye lens in portrait orientation, and at f/2.8 with the Canon 6D at ISO 3200. All exposures 1 minute, untracked on a tripod. Stitched in PTGui using equirectangular projection.
It’s been a superb trip, with over half a terabyte of images shots and processed! The last few blogs have featured some of the best, but many more are on the drives for future posts.
When visiting southern latitudes nothing disorients a northern hemisphere astronomer more than seeing our familiar Moon turned โthe wrong way!โ
With the Moon now dominating the night sky, my photo attention in Australia turns to it as my celestial subject.
Itโs wonderful to see the Moon as a crescent phase in the evening sky, but now flipped around so it looks like the Moon we see from home upย north when it is a waning crescent in the morning.
However,ย the lead image above actually shows the waxing crescent in the evening. It shines above the volcanic hills near Warrumbungles National Park, with the added silhouette of the dome of the Australian Astronomical Telescope, the largest optical telescope in Australia.
After a lifetime of seeing the Moon in its northerly orientation, seeing the austral Moon throws off your sense of time and direction. Are we looking west in the evening? Or east in the morning? The Moon just doesnโt make sense!
This is a two-exposure composite: a long exposure for the sky and ocean, and a short exposure for the disk of the Moon itself, to preserve some detail in the disk, specifically the mare areas to show the face of the Moon and not an overexposed white disk. Both with the 135mm telephoto and Canon 6D, from Woolgoolga, NSW.
Then thereโs the Full Moon. It rises in the east, as does the Sun. But like the Sun, the “down under Moon”ย moves from right to left across the northern, not southern sky. And the familiar โMan in the Moonโ figure is upside down, as seen above.
The photo above is from Friday night, and shows the Full Moon rising in the northeast over the Pacific Ocean.
The apogee Full Moon of April 22, 2016 rising over the Pacific Ocean and lighting the waters with a golden glitter path of reflected moonlight. I shot this from the Woolgoolga Headlands viewpoint, with the 135mm telephoto and Canon 6D. This is a high dynamic range stack of 5 exposures to compress the range in brightness. Even so, the Moon itself is still overexposed.
This “HDR”ย image above from earlier in the evening captures the golden glitter path of moonlight on the ocean waves. I photographed these Full Moon scenes from the Headlands viewpoint at Woolgoolga, a great spot for panoramic seascapes.
The Full Moon this night was the apogee Full Moon of 2016 โ the smallest and most distant Full Moon of the year, the opposite of a “supermoon.”
This is a high dynamic range stack of 7 exposures to preserve the range in brightness between the bright sky and Moon, and the dark ground in the dim twilight.
Earlier in the week I was inland, high on the New England Tablelands in New South Wales. This image shows the waxing gibbous Moon in the evening twilight over Ebor Falls on the Guy Fawkes River, one of the few waterfalls on the famed Waterfall Way in New Soith Wales that has water flowing year round.
From southern latitudes the most amazing region of the sky shines overhead late on austral autumn nights.ย
There is no more spectacular part of the Milky Way than the regions around its galactic centre. Or at least in the direction of the galaxyโs core.
We canโt see the actual centre of the Galaxy, at least not with the cameras and telescopes at the disposal of amateur photographers such as myself.
It takes large observatory telescopes equipped with infrared cameras to see the stars orbiting the actual centre of the Milky Way. Doing so over many years reveals stars whipping around an invisible object with an estimated 4 million solar masses packed into the volume no larger than the solar system. Itโs a black hole.
By comparison, looking in that direction with our eyes and everyday cameras, we see a mass of stars in glowing clouds intersected by lanes of dark interstellar dust.
The top image shows a wide view of the Milky Way toward the galactic centre, taking in most of Sagittarius and Scorpius and their incredible array of nebulas, star clusters and rivers of dark dust, all located in the dense spiral arms between us and the galactic core.
This is a mosaic of 6 segments, each segment being a stack of 4 x 3-minute exposures at f/2.8 with the 135mm Canon L-Series
Zooming into that scene reveals a panoramic close-up of the Milky Way around the galactic centre, from the Eagle Nebula in Serpens, at left, to the Catโs Paw Nebula in Scorpius, at right.
This is the richest hunting ground for stargazers looking for deep-sky wonders. Itโs all here, with field after field of telescopic and binocular sights in an area of sky just a few binocular fields wide.
The actual galactic core area is just right of the centre of the frame, above the bright Sagittarius StarCloud.
This is a stack of 5 x 5 minute exposures with the Borg 77mm f/4 astrograph and filter-modified Canon 5D MkII at ISO 1600, taken from Tibuc Cottage near Coonabarabran, NSW, Australia.
Zooming in again shows just that region of sky in an even closer view. The contrast between the bright star fields at left and the dark intervening dust at right is striking even in binoculars โ perhaps especially in binoculars.
The visual impression is of looking into dark canyons of space plunging off bright plateaus of stars.
In fact, it is just the opposite. The dark areas are created by dust much closer to us, hiding more distant stars. It is where the stars are most abundant, in the dust-free starclouds, that we see farthest into the galaxy.
In the image above the galactic centre is at right, just above the small diffuse red nebula. In that direction, some 28,000 light years away, lurks the Milky Wayโs monster black hole.
This is a stack of 5 x 6-minute tracked exposures with the 15mm fish-eye lens at f/4 and Canon 5D MKII at ISO 1600. The trees appear to be swirling around the South Celestial Pole at lower right above the Cottage.
To conclude my tour of the galactic centre, I back out all the way to see the entire sky and the Milky Way stretching from horizon to horizon, with the galactic centre nearly overhead in this view from 3 a.m. earlier this week.
Only from a latitude of about 30ยฐ South can you get this impressive view, what I consider one of the top โbucket-listโ sights the sky has to offer.
Mars outshines his rival red star Antares in the heart of the Scorpion.
This was the view last night from my observing site in Australia, of red Mars shining near the red star Antares, whose very name means โrival of Mars.โ But as Mars nears its closest approach to Earth next month it is already far brighter than Antares, easily winning the rivalry now.
The view takes in the head of Scorpius, one of the most colourful areas of the night sky when photographed in long exposures. Uniquely, Antares illuminates a nearby dust cloud with its light which is more yellow than red.
Other dust clouds reflect the blue light of hot young stars in this section of the Milky Way. Red nebulas are emitting their own light from glowing hydrogen.
The area around Antares is also streaked with lanes of dark dust that absorb light and at best appear a dull brown.
Mars reaches its closest point to Earth since 2005 on May 30. All through May and June Mars will shine as a brilliant red star near Antares. A telescope will provide the best view of the red planet weโve had in a decade.
This is a stack of 4 x 3 minute exposures with the 135mm telephoto lens at f/2.8 and filter-modified Canon 5D MkII at ISO 1600, shot April 14, 2016 from Tibuc Cottage, Australia.
While you are in the area aim your telescope a little to the east to catch Saturn, also in the area, though technically over the border in the constellation of Ophiuchus the Serpent Bearer.
In the view above, Saturn is the bright โstarโ to the left of Mars. Saturn reaches its closest to Earth in early June. Its rings are now wide open and a spectacular picture postcard sight in any telescope.
This is a stack of 2 x 30-second exposures for the sky and ground, both tracked, plus a 30-second exposure through the Kenko Softon A filter to add the star glows to make the constellation pattern stand out. All with the 35mm lens at f/2 and Canon 6D at ISO 1600. Taken from Tibuc Cottage, Australia.
This final view shows Mars and Saturn rising with Scorpius in the moonlight from two nights ago. From my current latitude of 32ยฐ south, Scorpius comes up on his side.
Last week, northerners marvelled at the splendours of the southern hemisphere sky from a dark site in Australia.
Iโve attended the OzSky Sky Safari several times and have always come away with memories of fantastic views of deep-sky wonders visible only from the southern hemisphere.
This year was no exception, as skies stayed mostly clear for the seven nights of the annual star party near Coonabarabran, New South Wales.
About 35 people from the U.S., Canada and the U.K. attended, to take in views through large telescopes supplied by the Australian branch of the Texas-based Three Rivers Foundation. The telescopes come with the best accessory of all: knowledgeable Aussies who know the southern sky and are delighted to present its splendours to us visiting sky tourists.
Here are a few of the night scenes from last week.
The lead image above shows a 360ยฐ panorama of the observing field and sky from early in the evening, as Orion sets in the west to the right, while Scorpius rises in the east to the left. The Large Magellanic Cloud is at centre, while the Southern Cross shines to the upper left in the Milky Way.
This is a stitch of 8 panels, each with the 14mm Rokinon lens at f/2.8 and mounted vertical in portrait orientation. Each exposure was 2.5 minutes at ISO 3200 with the Canon 5D MkII, with the camera tracking the sky on the iOptron Sky Tracker. Stitched with PTGui software with spherical projection.
This panorama, presented here looking south in a fish-eye scene, is from later in the night as the galactic core rises in the east. Bright Jupiter and the faint glow of the Gegenschein are visible at top to the north.
Each night observers used the big telescopes to gaze at familiar sights seen better than ever under Australian skies, and new objects never seen before.
This is a stack of 4 x 5 minute exposures with the Rokinon 14mm lens at f/2.8 and Canon 5D MkII at ISO 1600, all tracked on the iOptron Sky Tracker, plus one 5-minute exposure untracked of the ground to prevent it from blurring. The trees are blurred at the boundary of the two images, tracked and untracked.
The Dark Emu of aboriginal sky lore rises above some of the 3RF telescopes.
This is a single untracked 13-second exposure with the 35mm lens at f/2 and Canon 6D at ISO 6400.
Carole Benoit from Calgary looks at the Orion Nebula as an upside-down Orion sets into the west.
This is a single untracked 10-second exposure with the 35mm lens at f/2 and Canon 6D at ISO 6400.
John Bambury hunts down an open cluster in the rich southern Milky Way near Carina and Crux.
ย This is a single 13-second untracked exposure with the 35mm lens at f/2 and Canon 6D at ISO 6400.
David Batagol peers at a faint galaxy below the Large Magellanic Cloud, a satellite galaxy to our Milky Way.
The Southern Cross, the iconic constellation of the southern sky, shines high in the south on austral autumn nights.
Iโm in one of my favourite places, Australia, in particular at its self-proclaimed โastronomy capital,โ Coonabarabran in New South Wales. Down the road from me is the Siding Spring Observatory.
But for 3 weeks Iโm using my own telescope gear to observe and photograph the fabulous southern skies.
For part of my time here Iโm attending the annual OzSky Star Party, a small and rather exclusive event for observers from around the world who come here to revel in celestial wonders visible only from southern latitudes.
The lead image at top is a 7-panel panorama of the star party in action, on the grounds of the Warrumbungles Mountain Motel, with a dozen or more large and premium telescopes set up for our use.
Overhead is the arch of the southern Milky Way, with the Southern Cross here at its highest about local midnight now in early April at the start of autumn. Below the Milky Way is the Large Magellanic Cloud, a companion galaxy to the Milky Way, itself a superb target for telescopes.
To the far right in the Milky Way is Sirius amid the gum trees, and the stars of Canis Major diving into the west. To the far left are the bright star clouds of Scorpius and Sagittarius rising in the east, bringing the glowing core of ourย Galaxy high into the austral sky. Bright Mars and Saturn shine in and around Scorpius.
This is a view of the Milky Way everyone should see โ it is should be one of the top items on any amateur astronomerโs bucket list.
Circumpolar star trails over the OzSky star party near Coonabarabran, NSW, Australia, on April 3, 2016. This is a stack of 49 frames, each 45 seconds at f/2.8 with the 15mm fish-eye lens on the Canon 6D at ISO 4000. The ground comes from three frames in the sequence. Stacked with Advanced Stacker Plus actions using Streaks mode.
Here, above, Iโve stacked images from a time-lapse to create a star trail scene with the stars of the southern sky rotating about the blank South Celestial Pole. Again, the Southern Cross is at top.
The deep south Milky Way from Alpha and Beta Centauri (at left) to the False Cross in Vela and Carina (at right). This is a stack of 5 x 4 minute exposures at f/2.8 with the 35mm Canon L-series lens and filter-modified Canon 5D MkII at ISO 1000, with an additional similar exposure layered in taken through the Kenko Softon A filter to provide the star glows. Tracked on the iOptron Sky Tracker.ย
This view, above, focuses on the Milky Way of the deep south, from Vela to Centaurus, passing through Carina and Crux, with the bright Carina Nebula, the Southern Cross, and the dark Coal Sack front and centre.
A 3-panel mosaic of the Southern Cross, Crux, shot April 5, 2016 from Tibuc Cottage, Coonabarabran, NSW, Australia. This is a moasic of 3 panels, each a stack of 4 x 4-minute exposures with the Borg 77mm f/4 astrograph and filter-modified Canon 5D MkII at ISO 1600. Stacked and stitched in Photoshop.
Here I zoom into the Southern Cross itself, in a mosaic of 3 panels to cover the smallest constellation using a high-resolution astrograph, a 300mm f/4 lens. The Coal Sack is at lower left while numerous star clusters lie embedded within and around the Cross, including the famous โJewel Boxโ at left, next to Beta Cruxis, aka Becrux.
The deep southern Milky Way arching across the sky, from Puppis and Vela at upper right, to Centaurus at lower left. The two Magellanic Clouds are at lower centre, with the Large Cloud at top. This is a stack of 5 x 1.5-minute exposures, all tracked on the iOptron Sky Tracker, at f/2.8 with the 15mm fish-eye lens, and Canon 5D MkII at ISO 3200. The ground comes from just one of the tracked exposures to minimize blurring. Taken from the Tibuc Gardens Cottage near Coonabarabran, NSW, Australia on March 30, 2016.
I shot the Crux mosaic from my cottage site at Tibuc Gardens, a superb dark sky site and home to a new cottage built after the devastating bushย fires of 2013 which destroyed all the other cottages I had stayed at in previous years.
Thereโs much more to come, as I rapidly fill up my hard drive with time-lapses and deep-sky images of the southern sky. I already have several blogs worth of images processed or about to be. In the meantime, check my Flickr site for the latest images hot off the hard drive and uploaded as best my Oz internet connectivity allows.
My latest music video includes images, time-lapses and real-time videos of the Northern Lights shot in February and March 2016 in Churchill.ย
While I’ve posted my recent images of the aurora here and at many social media sites, all the videos I shoot take more work before they are ready to unveil to the public. Videos work best when set to music.
In this case, I’m very pleased to have received permission from EverSound Music to incorporate the music of one of my favourite artists, John Adorney, in my latest music video montage.ย The selection isย If a Rose Could Speak, from his 2013 album The Wonder Well. It features vocals by Daya.
The video incorporates still images, as well as time-lapse sequences, and real-time videos of the Northern Lights.
The all-sky time-lapses are intended to be projected in digital planetarium theatres, recreating the scene on their 360ยฐ domes.
Please click on the V for Vimeoย button to really see the video well. And selectย 1080p HD for the best image quality. And do share!ย
ABOUT THE VIDEO
I shot all scenes at the Churchill Northern Studies Centre, near Churchill, Manitoba, on the shore of Hudson Bay at a latitude of 58ยฐ North. Churchillโs location places it under the usual location of the auroral oval, providing spectacular displays of Northern Lights even on nights when locations to the south are seeing nothing.
I was at the CNSC to present sets of 5-night aurora viewing programs to guests from across North America. Click the link above for more details on their programs. The 2016 aurora season is over, but we’ll have more aurora programs in January and Februaryย ofย next year.
TECHNICAL
I shot all images with Canon 6D and Nikon D750 DSLR cameras, usually at ISO 3200. The fish-eye all-sky sequences were with a Sigma 8mm lens on the Canon, while most of the still images and other full-frame time-lapses were with the Sigma 20mm Art lens on the Nikon. For the โrapid-cadenceโ time-lapses I used 1- to 2-second exposures at an interval of one second.
The real-time video clips were with the Nikon โ set to ISO 25600 โ and the Sigma wide open at f/1.4. While these clips are prone to digital noise, they do record the fast movement and subtle colour of the aurora much as the eye saw it. See my earlier music video with real-time clips shot February 12 for more examples of these.
The all-sky sequences were processed through LRTimelapseย v4 software, to handle the huge range in brightness of the Lights. Real-time video clips were processed in Photoshop with the Camera Raw filter.
Temperatures ranged from a bitter -35ยฐ C to just (!) -15ยฐ C on most nights.
I kept the long-duration, all-sky, time-lapse camera going by placing it in a Camera Parka (www.atfrostedlens.com) and inserting disposable hand warmer packs inside the insulated parka. It worked very well, making it possible to shoot for up to 3 hours. Without it, the battery died after an hour.
โ Alan, March 18, 2016 / ยฉ 2016 Alan Dyer / AmazingSky.com
It was a night to remember, when the sky exploded with a jaw-dropping display of Northern Lights.
Warnings went out around the world and the aurora meters were hitting high numbers. By sunset we were charged up with high expectations of seeing the aurora in high gear dancing in the twilight. We were not disappointed.
From our location at the Churchill Northern Studies Centre near Churchill, Manitoba (latitude 58ยฐ North), we see aurora almost every clear night, even whenย indicators are low.
But this night, the Index was reading 7 on the scale of 0 to 9. I was afraid, after all the effort to come north to see the Lights, the Lights would abandon us and head south. Not so!
The night did startย with the Lights in the south, as shown in the panorama image at top. It takes in a fullย 360ยฐ, with the aurora arcing from east to west across the southern sky in Orion. The north over the Centre is clear.
But the curtains soon moved back north and engulfed most of ourย sky for most of the rest of the night.
Participants in our aurora tour group took their aurora “selfies,” and just looked up in awe at one of nature’s great sky shows. When the last of the group turned in at 2:30 a.m. the Lights were still going.
What follows is a selection โ just a few! โ of the still shots I took. I also shot time-lapse sequences and real-time videos. All those will take more editing to turn them into a music video, still to come.
Enjoy!
A lone observer gazes skyward at the start of a wonderful aurora display on March 6, 2016, as the curtains begin to appear and dance in the deep blue twilight. This was at the Churchill Northern Studies Centre, Churchill, Manitoba.
A lone observer gazes at an array of colourful curtains of aurora during an active display, March 6, 2016, with curtains in the evening twilight adding blue tints to the sky and tops of the curtains, as well as the greens and reds from oxygen. Curtains toward the horizon are more yellow due to atmospheric extinction. Jupiter is rising at left, then near opposition.
Auroral curtains converge at the zenith in the evening twilight during a Kp Index 7 night of aurora in Churchill, Manitoba. Blue twilight adds the blue tints to the sky and curtains.
Our group of Learning Vacations tourists enjoy the start of a fine display of Northern Lights at the Churchill Northern Studies Centre, March 6, 2016. As curtains appear to the east, another array of curtains shines to the west behind them with a strong purple tint lighting the sky and ground. The Andromeda Galaxy sits amid the curtains.
Aurora watchers looking south to a bright curtain of Northern Lights while other curtains rippled behind them to the north. This was a fabulous all-sky display, March 6, 2016. The temperature was about -25ยฐ C.
The green aurora lights the ground and snow green in a spectacular display March 6, 2016. This is looking northeast from the Churchill Northern Studies Centre, Churchill, Manitoba.
A series of curtains of aurora, in a layered series across the sky, from the March 6, 2016 display in Churchill, Manitoba,
The aurora over the Churchill Northern Studies Centre building, home to Arctic research and to many programs for tourists about northern ecology and science. The March Learning Vacations aurora tour group experienced a fabulous display this night, March 6, 2016.
Some of our group of Learning Vacations aurora tourists outside the Churchill Northern Studies Centre enjoying the sky show on March 6, 2016 on a night with a Level 5 to 7 aurora.
What do you see in the swirling patterns of aurora curtains at the zenith? They rapidly take many forms as they move about. This was the wonderful display of March 6, 2016.
I present a sweeping panorama of the winter and spring stars on a February night.ย
The lead image is a panorama I shot last Saturday, February 27 that takesย in about 200ยฐ of sky from northeast to west, and nearly to the zenith. It encompasses most of the northern spring and winter stars and constellations.
I’ve added the labels to help you pick out the celestial highlights. The winter sky, containing Orion as the central constellation, is at right setting into the west. This area of skyย contains a rich collection of bright stars and identifiable constellations.
The left side of the sky containsย the spring constellations, now coming into view in the east. Note how that area of sky is sparsely populated by bright stars. You can see the Big Dipper, Regulus in Leo, and Arcturus rising at lower left.
The reason for the difference is the Milky Way โ you can see it at right arcing up from the southern horizon passing by Orion and through Gemini, Taurus and Auriga. In that direction we are looking intoย the outlyingย spirals arms of our galaxy, toward rich areas of star formation.
To the east, at left, we are looking at right angles out ofย the plane of our spiral galaxy, toward the galactic North Pole, here just left of Leo. In that direction there are very few bright stars between us and the starless depths of intergalactic space. The spring sky is rather blank compared to the rich winter sky.
But you can see Jupiter, the brightest object in view here, and now prominent in the evening sky.
Note one other subtle glow just above Jupiter. Thatย diffuse glow is the Gegenschein, caused by sunlight reflecting off interplanetary dust opposite the Sun in ourย solar system and in the plane of the ecliptic.
Jupiter is just east (left) of the Gegenschein here, as Jupiterย was thenย just overย aย week before its date of opposition, March 8. By then the Gegenschein will have moved to superimpose right over Jupiter, asย both then lieย opposite the Sun.
I shot this scene from home on February 27, 2016, using the new iOptron iPano motorized โgigapanโ unit, which I programmed to move and shoot 36 exposuresย with the Canon 5D MkII and 35mm lens, arranged in 4 rows high with 9 panels wide in each row from east to west. The resultย is a huge mosaic,ย 24,000 by 10,000 pixels.
Each exposure was 25 seconds at f/2 and at ISO 3200. The camera was not tracking the sky. I stitched the 36 segments with PTGui using itsย Spherical Fisheye projection. The imageย has black margins but I think theย circular format is more suggestive of the spherical dome of the sky above and around you. But that’s me, a longtimeย planetarium show producer.
Next time I will shoot the zenith cap images as well!
My 10-minute video captures the Northern Lightsย in real-time video – no time-lapses here!
I hadn’t tried this before but the display of February 12, 2016 from Churchill, Manitoba was so active it was worth trying to shoot it with actual video, not time-lapse still frames.
I used very high ISO speeds resulting in very noisy frames. But I think the motion and colours of the curtains as they ripple and swirl more than overpower the technical limitations. And there’s live commentary!
Select HD and Enter Full Screen for the best quality.
Scenes have been edited for length, and I did not use all the scenes I shot in the final edit. So the scenes you see in the 10-minute video actually took place over about 20 minutes. But each scene is real-time. They show the incredibly rapid motion and fine structure in the auroral curtains, detail blurred in long multi-second exposures.
I used a Nikon D750 camera at ISO speeds from 12,800 to 51,200. While it is certainly very capable of shooting low-light video, the D750 is not optimized for it. A Sony a7s, with its larger pixels and lower noise, would have been a better camera. Next time!
The lens, however, was key. I used the new Sigma 20mm Art lens which, at f/1.4, is the fastest lens in its focal length class. And optical quality, even wide open, is superb.
The temperature was about -30 degrees C, with a windchill factor of about -45 C. It was cold! But no one in the aurora tour group of 22 people I was instructing was complaining. Everyone was outside, bundled up, and enjoying the show.
It was what they had traveled north to see, to fulfill a life-long desire to stand under the Northern Lights. Everyone could well and truly check seeing the aurora off their personal bucket lists this night.
For more information about aurora and other northern eco-tourism tours offered by the Churchill Northern Studies Centre, seeย churchillscience.caย
From Churchill, Manitoba the Northern Lights dance almost every night over the boreal forest.
This year, as in the last two years, I have traveled to the shores of a frozen Hudson Bay and to the town of Churchill, Manitoba to view and photograph the aurora borealis.
I’m instructing two tour groups at the Churchill Northern Studies Centre, one this week and one last week, in the science and sagas of the aurora and on how to shoot the Lights. The participants in the groups are fabulous, keenly interested and unfazed by the cold and wind.
From Churchill’s latitude of 58ยฐ N, we are under the main auroral oval almost every night. Even on nights with low official activity levels, as they were on all the nights I shot these images, we still get sky-filling displays.
Here’s a selection of still images from the last week of shooting, with clear skies on all but a couple of nights. There’s still room in our March sessions!
Circumpolar star trails and aurora over the boreal forest at the Churchill Northern Studies Centre, Churchill, Manitoba, on Feb 9, 2016. This is a stack of 250 frames shot over one hour (until the battery died) for a time-lapse but here stacked for a single image star trail using the Advanced Stacker Plus actions and Long Streaks effect. Each exposure was 15 seconds at f/2.8 with the 15mm lens and Canon 6D at ISO 6400.
An all-sky aurora display of multiple curtains of aurora borealis over the boreal forest at the Churchill Northern Studies Centre, in Churchill, Manitoba, taken on Feb 5, 2016. The view is looking almost due north. Jupiter is at right. The Big Dipper is at centre frame. This is one frame from a 380-frame time-lapse sequence shot for digital dome projection in planetariums. This is a 20-second exposure at f/5 (stopped down by accident โ should have been f/3.5) with the 8mm Sigma fish-eye lens and Canon 6D at ISO 3200. Temperature was -35ยฐ C. But no wind!
Participants in the Arctic Skies tour and course observe and photograph the Northern Lights from the upper level observing deck at the Churchill Northern Studies Centre, Churchill, Manitoba on Feb 10, 2016, the first night of their tour. A Level 1 to 2 display provided a good first night show though with bitterly cold temperatures and wind chills of near -50ยฐ C. This is a single exposure of 8 seconds at f/1.4 with the 20mm Sigma Art lens and Nikon D750 at ISO 3200.
The Northern Lights over the Churchill Northern Studies Centre on Feb 8/9, 2016 during a weak all-sky display. The arcs lay primarily in the south when the display was at its best this night. Orion and the Pleiades are just setting in the west over the town of Churchill. This is a 20 second exposure at f/2.8 with the 15mm full-frame fish-eye lens and Canon 6D at ISO 3200.
A panorama across the northern horizon of the sweeping curtains of the aurora, taken from the observation deck of the Churchill Northern Studies Centre, Manitoba. I shot this on Feb 10, 2016 on the first night of the Arctic Skies tour group week. Vega is low in the north at left of centre, Arcturus is the bright star at right of centre. This is a 4-segment panorama, stitched with Adobe Camera Raw, with each segment 5 seconds at f/1.4 with the 20mm Sigma lens and Nikon D750 at ISO 3200.
Curtains of the aurora looking northeast and east toward Leo rising (at upper right) and Jupiter (at right), over the boreal forest of the Hudson Bay Lowlands near Churchill, Manitoba, on Feb 5, 2016. This is a single frame from a 680-frame time-lapse. This is a 4-second exposure at f/1.4 with the Sigma 20mm Art lens and Nikon D750 at ISO 3200.
Vertical curtains of aurora converging to the zenith overhead over the snowy boreal forest at the Churchill Northern Studies Centre, Churchill, Manitoba. I shot this Feb 4, 2016 on a night with temperatures of -35ยฐ C with a slight wind. The Big Dpper is at right. Exposure was 10 seconds at f/2.8 with the 15mm lens anf Canon 6D at ISO 3200.
A lone figure gazes skyward at the aurora over the Churchill Northern Studies Centre, Churchill, Manitoba. I shot this Feb 4, 2016 on a night with temperatures of -35ยฐ C with a slight wind. Exposure was 13 seconds at f/2.8 with the 15mm lens anf Canon 6D at ISO 3200.
A wide vertical portrait of the Northern Lights in the northern sky, with the stars of the Big Dipper and Polaris above centre. Shot from the upper deck of the Churchill Northern Studies Centre on a very windy night with wind chills of -50ยฐ, so standing in the wind to take this image was bitter! You grab a few images and retreat! This is a single 15-second exposure at f/2.8 with the 15mm lens and Canon 6D at ISO 3200.
The February Arctic Skies tour group watching and photographing the aurora from the second floor deck of the Churchill Northern Studies Centre, where it is out of the wind, which this night was producing -50ยฐ C wind chills. This is a single 6-second exposure at f/2.8 with the 15mm lens and Canon 6D at ISO 6400.
A self-portrait of me watching the Northern Lights from the upper deck of the Churchill Northern Studies Centre, looking south to the winter stars of Orion, Gemini and Auriga. This was Feb 11, 2016, a very windy, almost blizzard night with blowing snow and reduced visibility. However the aurora did appear through the haze and clouds. In the distance are the buildings of the old Churchill Rocket Range. This is a single 15-second exposure at f/2.8 with the 15mm lens and Canon 6D at ISO 3200.
Orion appears in his winter element, over snowscapes on crisp January nights.
A couple of clear-ish winter nights this past weekend allowed me to capture that most iconic of constellations, Orion, over snowy landscapes close to home here in Alberta.
At top, he rises over the famous Hoodoos near East Coulee, Alberta in the Red Deer River valley. Clouds moving in on Sunday night, January 10, added the photogenic glows around the stars, emphasizing their colour and brilliance.
Here, from a shot on Saturday, January 9, Orion appears down the end of my rural country Range Road, with Sirius, his companion Dog Star, following at his heels above the treetops and in some haze.
If this looks cold, it was โ at minus 25ยฐ C. Though two hours later it was only -15ยฐ C and by morning it was 0ยฐ C. Winter in Alberta!
Both images are short exposures, 10 to 15 seconds, at f/2 or f/2.8 with the wonderful Sigma 24mm Art lens and my new favourite camera, the Nikon D750 at ISO 3200. In both cases the ground is from a stack of several exposures to smooth noise but the sky is from a single exposure to minimize star trailing.
The waning Moon joined Venus and Saturn on a cold winter dawn.
This was the scene this morning, January 6, as the waning crescent Moon met with Venus (bright, at centre) and Saturn (below and left of Venus) in the cold morning twilight.
The grouping appeared above the stars of Scorpius. Antares is just above the treetops.
The top image is with the Canon 60Da and 50mm lens.
The view below, with the 135mm telephoto and Canon 6D camera, is from a half hour earlier before the sky began to brighten with morning twilight.
The waning crescent Moon above Venus and Saturn (dimmer and below Venus) in the pre-dawn sky on January 6, 2016, taken from home on a cold winter morning at -20ยฐ C. This is a composite of a long exposure (8s) for the ground, a slightly shorter exposure (6s) for the sky, and shorter exposures for the Moon to avoid it being totally overexposed and to preserve the Earthshine. All with the 135mm lens and Canon 6D.
Venus passes very close to Saturn this weekend, with the two worlds appearing within a telescope field on the mornings of January 8 and 9. Get up early before sunrise and look southeast. Binoculars will provide a superb view.
Venus is hard to miss, but is now dropping lower each morning and will soon be gone from view as it ends its wonderful appearance as a morning star.
The Quadrantid meteors streaked out of the northern sky on a fine winter’s night.
The temperature was mild and skies clear in the early evening for the annual Quadrantid meteor shower. This is a prolific but short-lived shower with a brief peak. The cold and low altitude of itsย radiant point keeps this shower from becoming better known.
This was the first year I can recall shooting it. I had some success during a 2-hour shoot on January 3, from 9 to 11 pm MST.
The result above is a stack of 14 images, the best out of 600 shot that recorded meteors. The ground and sky comes from one image with the best Quad of the night, and the other meteor images were masked and layered into that image, with no attempt to align their paths with the moving radiant point.
However, over the 2 hours, the radiant point low in the north would not have moved too much, as it rose higher into the northern sky.
Most of the meteors here are Quads, but the very bright bolide at left, while it looks like it is coming from the radiant, it is actually streaking toward the radiant, and is not a Quadrantid. But oh so close! I left it in the composite for the sake of the nice composition!
Light clouds moving in added the natural star glows around the Big Dipper stars.
All frames were 10 seconds at f/2 with the 24mm lens and Nikon D750 at ISO 3200.
I present a horizon-to-zenith panorama of the pantheon of autumn constellations.
Yes, I know it’s winter, but as it gets dark each night now in early January the autumn stars are still front and centre. I took the opportunity during a run of very clear nights at home to shoot a panorama of the autumn sky.
It is a mosaicย that sweeps up the sky and framesย many related Greek mythological constellations:
โข from the watery constellations of Aquarius, Pisces, and Cetus at the bottom near the horizon…
โข to Pegasus and Aries in mid-frame…
โข on up to Andromeda and Perseusย at upper left…
โข and finallyย Cassiopeia and Cepheus at the top of frame embedded in the Milky Way overhead. The Andromeda Galaxy, M31, is just above centre.
Here, I’ve labeled the participating constellations, though only a few,ย such asย the “square” of Pegasus and the “W” of Cassiopeia, have readily identifiable patterns.
Most of these constellations are related in Greek mythology, with Princess Andromeda being the daughter of Queen Cassiopeia and King Cepheus, who was rescued from the jaws of Cetus the Sea Monster by Perseus the Hero, who rode on Pegasus theย Winged Horse in some accounts.
Zodiacal Light brightens the sky at bottom right in Aquarius, and angles across the frame to the left.
TECHNICAL:
I shot this from home on a very clear night January 2, 2016 with the Zodiacal Light plainly visible to the naked eye.
This is a mosaic of 5 panels, each a stack of 5 x 2 minute exposures, plus each panel having another stack of 2 x 2 minute exposures blended in, and taken through the Kenko Softon filter to add the fuzzy star glows to make the constellations stand out.
All were shot with the 24mm Canon lens at f/2.8 and Canon 5DMkII at ISO 1600. All tracked on the AP Mach One mount.
All stacking and stitching in Photoshop CC 2015. Final image size is 8500 x 5500 pixels and 3.6 gigabytes for the layered master.
The New Year’s sky was filled with Northern Lights, a panorama of stars, and a comet at dawn.
It was a busy night for stargazing as 2015 turned to 2016. A fine display of Northern Lights kicked off the celebrations, as curtains danced in the east as Orion rose (below).
Toward midnight the Lights kicked up again, now with Jupiter (on the horizon) and Leo rising in the east (below).
I shot hundreds of frames for time-lapse sequences, and assembled them into a short music video. Click on the buttons to enlarge it to HD.
Just before midnight, while the second time-lapse was going and the aurora was still active, but before the Last Quarter Moon rose to light the sky, I shot a set of tracked images taking in the entire winter sky from horizon to well past the zenith.
That image is at top. It takes in the winter sky and northern winter Milky Way, from Canis Major just above the horizon, up past Orion, then on up to Perseus and Cassiopeia at top right.
It shows how Orion and Sirius, the night sky’s brightest star, stand nearly due south at midnight on New Year’s Eve.
Comet Catalina (C/2013 US10) near Arcturus in the constellation of Bootes, at pre-dawn on the morning of January 1, 2016, with the Last Quarter Moon nearby illluminating the sky. A long, faint ion tail is visible extending 2 to 3 degrees to the right while a brighter but stubby dust tail extends down to the south. Shot from home using the 200mm Canon telephoto and 1.4x extender at f/4.5 for a stack of 8 x 2-minute exposures at ISO 800 with the Canon 6D. Median combined stacked to eliminate satellite trails. The comet is slightly blurred due to its own motion in that time.The final show of the night, now before dawn on New Year’s Day 2016, was Comet Catalina sitting right next to the bright spring star Arcturus. The comet was visible in the moonlight as a fuzzy object next to brilliant Arcturus, but the photo begins to show its faint tails, just standing out in the moonlit sky.
The comet will become more visible later this month once the waning Moon exits the dawn sky, as Catalina is expected to remain a nice binocular comet for most of the month as it heads high into northern sky.
In a sweeping panorama, here is the entire northern hemisphere Milky Way from horizon to horizon.
This is the result of one of theย major projects onย my recent trek to Arizona and New Mexico โ a mosaic of images shot along the Milky Way over several hours.
The goal is a complete 360ยฐ panorama of the entire Milky Way, and I’ve got most of the other segments in previous shoots from Alberta, Australia and Chile. But I did not have good shots of the northern autumn segments, until now.
The panorama sweeps from Cygnus (at top, setting in the western sky in the evening), across the sky overhead in Perseus, Auriga and Taurus (in the middle), and down into Orion, Canis Major, and Puppis (at bottom, low in the southern sky at midnight).
The view is looking outward to the near edge of ourย Milky Way, in the direction opposite the centre of ourย Galaxy. In this direction the Milky Way becomes dimmer and less defined. Notable are the many red H-alpha emission regions along the Milky Way, as well as the many lanes of dark interstellar dust nearby and obscuring the more distant stars.
However, a diffuseย glow in Taurus partly obscures its Taurus Dark Clouds โ thatโs the Gegenschein, caused by sunlight reflecting off cometary dust particles directly opposite the Sun and marking the anti-solar point this night, by coincidence then close to galactic longitude of 180ยฐ opposite the galactic centre.
Here I provide a guided map of the mosaic. Orion is at lower right, while the Pleiades and Andromeda Galaxy lie near the rightย edge. The Andromeda Galaxy is the only thing in this image that is not part of the Milky Way.
The bright star Canopus is just rising at bottom, in haze. Vega and Altair are just setting at the very top. So the panorama sweepsย from Altair to Canopus.
The sky isn’t perfect! Haze and airglow in our atmosphere add discolouration, especially close to the horizon. In my final 360ยฐ pan, I’ll use only the central portions of this panorama.
Now let’s put the horizon-to-horizon panorama into cosmic perspective…
In this diagram, based on art from NASAโs Spitzer Space Telescope Institute, I show my Northern Milky Way Panorama in perspective to the โbig pictureโ of our entire Galaxy, using artwork based on our best map of how our Galaxy is thought to look.
We are looking in a โgodโs eyeโ viewย across our Galaxy from a vantage point on the far side of the Galaxy.
Where we are is marked with the red dot, the location of our average Sun in a minor spiral arm called the Orion Spur.
The diagram places my panorama image in the approximate correct location to show where its features are in our Galaxy. As such it illustrates how my panorama taken from Earth shows our view of the outer portions of our Galaxy, from the bright Cygnus area at right, to Perseus in the middle, directly opposite the centre of the Galaxy, then over to Orion at left.
The panorama sweeps from a “galactic longitude” of roughly 90ยฐ at right in Cygnus, to 180ยฐ in Perseus, over to 240ยฐ in Orion and Canis Major at left.
In the northern autumn and early winter seasons we are looking outward toward the outer Perseus Arm. So the Milky Way we see in our sky is fainter than in mid-summer when we are looking the other way, toward the dense centre of the Galaxy and the rich inner Norma and Sagittarius arms.
Yet, this outer region contains a rich array of star-forming regions, which mostly show up as the red nebulas. But this region of the Milky Way is also laced with dark lanes of interstellar “stardust.”
The panorama is composed of 14 segments, most beingย stacks 5 x 2.5-minute exposures with the filter-modified Canon 5D MkII at ISO 1600 and 35mm lens at f/2.8.
The end segments near the horizons at top and bottom are stacks of 2 x 2.5-minute exposures.
Each segment also has an additional image shot through a Kenko Softon filter to add the star glows, to make the bright stars show up better.
The camera was oriented with the long dimension of the frame across the Milky Way, not along it, to maximize the amount of sky framed on either side of the Milky Way.
The camera was on the iOptron Sky-Tracker. I shot the segments for this pan from Quailway Cottage, Arizona on December 8/9, 2015, with the end segments taken Dec 10/11, 2015. I decided to add in the horizon segments for completeness, and so shot those two nights later when sky conditions were a little different.
Meteors from the Geminid shower rain over the dishes of the VLA radio telescope.
Sunday night was a prime night for the annual Geminid meteor shower, one of the best of the year. To capture it, I traveled to the Plains of San Agustin in the high desert of New Mexico.
It’s there that the National Radio Astronomy Observatory operates the 27 dishes of the Very Large Array radio telescope, one of the most photogenic โ and photographed โ astronomical facilities in the world.
I set up at a viewing point near the entrance, to look northwest over the dishes, arrayed that night, and all season, in itsย most compact configuration, with all the dishes clustered closest together.
It was an active meteor shower! One particularly bright meteor left a persistent “train” โ a smoke trail that lasted over 15 minutes. It creates the fuzzy cloud around the meteor at right. The bright bolide is on two frames, as the shutter closed then opened again as the meteor was still flying! So its bright streak gotย cut in two. Pity!
I shot with two cameras. The image here is from one, using a 35mm lens to shoot 334 frames over 3 hours. Each exposure was 32 seconds at f/2 and at ISO 3200.
I’ve taken about two dozen of the frames, the ones with meteors, and stacked them here, with the sky and ground coming from one frame. The camera was not tracking the sky.
Bands of natural airglow and clouds illuminated by the lights of Albuquerque to the north add colour to the sky.
I would have shot for longer than three hours, but this was a very cold night, with a brisk wind and temperatures below freezing. A snowstorm had even closed some roads the day before. Three hours was enough on the high plains of San Agustin this night.
The sky of December contains an amazing array of bright stars and deep-sky delights.
At this time of year we peer out toward the edge of our Galaxy, in the direction opposite to what we see in July and August. Even though we are looking away from the centre of our Galaxy, the Milky Way at this time of year contains a stunning collection of sights โ for the naked eye, binoculars or a telescope.
I can’t list them all here, but most are in the lead image above! The image is aย mosaic of the northern winter Milky Way, including the brilliant stars and constellations in and around Orion the Hunter.
The Milky Way extends from Perseus in the north at top, to Canis Major in the south at bottom. Throughout the scene are dark lanes and dust clouds, such as the Taurus Dark Clouds at upper right.
The Milky Way is dotted with numerous red โhydrogen-alphaโ regions of emission nebulosity, such as the bright Rosette Nebula at lower left and the California Nebula at upper right. The curving arc of Barnardโs Loop surrounds the east side of Orion. Orion is below centre, with Sirius, the night sky’s brightest star, at lower left.
The constellation of Taurus is at upper right and Gemini at upper left. Auriga is at top and Perseus at upper right.
There’s an unusually bright area in Taurus just right of centre in the mosaic which I thought might be an image processing artifact. No. It’s the Gegenschein – a glow of sunlight reflected off cometย dust directly opposite the Sun.
Two highlights of this sky that are great regions for binoculars are the Hyades cluster in Taurus ….
The Hyades open star cluster in Taurus with the bright star Aldebaran, not a part of the cluster iteslf. The smaller and more distant cluster NGC 1647 is at left. This is a telephoto lens image taking in a field similar to binoculars, and is a stack of 5 x 2.5-minute exposures with the 135mm lens at f/2 and Canon 5D MkII camera at ISO 800, plus two other exposures taken through the Kenko Softon filter to add the star glows. Taken from Quailway Cottage on Dec 7, 2015 using the iOptron Sky-Tracker.
…and the Belt and Sword of Orion.
The Hyades โ the face of Taurus โ is one of the nearest and therefore largest open star clusters.
Orion the Hunter, who battles Taurus in the sky, contains the famous Orion Nebula, here overexposed in order to bring out the much fainter nebulosity in the region.
The magenta and blue arcs in the image belowย are photographic targets, but the bright Orion Nebula in Orion’s Sword is easy in binoculars, shining below the trio of his Belt Stars.
A mosaic of the Sword and Belt region of Orion the Hunter, showing the diverse array of colourful nebulas in the area, including: curving Barnardโs Loop, the Horsehead Nebula below the left star of the Belt, Alnitak, and the Orion Nebula itself as the bright region in the Sword. Also in the field are numerous faint blue reflection nebulas. The reflection nebula M78 is at top embedded in a dark nebula, and the pinkish NGC 2024 or Flame Nebula is above Alnitak. The bright orange-red star at far right is W Orionis, a type M4 long-period variable star. This is a 4-panel mosaic with each panel made of 5 x 2.5-minute exposures with the 135mm Canon L-series telephoto wide open at f/2 and the filter-modified Canon 5D MkII at ISO 1250. The night was somewhat hazy which added natural glows on the stars. No filter was employed here. The camera was on the iOptron Sky-Tracker for tracking but no guiding. Shot from outside Quailway Cottage near Portal, Arizona, Dec 7, 2015. All stacking and stitching performed in Photoshop CC 2015. Stacking done with median combine stack mode to eliminate geosat trails through the fields.
For us in the northern hemisphere, Orion and company are winter sights. But for those down under, in the southern hemisphere, this is the summer sky. So pardon the northern chauvinism in the title!
Either way, on a dark, moonless night, get out and explore the sky around Orion.
TECHNICAL:
I shot the segments for the main mosaic at topย on a very clear night on December 5, 2015 from the Quailway Cottage at Portal, Arizona. This is a mosaic of 8 segments, in two columns of 4 rows, with generous overlap. Each segment was made of 4 x 2.5-minute exposures stacked with mean combine stack mode to reduce noise, plus 2 x 2.5-minute exposures taken through the Kenko Softon filter layered in with Lighten belnd mode to add the star glows. Each segment was shot at f/2.8 with the original 35mm Canon L-series lens and the filter-modified (by Hutech) Canon 5D MkII at ISO 1600, riding on the iOptron Sky-Tracker. All stacking and stitching in Photoshop CC 2015. The soft diffusion filter helps bring out the star colors in this area of sky rich in brilliant giant stars.
Comet Catalina sports two tails as it moves past Venus in the dawn sky.
This was the view this morning, December 9, from my site in Arizona, of Comet Catalina near Venus in the dawn sky. This is a telephoto lens shot that provides a view similar in size to what binoculars show.
However, the blue ion tail visible here stretching back several degrees is mostly a photographic target. Visually, just Catalina’sย short, stubby dust tail at lower right is obvious.
The ion tail points away from the Sun, while the dust tail extends along the cometโs orbit, showing where the comet has been.
The view, both visually and photographically, of the comet will improve as it climbs higher into the eastern morning sky and as it moves away from the glare of Venus. The Moon is also now gone from the dawn, at least for the next couple of weeks.
The comet is dimmer than expected but should at least maintain this brightness for the next month or so.
Technical:
This is a stack of 5 x 90-second exposures, taken with the 135mm telephoto and 1.4x extender for a focal length of 190mm, at f/2.8 and with the Canon 5D MkII at ISO 1600, tracked on the iOptron Sky-Tracker. Two other exposures, of 15s and 1s, were blended in with luminosity masks to reduce the glare of Venus to a smaller size.
What a morning of sky sights, both before dawn and after sunrise.
December 7 โ This was the prime day I came to Arizona to enjoy, to be better assured of clear skies. As it turned out this will likely be the cloudiest day of the week here, but skies were clear enough for a fine view of a conjunction and an occultation. The comet was a bonus.
This is a stack of 5 exposures: 30, 8, 2, 0.5 and 1/8s, blended with luminosity masks as HDR would not blend images with such a large range of brightness and content, with the shortest exposures having almost no content execept for two bright objects! The camera was on the iOptron Sky-Tracker to follow the sky and keep the sky targets stationary and aligned, thus the blurred foreground. All with the 135mm lens at f/2.8 and Canon 6D at ISO 400.
At 4 a.m. the waning crescent Moon rose accompanied by Venus, as the two worlds appeared in close conjunction in the pre-dawn sky. The view above captures the scene as the Moon and Venus rose over the Peloncillo Mountains of New Mexico. Comet Catalina is in this scene but barely visible.
This is a stack of 6 exposures: 30, 8, 2, 0.5, 1/8s and 1/30s, blended with luminosity masks as HDR would not blend images with such a large range of brightness and content, with the shortest exposures having almost no content execept for two bright objects! The camera was on the iOptron Sky-Tracker to follow the sky and keep the sky targets stationary and aligned. All with the 135mm lens at f/2.8 and Canon 6D at ISO 800.
An hour or so later, with the Moon and Venus higher and with skies a little less cloudy, I was able to capture this scene, above, that included Comet Catalina, as a tiny blue dot next to Venus and the Moon. But if I hadnโt labeled it, you wouldnโt know it was there! The comet is proving to be less wonderful than anticipated, and any cloud dims the view even more.
I had hoped for a superb scene of a bright comet next to the two brightest objects in the night sky. But comets do what comets do โ surprise people with unexpected brightness (as Comet Lovejoy did last January) or with disappointing dimness … or by disappearing altogether, as Comet ISON did two years ago. I came here in December 2013, to this same location on the Arizona-New Mexico border, to catch ISON but no luck there at all!
This is a stack of 7 exposures from 10 seconds to 0.3 seconds at 1 stop intervals and blended with luminosity masks, to compress the huge range in brightness from the bright Moon and Venus, plus horizon sky, and the darker sky and sunrise clouds. All with the 35mm lens and Canon 6D.
Regardless of the comet, the conjunction of the Moon and Venus was stunning, about as good as such events get. Hereโs the view, above, an hour later again, with the eastern sky brightening in the dawn twilight. The only thing that would have made this event even more spectacular is if the Moon had actually covered up Venus in this twilight sky. Not quite.
The occultation of Venus by the waning crescent Moon in the daytime on Monday, December 7 at 9:30 am local time. This is just about 3 minutes before the actual occultation as the advancing Moon is about to cover Venus on the bright limb of the Moon. This is a frame from a 100-frame time lapse. Unfortunately, as I shot this on my trip to Arizona, I did not have more focal length than the 135mm and 1.4x extender used here.
For the occultation itself, we had to wait until well after sunrise for an event in the blue daytime sky, at 9:30 a.m. local time.
All of North America got to see this fairly rare occultation of Venus by the Moon, albeit in the daytime. Nevertheless, the two objects are so bright, this was visible to the unaided eye, even with some cloud about. In binoculars it was wonderful.
To shoot it, all I had was a telephoto lens, so the image scale doesnโt do the event justice. But the image above provides a good impression of the binocular view, with Venus as a brilliant jewel on the โringโ of the Moon.
I got the comet but it isn’t what was hoped for โ a faint fuzzball in binoculars.
This was Comet Catalina (aka C/2013 US10) in the dawn sky this morning, December 6, with the comet appearing as a fuzzy star below brilliant Venus in binoculars, and just revealing its two short tails in photos. It’s the cyan-colored object near the centre. Venus is the brilliant object.
This image is with a telephoto lens, and coversย a little more of the sky than typical binoculars would show. I knew this would be a binocular comet at best, but it’s barely that. This is more a comet for telescopes.
But as the Moon departs the scene and the comet climbs higher the view may improve. Still, if you are pining for views of Comet Catalina and are stuck under cloudy winter skies at home, don’t be worried. You aren’t missing too much. Except …
The arch of the Milky Way in the northern autumn and early winter sky, from Arizona on December 5, 2015. The Milky Way extends from Aquila to the left, in the southwest to Cassiopeia at top right, to Perseus and Auriga at far right, in the northeast. I shot this from the Quailway Cottage near Portal, Arizona, latitude +32ยฐ N. The view is looking north toward the celestial pole. Polaris is just right of lower centre. This is a stack of 8 tracked exposures, each 3 minutes at f/2.8 with the 15mm lens and Canon 6D at ISO 1600, with the ground coming from one exposure to minimize blurring. The camera was on the iOptron Sky-Tracker.
This was the view of the autumn Milky Way from here in Arizona last night. Pretty impressive under nearly perfect sky conditions. And then there’s this …
Orion and the northern winter constellations and Milky Way setting at dawn over the Chiricahua Mountains of southwest Arizona, near Portal, AZ. The waning crescent Moon in the west provided the illumination in this dawn shot from December 6, 2015. Orion is just above the main peak at centre, with Sirius, in Canis Major, to the left and Aldebaran, in Taurus, to the right. The Pleiades are setting at right. The star cluster at top is the Beehive, M44, in Cancer. Bands of airglow add the red streaks. The site is the Quailway Cottage near Portal, Arizona. This is a stack of 4 x 2 minute exposures, tracked, at f/3.5 with the 15mm full-frame fish-eye lens and Canon 6D at ISO 1250, for the sky, and the same specs for 4 exposures, untracked for the ground. Each set was mean-combined stacked to reduce noise.
This was the winter Milky Way with Orion setting into the west over the Chiricahuas at dawn. Turn around from looking at the comet and thisย was the view. So who cares if the comet isn’t too great? There’s lots more to see and shoot. With no snow, no frost, no dew.
Cloud hid Comet Catalina but added a halo around the waning Moon, intersected by the line of the ecliptic.
I’m in Arizona, just inside the state lineย with New Mexico, on a quest to shoot Comet Catalina at dawn. Clouds prevented any view of the faint comet this morning but provided a fine consolation prize.
The waning crescent Moon was surrounded by an ice crystal halo, a rare sight around a thin Moon. The Moon was between Mars and Jupiter, heading toward a conjunction with Venus, below, on December 7.
The line of Venus, Mars, the Moon, and Jupiter, plus the stars Spica and Regulus defined the line of the ecliptic beautifully in the pre-dawn sky.
This is a stack of 4 exposures from long to short (8s to 1/2s) to encompass the great range in brightness and not overexpose the crescent Moon too much. Images were layered in Photoshop and masked with luminosity masks. Automatic HDR techniques did not work well as the shortest image was too dark for ACR to find content to register in Merge ot HDR, and in Photoshop the HDR Pro module left visible edge artifacts. The camera was on the iOptron Sky Tracker to follow the sky and register the sky for all the exposures, thus the slightly blurred ground. Taken with the Canon 6D and 15mm full-frame fish-eye lens.
It was a show of circles and lines, real and imagined, in the morning sky.
With luck, clouds will clear to reveal Comet Catalina, which is likely fainter and less spectacular than hoped. But such is the way of comets. Regardless of what the comet does, it is a good time to be in the desert southwest, typing this blog on a sunny front porch under blue desert skies.
A new comet is coming into our morning sky, for our binocular viewing pleasure.
Comet Catalina, aka C/2013 US10, has emerged from behind the Sun and is beginning to rise into our northern hemisphere dawn sky. The new comet promises to be visible in binoculars, but likely won’t be obvious to the unaided eyes.
On the morning of December 7 the comet sits within a binocular field of the waning crescent Moon which itself sits just above brilliant Venus. That in itself will be a remarkable view, best appreciated in binoculars, and a fine photogenic sight for the camera.
The close conjunction of the crescent Moon with Venus alone will be enough of an attraction on December 7, but the comet should add to the scene.
December 7 Venus Occultation
Even more, later in the day the Moon actually passes in front of, or “occults,” Venus in the daytime sky for most of North America.
That occultation happens in the morning for western North America and in the early afternoon for eastern North America. However, you’ll need a telescope to see it well, and very clear blue skies.
Use planetarium software (the free Stellarium program, for example, shown above, if you do not own astronomy software) to simulate the sky and provide the occultation times for your location. Zoom into the Moon and run time back and forth on December 7 to see when Venus goes behind the Moon and reappears. The screen shot above is for Calgary.
Back to the Comet
Comet Catalina was discovered in October 2013 at the Catalina Observatory in Arizona. The cometย spent the last few months in the southern hemisphere sky, but is now coming north and into our sky, but at dawn.
It rises higher and higher each morning ย through December and into the new year. It may remain at fifth magnitude, bright enough to be easily visible in binoculars from a dark site, but likely not naked eye.
The chart above plots the comet at daily intervals, from December 4 to January 1. The comet is shown for December 15. Note that on the morning of January 1 it sits within a telescope field of the bright star Arcturus.
The distance from Earth to the comet decreases through December and early January, keeping the comet at a constant brightness even as it recedes from the Sun. We are closest to Catalina on January 17, at a far distance of 108 million km. But in late January the cometย fades rapidly to become a telescope target.
To see Comet Catalinaย this month, get up 1 to 2 hours before sunrise and look southeast to east. But you will need dark skies to see it well. This will not be a good urban comet.
Nevertheless, as far asย we know, this will be the best comet of 2016.
Last night I shot into the autumn Milky Way at the Heart Nebula.
I’m currently just finishing off a month of testing the new Nikon D810a camera, a special high-end DSLR aimed specifically at astrophotographers.
I’ll post a more thorough set of test shots and comparisons in a future blog, but for now here are some shots from the last couple of nights.
Above is the setup I used to shoot the image below, shot in the act of taking the image below!
The Nikon is at the focus of my much-loved TMB 92mm refractor, riding on the Astro-Physics Mach One mount. The mount is being “auto-guided” by the wonderful “just-press-one-button” SG-4 auto-guider from Santa Barbara Instruments. The scope is working at a fast f/4.4 with the help of a field flattener/reducer from Borg/AstroHutech.
I shot a set of 15 five-minute exposures at ISO 1600 and stacked, alignedย and averaged them (using mean stack mode) in Photoshop. I explain theย process in my workshops, but there’s also a Ten Stepsย page at my websitewith myย deep-sky workflow outlined.
The Heart Nebula, IC 1805, in Cassiopeia, with nebula NGC 896 at upper right and star cluster NGC 1027 at left of centre. This is a stack of 15 x 5-minute exposures with the Nikon D810a as part of testing, at ISO 1600, and with the TMB 92mm apo refractor at f/4.4 with the Borg 0.85x field flattener. Taken from home Nov 29, 2015.
The main advantage of Nikon’sย special “a” version of the D810 is itsย extended red sensitivity for a capturing just such objects in the Milky Way, nebulas which shine primarily in the deep red “H-alpha” wavelength emitted by hydrogen.
It works very well! And the D810a’s 36 megapixels really doย resolve better detail, something you appreciate in wide-angle shots like this one, below, of the autumn Milky Way.
It’s taken with the equally superb 14-24mm f/2.8 Nikkor zoom lens. Normally, you would never use a zoom lens for such a demanding subject as stars, but the 14-24mm is stunning, matching or beating the performance of many “prime” lenses.
The Milky Way from Perseus, at left, to Cygnus, at right, with Cassiopeia (the โWโ) and Cepheus at centre. Dotted along the Milky Way are various red H-alpha regions of glowing hydrogen. The Andromeda Galaxy, M31, is at botton. The Double Cluster star cluster is left of centre. Deneb is the bright star at far right, while Mirfak, the brightest star in Perseus, is at far left. The Funnel Nebula, aka LeGentil 3, is the darkest dark nebula left of Deneb. This is a stack of 4 x 1-minute exposures at f/2.8 with the Nikkor 14-24mm lens wide open, and at 24mm, and with the Nikon D810a red-sensitive DSLR, at ISO 1600. Shot from home, with the camera on the iOptron Sky-Tracker.
The D810a’s extended red end helps reveal the nebulas along the Milky Way. The Heart Nebula, captured in the close-up at top, is just left of centre here, left of the “W” forming Cassiopeia.
The Nikon D810a is a superb camera, with low noise, high-resolution, and features of value to astrophotographers. Kudos to Nikon for serving our market!
The summer Milky Way sets into the southwest on a late November night.
On Saturday, November 28, well into winter here in Alberta, the stars of the Summer Triangle and the summer Milky Way set into the southwest on a clear, though slightly hazy, late November night.
This is the last of the summer Milky Way, with the centre of the Galaxy now long gone, but the Summer Triangle stars remaining in the evening sky well into autumn. Glows from light pollution in the west light the horizon, in a quick series of images shot in my rural backyard.
In the Summer Triangle, Vega is at right, as the brightest star; Deneb is above centre, and Altair is below centre, farthest south in the Milky Way.
I shot this as a test image for the Nikkor 14-24mm lens, here wide-open at f/2.8 and at 14mm, where it performs beautifully, with very tight star images to the corners. It does very well at 24mm, too! This is astonishing performance for a zoom lens. It matches or beats many “prime” lenses for quality.
The camera was the 36-megapixel Nikon D810a, Nikon’s “astronomical DSLR” camera, also on test. Here it shows its stuff by picking up the red nebulas in Cygnus and Cepheus.
Thorough tests of both the camera and lens will appear later in the year. Stay tuned.
Do subscribe to my blog (click below) to get email notices of new entries.
For the even more technically-minded, this image is a stack, mean combined, of five 2-minute tracked exposures, at f/2.8 and ISO 800. The camera was on the iOptron Sky-Tracker. So the stars are not trailed but the ground is! I made no attempt here to layer in an untracked ground shot, as there isnโt much detail of interest worth showing, quite frankly.
At least not in the ground. But the Milky Way is always photogenic.
Orion ascends into the sky on a clear autumn night, with its stars drawing trails behind it as it rises.
Only on November nights is it possible to capture Orion rising in the evening sky. Here, I used the light of the waxing gibbous Moon to illuminate the landscape … and the sky, creatingย the deep blue tint.
The lead image above is an example of a star trail, a long exposure that uses Earth’s rotation to turn the stars into streaks across the sky. In the old days of film you would create such an exposure by opening the shutter for an hour or more and hoping for the best.
Today, with digital cameras, the usual method is to shoot lots of short exposures, perhaps no more than 20 to 40 seconds each in rapid succession. You then stack them later in Photoshop or other specialized software to create the digital equivalent of a single long exposure.
The image above is a stack of 350 images taken over 2.5 hours.
With a folder of such images, you can either stack them to create a single image, such as above, or string them together in time to create a time-lapse of the stars moving across the sky. The short video below shows the result. Enlarge the screen and click HD for the best quality.
For the still image and time-lapse, I used the Advanced Stacker Plus actions from StarCircleAcademyto do the stacking in Photoshop and create the tapering star trail effect. A separate exposure after the main trail set added the point-like stars at the end of the trails.
My tutorial on Vimeo provides all the details on how to shoot, then stack, such a star trail image…
… While this video illustrates how to capture and process nightscapes shot under the light of the Moon.
Learn the basics of shooting nightscape and time-lapse images with my three new video tutorials.
In these comprehensive and free tutorials I take you from “field to final,” to illustrate tips and techniques for shooting the sky at night.
At sites in southern Alberta I first explain how to shoot the images.ย Then back at the computer I step you through how toย process non-destructively, using images I shot that night in the field.
Tutorial #1 โ The Northern Lights
This 24-minute tutorial takes you from a shoot at a lakeside site in southern Alberta on a night with a fine aurora display, through to the steps to processing a still image and assembling a time-lapse movie.
Tutorial #2 โ Moonlit Nightscapes
This 28-minute tutorial takes you from a shoot at Waterton Lakes National Park on a bright moonlit night, to the steps for processing nightscapes using Camera Raw and Photoshop, with smart filters, adjustment layers and masks.
Tutorial #3 โ Star Trails
This 35-minute tutorial takes you from a shoot at summer solstice at Dinosaur Provincial Park, then through the steps for stacking star trail stills and assembling star trail time-lapse movies, using specialized programs such as StarStaX and the Advanced Stacker Plus actions for Photoshop.
As always, enlarge to full screen for the HD versions. These are also viewable at my Vimeo channel. ย
The morning planets are now strung out along the ecliptic, visualizing this line in the sky.
This was the view this morning, November 14, of the three dawn planets lined up along the ecliptic, with the stars Spica and Regulus also defining this imaginary line.
The ecliptic is the Earth’s orbital path around the Sun projected into the sky. So it is along this line that we see the Sun appear to move around the sky over a year. But it is also the path along which we findย the seven other major planets โ in this case, three of them: Venus, Mars and Jupiter.
These three worlds were clustered together in October, but are now spreading out along the ecliptic, as Venus drops lower but Mars and Jupiter climb higher.
The stars Spica and Regulus also lie along the ecliptic, where the Moon can occasionally pass in front of, or occult, these stars.
So the two stars and three planets are now nicely drawing the ecliptic line for us in the dawn sky. At this time of year, the ecliptic is also steeply angled above the eastern horizon.
The main image above is a stack of 4 x 20 second exposures for the ground, to smooth noise, and one 20-second exposure for the sky, all with the Nikon D810a at ISO 1000 and Nikkor 14-24mm lens at f/2.8 and at 14mm.
Venus (brightest), with dim Mars above it, then bright Jupiter, in a diagonal line across the dawn sky on November 14, 2015, with the Zodiacal Light barely visible in the brightening twilight sky. Arcturus is a left and Spica is just rising at centre. Corvus is just above the treetops at right. Spica, Venus, Mars and Jupiter more or less define the line of the ecliptic in the autumn morning sky here.ย This is a stack of 4 x 20 second exposures for the ground, to smooth noise, and one 20-second exposure for the sky, all with the Nikon D810a at ISO 1000 and Nikkor 14-24mm lens at f/2.8 and at 24mm
This image just above is with the same gear but with the lens at the 24mm setting to more tightly frame the planets.
Meanwhile, on the other side of the sky at dawn, Orion and his winter sky friends were setting into the west (image below).
Orion and the winter constellations setting over the old Farmhouse at home, in the dawn twilight on the morning of November 14, 2015. Canis Major and Sirius are at left; Taurus and Aldebaran and the Pleiades are at right. Procyon is at upper left.ย This is a stack of 4 x 20 second exposoures for the ground to smooth noise and one 20-second exposure for the sky, all with the Nikon D810a at ISO 1600 and 14-24mm Nikkor zoom lens at f/2.8.
All the images here are shot with the Nikon D810a camera and the amazing Nikkor 14-24mm lens, two items in hand this month for testing and review. A thorough test will appear in future blogs.
Of course, as wonderful as the gear is, it cannot extract the ecliptic line and labels from the sky โ those are added in Photoshop!
โ Alan, November 14, 2015 / ยฉ 2015 Alan Dyer / amazingsky.comย
In a “10 Steps”ย tutorial I review my tipsย for goingย from “raw to rave” in processing a nightscape or time-lapse sequence.
NOTE: Click on any of the screen shots below for a full-res version that willย be easier to see.
In my preferred โworkflow,โ Steps 1 through 6 can be performed in either Photoshop (using its ancillary programs Bridge and Adobe Camera Raw) or in Adobe Lightroom. The Develop module of Lightroom is identical to Adobe Camera Raw (ACR for short).
However, my illustrations show Adobe Bridge, Camera Raw and Photoshop CC 2014. Turn to Photoshop to perform advanced filtering, masking and stacking (Steps 7 to 10).
To useย Lightroom to assemble a time-lapse movie from processed Raw frames you needย the third-party program LRTimelapse, described below. Otherwise, you need to export frames from Lightroom โ or from Photoshop โ as “intermediate” JPGs (see Step 6), then use other third party programs to assemble them into movies (Step 10B).
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Step 1 โ Bridge or Lightroom โ Import & Select
Use Adobe Bridge (shown above) or Lightroom to import the images from your cameraโs card.
As you do so you can add โmetadataโ to each image โ your personal information, copyright, keywords, etc. As you import, you can also choose to convert and save images into the open and more universal Adobe DNG format, rather than keep them in the cameraโs proprietary Raw format.
Once imported, you can review images, keeping the best and tossing the rest. Mark images with star ratings or colour labels, and group images together (called โstackingโ in Bridge), such as frames for a panorama or โhigh dynamic rangeโ set.
Always save images to both your working drive and to an external drive (which itself should automatically back up to yet another external drive). Never, ever save images to only one location.
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Step 2 โ Adobe Camera Raw or Lightroom โ Basics
Open the Raw files you want to process. From Bridge, double click on raw images and they will open in ACR. In Lightroom select the images and switch to its Develop module.
In Adobe Camera Raw be sure to first set the Workflow Preset (the blue link at the bottom of the screen) to 16 bits/channel and ProPhoto RGB colour space, for maximum tonal range. This is a one-time setting. Lightroom defaults to 16-bit and the AdobeRGB colour space.
The Basics panel (the first tab) allows you to fix Exposure and White Balance. For the latter, use the White Balance Tool (the eyedropper, keyboard shortcut I) to click on an area that should be neutral in colour.
You can adjust Contrast, and recover details in the Highlights and Shadows (turn the latter up to show details in starlit landscapes). Clarity and Vibrance improves midrange contrast and colour intensity.
Use Command/Control Z to Undo, or double click on a slider to snap it back to zero. Or under the pull-down menu in the Presets tab go to Camera Raw Defaults to set all back to zero.
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Step 3 โย Adobe Camera Raw or Lightroom โย Detail
The Detail panel allows you to set the noise reduction and sharpness as you like it, one of the benefits of shooting Raw.
Generally, settings of Sharpness: Amount 25, Radius 1 work well. Turn up Masking while holding the Option/Alt key to see what areas will be sharpened (they appear in white). Thereโs no need to sharpen blank, noisy sky, just the edge detail.
Setting Noise Reduction: Luminance to 30 to 50 and Color to 25, with others sliders left to their defaults works well for all but the noisiest of images. Luminance affects the overall graininess of the image. Color, also called chrominance, affects the coloured speckling. Turning the latter up too high wipes out star colours.
Turn up Color Smoothness, however, if the image has lots of large scale colour blotchiness.
Zoom in to at least 100% to see the effect of all noise reduction settings. Adobe Camera Raw and Lightroom have the best noise reduction in the business. Without it your images will be far noisier than they need to be.
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Step 4 โย Adobe Camera Raw or Lightroom โย Lens Correction
Wide angle lenses, especially when used at fast apertures, suffer a lot from light falloff at the corners (called vignetting). Thereโs no need to have photos looking as if they were taken through a dark tunnel.
ACR orย Lightroom can automatically detect what lens you used and apply a lens correction to brighten the corners, plus correct for other flaws such as chromatic aberration and lens distortion.
Use the Color tab to โRemove Chromatic Aberrationโ and dial up the Defringe sliders.
For lenses not in the database (manual lenses like the Rokinons and Samyangs will not be included, nor will any telescopes) use the Manual tab to dial in your own vignetting correction. This can take some trial-and-error to get right, but once you have it, save it as a Preset to apply in future to all photos from that lens or telescope.
I usually apply Lens Corrections as a first step, but sometimes find I have to back it off it as I boost the contrast under Basics.
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Step 5 โ Bridge or Lightroom โ Copy & Paste
For a small number of images you could open them all, then Select All in ACR to apply the same settings to all images at the same time.
Or you can adjust one, then Select All and hit Synchronize.
Another method useful for processing dozens or hundreds of frames from a star trail or time-lapse set is to choose one representative image and process it. Then in Bridge choose Edit>Develop Settings>Copy Camera Raw Settings. If you are in Lightroomโs Library module, choose Photo>Develop Settings>Copy Settings.
With either program you can also right-click on an image to get to the same choices. Then select all the other images in the set (Command/Control A) and use the same menus to Paste Settings.
A dialog box comes up for choosing what settings you wish to transfer.
If you cropped the image (a good idea for images destined for an HD movie with a 16:9 aspect ratio), pick that option as well. In moments all your images get processed with identical settings. Nice!
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Step 6 โ Lightroom or Photoshop โ Export
You now have a set of developed Raw images. However, the actual Raw files are never altered. They remain raw!
Instead, with Adobe Camera Raw the information on how you processed the images is stored in the โsidecarโ XMP text files that live in the same folder as the Raw files.
In Lightroomโs case your settings are stored in its own database, unless you choose Metadata>Save Metadata to File (Command/Control S). In that case, Lightroom also writes the changes to the same XMP sidecar files.
To convert the images into final Photoshop PSDs, TIFFs or JPGs you have a couple of choices. In Lightroom go to the Library module and choose Export. It’s an easy way to export and convert hundreds of images, perhaps into a folder of smaller JPGs needed for assembling a time-lapse movie.
To do that from withinย Adobe Bridge, select the images, then go to Tools>Photoshop>Image Processor. The dialogue box allows you to choose how and where to export the images. Photoshop then opens, processes, and exports each image.
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Step 7 โ Photoshop โ Smart Filters
For a folder of images intended to be stacked into star trails (Step 10A) or time-lapse movies (Step 10B), youโre done processing.
But individual nightscape images can often benefit from more advanced work in Photoshop. The next steps make use of a non-destructive workflow, allowing you to alter settings at any time after the fact. At no time do we actually change pixels.
One secret to doing that is to open an image in Photoshop and then select Layer>Smart Objects>Convert to Smart Object. Or go to Filter>Convert for Smart Filters.
OR … better yet, back in Adobe Camera Raw hold downย the Shift key while clickingย the Open Image button, so it becomes Open Object. That image will then open in Photoshop already as a Smart Object, which you can re-open and re-edit in ACR at any time later should you wish.
Either way, with the image as a Smart Object, you can now apply useful filters such as Reduce Noise, Smart Sharpen, and Dust & Scratches, plus third-party filters such as Nik Softwareโs Dfine 2 Noise Reduction, all non-destructively as โsmart filters.โย They can be re-adjustedย or turned off at any time.
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Step 8 โ Photoshop โ Adjustment Layers
The other secret to non-destructive processing is to apply adjustment layers.
Go to Layer>New Adjustment Layer, or click on any of the icons in the Adjustments panel. If that panel is not visible at right, then under the Window menu check โAdjustments.โ
This panel is where you can alter the colour balance, the brightness and contrast, the vibrancy, and many other choices. I find Selective Color most useful for tweaking colour.
Curves allows you to bring up detail in dark areas. Levels allows setting the black and white points, and overall contrast.
The beauty of adjustment layers is that you can click on the layerโs little icon and bring up the dialog box for changing the setting at any time. You never permanently alter pixels.
The image adjustment โShadows & Highlightsโ is also immensely useful, but appears as a smart filter, not as an adjustment layer. It’s one of the prime tools for creating images with great detail in scenes lit only by starlight.
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Step 9 โ Photoshop โ Masks
The power of adjustment layers is that you can apply them to just portions of an image. This is useful in nightscapes where the sky and ground often need different processing.
To create a mask first select the region you want to work on. Try the Quick Selection Tool (found near the top of the Tool palette at left). Use it to brush across the sky, or the ground, so that the entire area is outlined by โmarching ants.โ
Use the Refine Edge option to tweak the selection by brushing across intricate areas such as tree branches.
Once you have an area selected, hit one of the Adjustments to add an adjustment layer with the mask automatically applied. Double click on the mask to tweak it: hit Mask Edge to clean up the edge, or turn up the Feather to blur the edge.
To apply the same mask to another adjustment layer, drag the mask from one layer to another while holding down the Option/Alt key.
Invert the mask (or select it and hit Command/Control I) to apply it to the other half of the image. Paint the mask with black or white brushes if you need manually alterย it. Remember โ black โconceals,โ while white โreveals.โ
When done, be sure to always save the image as a layered “master” .PSD file.
Never, ever flatten and save โ that will wipe out all your non-destructive filters and adjustment layers.
If you need to save the image as a JPG for social mediia or emailing, then Flatten and Save As … ย Or use Photoshop’s File>Export>Export As .. function.
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Stars setting in trails over the Athabasca Glacier and Columbia Icefields, Sept 14, 2014. The Milky Way is trailed at right.ย This is a stack of 100 exposures, composited with Advanced Stacker Plus actions in Photoshop, with the ground coming from a subset stack of 8 images to reduce noise. Each exposure, taken as part of a time-lapse sequence, was 45 seconds at f/2.8 with the 16-35mm lens at 23mm and Canon 6D at ISO 4000.
Step 10A โ Photoshop or 3rd Party Programs โ Stack for Star Trailsย
One popular way to shoot images of stars trailing in arcs across the sky is to shoot dozens or hundreds of well-exposed frames at a fairly high ISO and wide aperture, and at a shutter speed no longer than 30 to 60 seconds. You then โstackโ the images to create the equivalent of one frame shot for many minutes, if not an hour or more. The image above is an example.
There are several ways to stack.
From within Photoshop CC (or using anย Extended version of the older CS5 or CS6) one method is to go to File>Scripts>Statistics. In the dialog box, drill down to the images you wish to stack (put them all in one folder) and choose Stack Mode: Maximum, and uncheck โAttempt to Automatically Align.โ The result is a huge (!) smart object. This method works best on just a few dozen images. In this case, you’ll need to use Layers>Flatten to reduce its size.
Other options for stacking hundreds of images include the free program StarStax (Windows and Mac), which requires a folder of “intermediate” TIFFs or JPGs. See Step 6 above.
The Advanced Stacker Actionsfrom Star Circle Academy are actions you install in Photoshop that work directly from Raw files to create some impressive effects. I use them and recommend them.
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Step 10B โ Photoshop or 3rd Party Programs โ Assemble for Movies
The same folder of images taken for star trail stacking can also be turned into a time-lapse movie. Instead of stacking the images on top of one another in space, you string them together one after the other in time.
There are many methods for assembling movies. Free or low cost programs such as Quicktime 7 Pro, Time-Lapse Assembler, Sequence (a Mac program shown above), VirtualDub, or Time-Lapse Tool can do the job, all offering options for the final movieโs format.
Generally, an HD video of 1920×1080 pixels in the H264 format, or โcodec,โ is best, rendered at 15 to 30 frames per second.
Most movie assembly programs will need to work from a folder of JPGs of the right size, produced using one of the choices listed under Step 6: Export.
But … you can also use Photoshop to assemble a movie.
Choose the Window>Workspace>Motion to bring up a video timeline. Then File>Open to drill to your folder of processed and down-sized JPG files. Select one image, then check โImage Sequence.” Choose the frame rate (15 to 30 fps is best). Then go to File>Export>Render Video to turn the resulting file into a final H264 or Quicktime movie suitable for use in other movie editing programs.
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Advanced Techniques: Using LRTimelapse
The workflow Iโve outlined works great when you can apply the same development settings to all the images in a folder. For star trail and time-lapse sequences shot once it gets dark and under similar lighting conditions that will be the case.
But if the Moon rises or sets during the shoot, or if you are taking a much more demanding sequence that runs from sunset to night, the same settings wonโt work for all frames.
The answer is to turn to the program LRTimelapseย (100 Euros for the standard version, and available in a free but limited trial copy). LRTimelapse works with either Lightroom or Bridge/Adobe Camera Raw.
To use it you process just a few selected โkeyframesโ โ at least two, at the start and end of the sequence, and perhaps other frames throughout the sequence, processing them so each frame looks great. You read that processing data into LRTimelapse and, like magic, it interpolates your settings, creating a folder of images with every setting changing incrementally from frame to frame, something you could never do by hand.
It can then work with Lightroom to export the frames out to a video in formats from HD up to 4K in size. For serious time-lapse work, LRTimelapse is an essential tool.
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Much, much more information and tutorials are included in my multimedia Apple eBook, linked to below.
But I hope this quick tutorial helps in providing you with tips to make your images and movies even better! If you found it useful, please feel free to share a link to this blog page through your social media channels. Thanks!
The waning crescent Moon joined the planet trio this morning for a fine sight in the dawn.
This was the scene on November 6 with the waning crescent Moon just below Jupiter, and those two worlds just above the pairing of bright Venus with dim red Mars.
On Saturday, November 7, the waning Moon will sit beside Venus for an even more striking conjunction.
The waning crescent Moon below Jupiter, with that pair of worlds above the pairing of Venus (bright) and red Mars (just above Venus), all in the dawn sky in Leo, November 6, 2015. The stars of Leo are above, including Regulus. This is a composite of 4 exposures: 15 seconds for the ground (to bring out detail there), 4 seconds for the sky (short enough to prevent star trailing), and 1 and 1/4 seconds for the Moon itself to prevent it from being totally blown out as a bright blob. All with the Nikon D750 at ISO 2000 and Sigma 24mm Art lens at f/4.5. Taken from home.
This meeting of the Moon with the planet trio more or less concludes the superb series of dawn sky conjunctions we’ve been enjoying over the last month.
The planets remain in the morning sky but now go their own ways as Mars and Jupiter climb higher, while Venus drops lower.
The gathering of planets at dawn is coming to an end as Venus meets Mars.
This was the view this morning from home in southern Alberta of the trio of planets in the moonlit morning sky.
Venus is the brightest, while dim red Mars shines just to the left of Venus. Jupiter is above the Venus & Mars pairing, with all the planets shining in Leo.
Mars and Venus will appearย closest to each other on November 2 and 3. Then the group breaks apart as Venus descends but Mars and Jupiter climb higher.
But as they do so they are joined by the waning Moon, by then a thin crescent, on November 6, when the Moon shines near Jupiter, and November 7, when it joins Venus for a stunningย dawn sky scene.
After that the morning planet dance comes to an end. But in two months, in early January, Venus will meet up with Saturn for a very close conjunction inย the winterย dawn sky on January 9.
This was the trio of planets at their best in the morning sky.ย
On the morning of October 28, Mars, Venus and Jupiter formed a neat isosceles triangle in the twilight. Venus, the brightest, was in the middle, with Mars below and Jupiter above. The grouping shone amid the stars of Leo, with its brightest star, Regulus, above the windmill in the lead image above. The rest of Leo lies above the planets.
To capture the scene I drove west at 5 am to a farmstead I had shot at before, in June, to capture Venus and Jupiter, also then in Leo nearย Regulus, but in the evening sky looking west. Click here for that blog post from mid-June.
This morning, the Moon, just past full as the annual Hunter’s Moon, shone in the west off camera lightingย the landscape.
The dawn sky colours and the moonlitย red barn made for a fine colour contrast.
After today, the planet configuration breaks up, as Venus descends to meet Marsย on November 2 and 3, while Jupiter climbs higher. But another great morning sight awaits on November 7 when the waning crescent Moon will shine near the Venus-Mars pairing, with Jupiter above.
On the way home I stopped at fog-bound Lake MacGregor to capture the planets in a brightening dawn sky over the misty waters.
This morning the three planetsย lay just 4.5 degrees apart, close enough to frame in high-power binoculars.
We won’t see these three planets this close to each other in a darkened sky โ as opposed to being so close to the Sun we really can’t see them โ until November 21, 2111.
Skies were clearย at dawn this morning for a fabulous view of the rare conjunction of three planets. And I could not have been at a more photogenic site.
This was the view before dawn on October 25, as brilliant Venus and dimmer Jupiter shone just a degree apart in the dawn sky. Mars, much fainter, shines just below the close duo. The three planets could easily be contained in a high power binocular field.
Not until November 2111 will these three planets be this close together again in a darkened sky.
Indeed, Venus could not have been higher, as it is just now reaching its maximum elongation from the Sun, placing it high in the eastern morning sky.
I shot from the shores of Lake Annette, site of one of the major events, the Friday star party, at the annual Jasper Dark Sky Festival which just concluded, in Jasper National Park, Alberta. The Festival celebrates the Park’s status as one of the world’s largest Dark Sky Preserves.
The hotels and restaurants were full with stargazers from around the world, making the Festival a huge success, both educationally and financially. I was honoured to be able to present some of the public and school talks.
But this dawn skyย was a fine way to end a fabulous weekend of astronomy.
The image above is a panorama in the twilight, sweeping from the planets in the east, to the winter stars and constellations, including iconic Orion, in the south and southwest.
Earlier in the morning, before twilight began to brighten the sky, I shot another even wider panorama from the south shore of the lake.
In this and other photos, high haze adds the glows around the stars and planets naturally. No special effects filters here!
But Venus and Jupiter are so close and bright theirย images almost merge into one glow.
Here they are, with Mars below, shining in the dark sky over the Watchtower peak and over the misty waters of Lake Annette.
Keep an eye on the sky at dawn, as these three worlds will be close to each other for the next few mornings. See my earlier blog for details.
Watch a trio ofย planets converge in the dawn sky.ย
You might have already seen Venus shining brightly in the morning sky. And perhaps you’ve seen a slightly less bright object below it. That’s Jupiter.
But there’s a third, even dimmer planet accompanying Venus and Jupiter โ reddish Mars. On the morning of Saturday, October 17 (chart above โฌ๏ธ) Mars and Jupiter pass just 1/2 degree apart, for a mismatched double “star” at dawn.
The planets put on an even better show in the following 10 daysย as all three converge to form a tight triangle of worlds in the morning sky.
On October 23 โฌ๏ธ, Venus, Mars and Jupiter appear in a closeย grouping just 4.5 degrees apart, close enough to each other to be easily contained in the field of typical binoculars, the circle shown in these charts.
Two mornings later, on October 25 โฌ๏ธ, Venus and Jupiter are at their closest apparent separation, just 1 degree apart, for a brilliant double “star” in the morning twilight. If you miss this morning, on the next morning, October 24, the two planets appear about the same distance apart as well.
By October 28 โฌ๏ธ, the three planets have switched positions, as Venus drops lower but Jupiter climbs higher. But they again appear in a triangle, 4.5 degrees wide.
The motion you’re seeing from day to day is due to a combination of the planets’ own orbital motions around the Sun, as well asย our planet’s motion.
Keep in mind, the planets aren’t really close together in space. They lie tens, if not hundreds, of millions of kilometres apart. They appear close to each other in our sky because they lie along the same line of sight.
Do try to get up early enough โ between 6 a.m. and 6:30 a.m. should do it โ to look east to see the changing configuration of planets as they dance at dawn. Binoculars will provide the best view.
This is a rare sight! We won’t see these three planets this close to each other in a darkened sky until November 20, 2111!
The Moon appeared along with four planets in the dawn sky.
The sky was filled with planets this morning, as all four of the closest planets to the Sun appeared along the ecliptic in the morning sky. Plus there’s a fifth planet in the picture – Earth.
Here, the waning crescent Moon, lit by Earthshine, appears with four planets on the morning of October 9, 2015, with the planets from bottom left to top right:
โข Mercury, just above the horizon between the low cloud bands, at lower left
โข Jupiter, bright at centre
โข Mars, reddish and above Jupiter
โข Venus, brightest at upper right and in some thin cloud.
The bright star Regulus in Leo is above and to the left of Venus.
Above is an unlabeledย version of the image.
TECHNICAL:
It’s a blend of four exposures: a long 4-second exposure for most of the sky and ground, plusย shorter 2, 1, and 1/2 second exposures for the bright twilight area and around the Moon and Venus, to prevent those areas from being blown out. Blending is with masks, not HDR. All were shot with the Canon 6D at ISO 400 and 50mm Sigma lens at f/2.5.
The Amazing Sky 