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.
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 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 — indeed the first major snowstorm for my area — was forecast for the day before the eclipse, November 7. Of course!
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 day’s 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.
However, just once it would be nice to be able to stay home. The last “TLE” 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.
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 — indeed was more or less forced to — stay put at home and hope for the best. So this was the “snowbound eclipse!”
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 -25° C was still a challenge, at least I could retreat inside to warm up.
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.
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 bonus was the appearance of some Northern Lights during totality. As the bright Moon dimmed during its passage into Earth’s umbral shadow, darkening the sky, the aurora began to appear to the north, opposite the eclipsed Moon.
Not a great display, but it was the first time I can recall seeing aurora during a lunar eclipse.
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 won’t see again for two and half years.
On the night of November 18/19 eclipse fans across North America can enjoy the sight of the Moon turning deep red. Here’s how to capture the scene.
Seeing and shooting this eclipse will demand staying up late or getting up very early. That’s the price to pay for an eclipse everyone on the continent can see.
Also, this is not a total eclipse of the Moon. But it’s the next best thing, a 97% partial eclipse – almost total! So the main attraction — a red Moon — will still be front and centre.
CLICK ON AN IMAGE to bring it up full screen for closer inspection.
NOT QUITE TOTAL
At mid-eclipse 97% of the disk of the Full Moon will be within Earth’s dark umbral shadow, and should appear a bright red colour to the eye and even more so to the camera. A sliver of the southern edge of the Moon will remain outside the umbra and will appear bright white, like a southern polar cap on the Moon.
While some references will say the eclipse begins at 1:01 am EST, that’s when the Moon first enters the outer lighter penumbral shadow. Nothing unusual can be seen at that point, as the darkening of the Moon’s disk by the penumbra is so slight, you won’t notice any difference over the normally bright Full Moon.
It isn’t until the Moon begins to enter the umbra that you can see a dark bite being taken out of the edge of the Moon.
WHAT TO SEE
At mid-eclipse the Full Moon will look deep red or perhaps bright orange — the colours can vary from eclipse to eclipse, depending on the clarity of the Earth’s atmosphere through which the sunlight is passing to light the Moon. The red is the colour of all the sunsets and sunrises going on around the Earth during the eclipse.
The unique aspect of this eclipse is that for the 15 to 30 minutes around mid-eclipse we might see some unusual colour gradations at the edge of the umbral shadow, from sunlight passing through Earth’s upper atmosphere and ozone layer. This can tint the shadow edge blue or even green.
WHERE CAN THE ECLIPSE BE SEEN?
The last lunar eclipse six months ago on the morning of May 26, 2021 (see my blog here) was visible during its total phase only from western North America, and then only just. However, this eclipse can be seen from coast to coast.
Only from the very easternmost points in North America does the Moon set with the eclipse in progress, but during the inconsequential penumbral phase. All of the umbral phase is visible from the Eastern Seaboard, though the last stages will be in progress with the Moon low in the west in the pre-dawn hours. But that positioning can make for photogenic sight.
WHEN IS THE ECLIPSE?
The show really begins when the Moon begins to enter the umbra at 2:18 am EST (1:18 am CST, 12:18 am MST, 11:18 pm PST).
But note,these times are for the night of November 18/19. If you go out on the evening of November 19 expecting to see the eclipse, you’ll be sadly disappointed as you will have missed it. It’s the night before!
The eclipse effectively ends at 5:47 am EST (4:47 am CST, 3:47 am MST, 2:47 am PST) when the Moon leaves the umbra. That makes the eclipse 3 1/2 hours long, though the most photogenic part will be for the 15 to 30 minutes centred on mid-eclipse at 4:03 am EST (3:03 am CST, 2:03 am MST, 1:03 am PST).
WHERE WILL THE MOON BE?
The post-midnight timing places the Moon at mid-eclipse high in the south to southwest for most of North America, just west (right) of the winter Milky Way and below the distinctive Pleiades star cluster.
The high altitude of the Moon (some 60º to 70º above the horizon) puts it well above haze and murk low in the sky, but makes it a challenge to capture in a frame that includes the landscape below for an eclipse nightscape.
ASTRONOMY 101: The high altitude of the Moon is a function of both the eclipse timing in the middle of the night and its place on the ecliptic. The Full Moon is always 180° away from the Sun. So it sits where the Sun was six months earlier, in this case back in May, when the high Sun was bringing us warmer and longer days. Winter lunar eclipses are always high; summer lunar eclipses are always low, the opposite of what the Sun does.
From eastern North America the Moon appears lower in the west at mid-eclipse, making it easier to frame above a landscape. For example from Boston the Moon is 30º up, lending itself to nightscape scenes.
However, the sky will still be dark. To make use of the darkness to capture scenes which include the Milky Way, I suggest making the effort to travel away from urban light pollution to a dark sky site. That applies to all locations. Yes, that means a very long night!
PHOTO OPTIONS 1 — CAMERA ON A FIXED TRIPOD
With just a camera on a tripod, if you are on the East Coast (I show Boston here) it will be possible to frame the eclipsed Moon above a landscape with a 24mm lens (assuming a full frame camera; a cropped frame camera will require a 16mm lens).
What exposure will be best will depend on the level of local light pollution at your site. But from a dark site, 30 seconds at ISO 1600 and f/2.8 should work well. But without tracking, you will see some star trailing at 30 seconds. Also try shorter exposures at a higher ISO.
There’s lots of time, so take lots of shots. Include some short shots of just the Moon to blend in later, as the exposures best for picking up the Milky Way will still overexpose the Moon, even when it is darkest at mid-eclipse.
From western North America, including the landscape below will require wide lenses and a vertical format, with the Moon appearing quite small. But from a photogenic site, it might be worth the effort.
However, as my images above from the December 2010 eclipse show, if there’s any haze, the Moon could turn into a reddish blob.
You might be tempted to shoot with a long telephoto lens, but unless the camera is on a tracker, as below, the result will likely be a blurry mess. The sky moves enough during the long (over 1 second) exposures needed to pick up the reddened portion of the Moon that the image will smear when shot with long focal lengths. The solution is to use a sky tracker.
PHOTO OPTIONS 2 — CAMERA ON A TRACKER
Placing the camera on a motorized tracker that has been polar aligned to follow the motion of the stars opens up many more possibilities.
From a dark site, make use of the Moon’s position near the Milky Way to frame it and Orion and his fellow winter constellations. A 24mm lens will do the job nicely, in exposures up to 2 to 4 minutes long. But take short ones for just the Moon to layer in later.
A 50mm lens (again assuming a full frame camera) frames the Moon with the Pleiades and Hyades star clusters in Taurus.
Switching to an 85mm lens frames the clusters more tightly and makes the Moon’s disk a little larger. For me, this is the best shot to go for at this eclipse, as it tells the story of the eclipse and its unique position near the two star clusters.
But going with a longer lens allows framing the red eclipsed Moon below the blue Pleiades cluster, a fine colour contrast. A 200mm lens will do the job nicely (or a 135mm on a cropped frame camera).
Or, as I show here, the popular William Optics RedCat with its 250mm focal length will also work well. But such a lens must be on a polar-aligned tracker to get sharp shots. Use the Sidereal rate drive speed to ensure the sharpest stars over the 1 to 4 minutes needed to record lots of stars.
Take lots of exposures over a range of settings — long to bring out the deep sky detail and shorter to preserve detail in the reddened lunar disk. These can be layered and blended later in Photoshop, or in the layer-based image editing program of your choice, such as Affinity Photo or ON1 Photo RAW.
PHOTO OPTIONS 3 — THROUGH A TELESCOPE
While I think the tracked wide-field options are some of the best for this eclipse, many photographers will want frame-filling close-ups of the red Moon. While a telescope will do the job, unless it has motors to track the sky, your options are limited.
A phone clamped to the eyepiece of a telescope can capture the shrinking bright part of the eclipsed Moon as the Moon enters more deeply into the umbra. Exposures for the bright part of the Moon are short enough a motor drive on the telescope is not essential.
But if you haven’t shot the Moon with this gear before, eclipse night is not the time to learn. Practice on the Moon before the eclipse.
For shooting with a DSLR camera through a telescope you’ll need a special camera adapter nosepiece and T-ring for your camera. Again, if you don’t have the gear and the experience doing this, I would suggest not making the attempt at two in the morning on eclipse night!
For example, owners of typical beginner reflectors are often surprised to find their cameras won’t even reach focus on their telescope. Many are simply not designed for photography. Adding a Barlow lens is required for the camera to reach focus, though without a drive, exposures will be limited to short (under 1/15s) shots of the bright part of the Moon.
The challenge with this and all lunar eclipses is that the Moon presents a huge range of brightness. Short snapshots can capture the bright part of the Moon not in the umbra, but the dark umbral-shaded portion requires much longer exposures, usually over one second.
Your eye can see the whole scene (as depicted above) but the camera cannot, not in one exposure. This example is a “high dynamic range” blend of several exposures.
Plus as the eclipse progresses, longer and longer exposures are needed to capture the sequence as the Moon is engulfed by more of the umbra.
After mid-eclipse, the exposures must get progressively shorter again in reverse order. So attempting to capture an entire sequence requires a lot of exposure adjustments.
TIP: Bracket a lot! Take lots of frames at each burst of images shot every minute, or however often you wish to capture the progress of the eclipse for a final set. Unlike total solar eclipses, lunar eclipses provide lots of time to take lots of images.
PHOTO OPTIONS 4 — THROUGH A TRACKING TELESCOPE
If you want close-ups of the eclipsed red Moon, you will need to use a mount equipped with a tracking motor, such as an equatorial mount shown here. But for use with telephoto lenses and short telescopes, a polar-aligned sky tracker, as above, will work.
Exposures can now be several seconds long, and at a lower ISO speed for less noise, allowing the Moon to be captured in sharp detail and with great colour. Long exposures will even pick up stars near the Moon.
However, when shooting close-ups, use the Lunar drive rate (if your mount offers that choice) to follow the Moon itself, as it has a motion of its own against the background stars. It’s that orbital motion that takes it from west to east (right to left) through the Earth’s shadow.
Filling the camera frame with the Moon requires a surprising amount of focal length. The Moon appears big to our eyes, but is only 1/2º across.
Even with 800mm of focal length, the Moon fills only a third of a full frame camera field. Using a cropped frame camera has the advantage of tightening the field of view, but it still takes 1200mm to 1500mm of focal length to fill the frame.
But I wouldn’t worry about doing so, as longer focal lengths typically also come with slower f-ratios, requiring longer exposure times or higher ISOs, both of which can blur detail.
For close-ups, a polar-aligned equatorial mount is best. But if your telescope is a GoTo telescope on an alt-azimuth mount (such as a Schmidt-Cassegrain shown here), you should be able to get good shots.
The field of view will slowly rotate during the eclipse, making it more difficult to later accurately assemble a series of shots documenting the entire sequence.
But any one shot should be fine, though it might be best to keep exposures shorter by using a higher ISO speed. As always, take lots of shots at different settings.
You won’t be able to tell which is sharpest until you inspect them later at the computer.
TIP: People worry about exposures, but the flaw that ruins many eclipse shots is poor focus. Use Live View to focus carefully on the sharp edge of the bright part of the Moon. Or better yet, focus on a bright star nearby. Zoom up to 10x to make it easier to see when the star is in sharpest focus. It can be a good idea to refocus through the night as the changing temperature can shift the focus point of long lenses and telescopes. That might take moving the scope over to a bright star, which won’t be possible if you need to preserve the framing for a composite.
PHOTO OPTIONS 5 — HDR COMPOSITES
Using an equatorial mount tracking at the lunar rate keeps the Moon stationary. This opens up the possibility of taking a series of shots over the wide range of exposures needed to capture the Moon from bright to dark, to assemble later in processing. Take 5 to 7 shots in quick succession.
High dynamic range software can blend the images, or use luminosity masks created by extension panels for Photoshop such as Lumenzia, TK8 or Raya Pro. Either technique can create a final image that looks like what your eye saw. The key is making sure all the images are aligned. HDR software likely won’t align them for you very well.
Blending multiple exposures will also be needed to properly capture the eclipsed Moon below the Pleiades, similar to what I show here (and below) from the January 2019 eclipse when the Moon appeared near the Beehive star cluster.
PHOTO OPTIONS 6 — ECLIPSE TRACK COMPOSITES
Another popular form of eclipse image (though also one rife for laughably inaccurate fakes) is capturing the entire path of the Moon across the sky over the duration of the eclipse from start to end.
It can be done with a fixed camera on a tripod but requires a wide (14mm to 20mm) and properly framed lens, to capture the sequence as it actually appeared to proper scale, and not created by just pasting over-sized moons onto a sky to “simulate” the scene, usually badly. By the end of the day on November 19 the internet will be filled with such ugly fakes.
You could set the camera at one exposure setting (one best for when the Moon and sky are darkest at mid-eclipse) and let the camera run, shooting frames every 5 seconds or so. The result might work well as a time-lapse sequence, showing the bright sky darkening, then brightening again.
But chances are the frames taken at the start and end when the sky is lit by full moonlight will be blown out. It will still take some manual camera adjustments through the eclipse.
For a still-image composite, you should instead expose properly for the Moon’s disk at all times, a setting that will change every few minutes, then take a long exposure at mid-eclipse to pick up the stars and Milky Way. The short Moon shots are then blended into the base-layer sky image later in processing.
If the camera has been well-framed and was not moved over the 3.5 hours of the eclipse, the result is an accurate and authentic record of the Moon’s path and passage into the shadow, and not a faked atrocity!
But creating a real image requires a lot of work at the camera, and at the computer.
TIP: Shooting for composites is not work I would recommend attempting while also running other cameras. Focus on one type of image and get it right, rather than trying to do too many and doing them all poorly.
PHOTO OPTION 7 — ECLIPSE SHADOW COMPOSITE
One of the most striking types of lunar eclipse images is a close-up composite showing the Moon passing through the Earth’s umbral shadow, with the arc of the shadow edge on the Moon defining the extent of the shadow, which is about three times larger than the Moon.
Such a composite can be re-created later by placing individual exposures accurately on a wider canvas, using screen shots from planetarium software as a template guide.
But to create an image that is more accurate, it is possible to do it “in camera.” Unlike in the film days, we don’t have to do it with multiple exposures onto one piece of film.
We take lots of separate frames with a telescope or lens wide enough to contain the entire path of the Moon through the umbra. A polar-aligned equatorial mount tracking at the sidereal rate is essential. That way the scope follows the stars, not the Moon, and so the Moon travels across the frame from right to left.
Start such a sequence with the Moon at lower right if you are framing just the path through the shadow. Use planetarium software (I used Starry Night™ to create the star charts for this blog) to plan the framing for your camera, lens and site, so the Moon ends up in the middle of the frame at mid-eclipse. This is not a technique for the faint of heart!
An interesting variation would be using a 200mm to 250mm lens to frame the Moon’s shadow passage below the Pleiades, to create an image as above. That will be unique. Again, an accurately aligned tracker turning at the sidereal rate will be essential.
Acquiring the frames for any composite takes constantly adjusting the exposure during the length of eclipse, which can try your patience and gear during the wee hours of the morning.
I’ll be happy just to get a good set of images at mid-eclipse to make a single composite of the red Moon below the Pleiades.
TIP: It could be cold and lenses can frost over. A battery-powered heater coil on the optics might be essential. And spare warm batteries.
To test your equipment and your skills at focusing, you can use the waning crescent Moon in the dawn hours on the mornings of October 29 to November 2 or, after New Moon on November 4, the waxing crescent Moon on the evenings of November 6 to 10. While the crescent Moon isn’t as bright as the Full Moon, it will be a good stand in for the bright part of the eclipsed Moon when it is deep in the umbra.
Even better, the dark part of the crescent Moon lit by Earthshine is a good stand-in for the part of the Moon in the umbra. Like the eclipsed Moon, the crescent Moon’s bright and dark parts can’t be captured in one exposure. So it’s a good test for the range of exposures you’ll need for the eclipse, for practising changing settings on your camera, and for checking your tracking system.
The crescent Moon is also useful to test your manual focusing, though the sharp detail along the terminator (the line dividing the bright crescent from the earthlit dark part of the Moon) is much easier to focus on than the flat, low contrast Full Moon.
DON’T FORGET TO LOOK!
Amid all the effort needed to shoot this or any eclipse, lunar or solar, don’t forget to just look at it. No photo can ever quite capture the glowing nature of the eclipsed Moon set against the stars.
I wish you clear skies and good luck with your lunar eclipse photography. If you miss it, we have two more visible from North America next year, both total eclipses, on May 15/16 and November 8, 2022.
The tradition continued of chasing clear skies to see a lunar eclipse.
It wouldn’t be an eclipse without a chase. Total eclipses of the Sun almost always demand travel, often to the far side of the world, to stand in the narrow path of the Moon’s shadow.
By contrast, total eclipses of the Moon come to you — they can be seen from half the planet when the Full Moon glides through Earth’s shadow.
Assuming you have clear skies! That’s the challenge.
Of the 14 total lunar eclipses (TLEs) visible from here in Alberta since 2000, I have seen all but one, missing the January 21, 2000 TLE due to clouds.
But of the remaining 13 TLEs so far in the 21st century, I watched only three from home, the last home lunar eclipse being in December 2010.
I viewed three TLEs (August 2007, February 2008, and December 2011) from the Rothney Observatory south-west of Calgary as part of public outreach programs I was helping with.
In April 2014, I was in Australia and viewed the eclipsed Moon rising in the evening sky over Lake Macquarie, NSW.
A year later, in April 2015, I was in Monument Valley, on the Arizona-Utah border for the short total eclipse of the Moon at dawn.
But of the eclipses I’ve seen from Alberta since 2014, I have had to chase into clear skies for all of them — to Writing-on-Stone Provincial Park in both October 2014 and September 2015, to the Crowsnest Pass for January 2018, and to Lloydminster for January 2019.
The total lunar eclipse on the morning of May 26, 2021 was no exception.
Leading up to eclipse day prospects for finding clear skies anywhere near home in southern Alberta looked bleak. The province was under widespread cloud bringing much-needed rain. Good for farmers, but bad for eclipse chasers.
Then, two days prior to the eclipse a hole in the clouds was predicted to open up along the foothills in central Alberta just at the right time, at 4 a.m. The predictions stayed consistent a day later.
So trusting the Environment Canada models that had served me well since 2014, I made plans to drive north the day before the eclipse to Rocky Mountain House, a sizeable town on Highway 11 west of Red Deer, where the foothills begin. “Rocky” was predicted to be on the edge of the clearing, with a large swath of clear sky in the right direction, to the southwest where the Moon would be.
Fortunately, COVID restrictions are not so severe here as to demand stay-at-home orders. I could travel, at least within Alberta. Hotels were open, but restaurants only for takeaway.
This was going to be a tough eclipse even under the best of sky conditions, as for us in Alberta the Moon would be low and setting into the southwest at dawn. The Moon would be darkest and in mid-eclipse just as the sky was also brightening with dawn twilight.
However, a low eclipse offers the opportunity of a view of the reddened Moon over a scenic landscape, in this case of the eclipsed Moon setting over the Rockies. That was the plan.
Unfortunately, Rocky Mountain House wasn’t the ideal destination as it lies far from the mountains. I was hoping for a site closer to the Rockies in southern Alberta. But a site with clear skies is always the first priority.
The task is then finding a spot to set up with a clear view to the southwest horizon, which from the area around Rocky is tough — it’s all trees!
This is where planning apps are wonderful.
I used The Photographer’s Ephemeris (TPE) to search for a side road or spot to pull off where I could safely set up and be away from trees to get a good sightline to the horizon and possibly distant mountains.
A site not far from town was ideal, to avoid long pre- and post-eclipse drives in the wee hours of the morning. The timing of this eclipse was part of the challenge — in having to be on site at 4 a.m.
TPE showed several possible locations and a Google street view (not shown here) seemed to confirm that the horizon in that area off Highway 11 would be unobstructed over cultivated fields.
But you don’t know for sure until you get there.
So as soon as I arrived, I went to one site I had found remotely, only to discover power lines in the way. Not ideal.
I found another nearby side road with a clean view. From there I used the PhotoPills app (above) and its augmented reality “AR” mode to confirm, that yes, the Moon would be in the right place over a clear horizon at eclipse time the next morning.
Another app I like for site scouting, Theodolite, also confirmed that the view toward the eclipsed Moon’s direction (with an azimuth of about 220°) would be fine from that site.
As a Plan B — it’s always good to have a Plan B! — I also drove west along Highway 11, the David Thompson Highway, toward the mountains, in search of a rare site away from trees, just in case the only clear skies lay to the west. I found one, some 50 km west of Rocky, but thankfully it was not needed. The Plan A site worked fine, and was just 5 minutes south of town, and bed!
I set up two tripods. One was for the Canon R6 with an 85mm lens for a “time-lapse” sequence of the Moon moving across the frame as it entered the Earth’s umbral shadow.
The other tripod I used for closeups of just the Moon using the Canon 60Da and 200mm lens, then switched to the Canon Ra and a 135mm lens, then the longer 200mm lens once the Moon got low enough to also be in frame with the horizon. Those were for the prime shot of the eclipse over the distant mountains and skyline.
It all worked! The sky turned out to be clearer than predicted, a pleasant surprise, with only some light cloud obscuring the Moon halfway through the partial phases (the first image at top).
The other surprise was how dark the shadowed portion of the Moon was. This was a very short total eclipse, with totality only 14 minutes long. With the Moon passing through the outer, lighter part of the umbral shadow, I would have expected a brighter eclipse, making the reddened Moon stand out better in the blue twilight.
As it was, in the minutes before the official start of totality at 5:11 a.m. MDT, the Moon effectively disappeared from view, both to the eye and camera.
My best shots were of the Moon still in partial eclipse but with the umbral shaded portion bright enough to show up red in the images. The distant Rockies were also beginning to light up pink in the first light of dawn.
My last view was of a sliver-thin Moon disappearing into Earth’s shadow just prior to the onset of totality. I packed up and headed back to bed with technically the Moon still up and in total eclipse, but impossible to see. Still I was a happy eclipse chaser!
It was another successful eclipse trip, thwarted not so much by clouds, but by the darkness of our planet’s shadow, which might have been due to widespread cloud or volcanic ash in the atmosphere of Earth.
The other factor at play was that this was a “supermoon,” with the larger Moon near perigee entering more deeply into the umbra than a normal-sized Moon.
The next lunar eclipse is six months later, on the night of November 18/19, 2021 when the Moon will not quite fully enter Earth’s umbral shadow, for a 97% partial eclipse. But enough of the Moon will be in the dark umbra for most of the Moon to appear red, with a white crescent “smile” at the bottom.
As shown above, from my location in Alberta the Moon will appear high in the south, in Taurus just west of the Milky Way. The winter stars and Milky Way will “turn on” and fade into view as the eclipse progresses.
We shall see if that will be a rare “home” eclipse, or if it will demand another chase to a clear hole in the clouds on a chilly November night.
Two major eclipses of the Moon and a partial eclipse of the Sun over eastern North America highlight the astronomical year of 2021.
I provide my selection of three dozen of the best sky sights for 2021. I focus on events you can actually see, and from North America. I also emphasize events with the potential for good “photo ops.”
What I Don’t Include
Thus, I’m excluding minor meteor showers and ones that peak at Full Moon, and events that happen with the objects too close to the Sun.
I also don’t include events seen only from the eastern hemisphere, such as the April 17 occultation of Mars by the Moon — it isn’t even a close conjunction for us in North America. The August 15 rare triple transit of three Galilean moons at once on the disk of Jupiter occurs during daylight hours for western North America, rendering it very challenging to see. An outburst on August 31 of the normally quiet Aurigid meteor shower is predicted to happen over Asia, not North America.
I also don’t list the growing profusion of special or “supermoons” that get click-bait PR every year, choosing instead to limit my list to just the Harvest Moon of September as a notably photogenic Moon.
Good Year for Lunar Eclipses
But two Full Moons — in May and in November — do undergo eclipses that will be wonderful sights for the eye and camera. As a bonus, the Full Moon of May is the closest Full Moon of 2021, making it, yes, a “supermoon.”
The New Moon eclipses the Sun on June 10, bringing an annular eclipse to remote regions of northern Canada and the Arctic (including the North Pole!). Eastern North America and all of Europe can witness a partial solar eclipse this day.
For an authoritative annual guide to the sky and detailed reference work, see the Observer’s Handbook published each year in Canadian and U.S. editions by The Royal Astronomical Society of Canada. I used it to compile this list.
The RASC has also partnered with Firefly Books to publish a more popular-level guide to the coming year’s sky for North America, in the 2021 Night Sky Almanac, authored by Canadian science writer Nicole Mortillaro. It provides excellent monthly star charts.
However, feel free to print out my blog or save it as a PDF for your personal reference. To share my listing with others, please send them the link to this blog page. Thanks!
The year begins with a chance to see three planets together at dusk.
January 10 — Mercury, Jupiter and Saturn within 2 degrees (°)
Even three weeks after their much publicized Great Conjunction, Jupiter and Saturn are still close and visible low in the evening twilight. On January 10 Mercury joins them to form a neat triangle of worlds, but very low in the southwest. Clear skies and binoculars are a must!
NOTE: The red circle on this and most charts represents the 6.5° field of view of a typical 10×50 binocular. So you can see here how binoculars will frame the trio perfectly. All charts are courtesy the desktop app Starry Night™ bySimulation Curriculum.
January 14 — Thin waxing crescent Moon above line of Mercury, Jupiter and Saturn
Saturn disappears behind the Sun on January 23, followed by Jupiter on January 28, so early January is our last chance to see the evening trio of planets, tonight with the crescent Moon.
January 20 — Mars and Uranus 1.6° apart
Uranus will be easy to spot in binoculars as a magnitude 5.8 green star below red Mars, so this is your chance to find the seventh planet. The quarter Moon shines below the planet pair.
January 23 — Mercury at a favourable evening elongation
This and its appearance in May are the best opportunities for northern hemisphere observers to catch the innermost planet in the evening sky in 2021. Look for a bright magnitude -0.8 “star” in the dusk twilight.
This is a quiet month with Mars the main evening planet, but now quite small in the telescope.
February 18 — Waxing Moon 4° below Mars
The pairing appears near the Pleiades and Hyades star clusters high in the evening sky.
Mars shines high in evening sky in Taurus, while the three planets that were in the evening sky in January begin to emerge into the dawn sky.
March 1 — Zodiacal light “season” begins in the evening
From sites away from light pollution look for a faint glow of light rising out of the southwest sky on any clear evening for the next two weeks with no Moon.
March 3 — Mars 2.5° below the Pleiades
This will be a nice sight in binoculars tonight and tomorrow high in the evening sky, and a good target for tracked telephoto lens shots.
March 4 — Mercury and Jupiter just 1/2° apart
Close to be sure! But this pairing will be so low in the dawn sky it will be difficult to spot. They will appear equally close on March 5 should clouds intervene on March 4.
March 9 — Line of Mercury, Jupiter, Saturn and waning crescent Moon
Three planets and the waxing crescent Moon form a line across the dawn sky but again, very low in the southeast. The even thinner Moon will be below Jupiter on March 10. Observers at low latitudes (south of 35° N) will have the best view on these mornings.
March 20 — Equinox at 5:37 a.m. EDT
Spring officially begins for the northern hemisphere, autumn for the southern, as the Sun crosses the celestial equator heading north. Today, the Sun rises due east and sets due west for photo ops.
March 30 — Zodiacal light season again!
With the Moon out of the way, the faint zodiacal light can again be seen and photographed in the west over the next two weeks, but only from a site without significant light pollution on the western horizon.
The inner planets appear in the evening sky, while Mars meets M35.
April 6 — Milky Way arch season begins
With the waning Moon just getting out of view, this morning and for the next two weeks are good nights to shoot panoramas of the bright summer Milky Way as an arch across the sky, with the galactic core in view to the south. The moonless first two weeks of May, June and July will also work this year, but by August the Milky Way is reaching high overhead and so is difficult to capture in a horizontal landscape panorama.
April 24 — Mercury and Venus 1° apart
The two inner planets will be very low in the western evening sky tonight and tomorrow, but with clear skies this is a chance to catch both at once. Use a telephoto lens for the best image.
April 26 — Mars passes 1/2° north of M35 star cluster
This will be a fine scene for binoculars or a photo op for a tracked telephoto lens or telescope in a long enough exposure to reveal the rich star cluster Messier 35 in Gemini.
On May 26 a totally eclipsed Moon shines red in the west before sunrise for western North America.
May 12 — Venus and Moon 1.5° apart
Look low in the western evening sky this night for the pairing of the thin crescent Moon and Venus, and the next night, May 13, for the crescent Moon higher and 4° away from Mercury. These are good nights to capture both inner planets using a short telephoto lens.
May 16 — Mercury at a favourable evening elongation
With Mercury angled up high in the northwest this is the best week of the year to catch it in the evening sky from northern latitudes.
May 26 — Total Eclipse of the Moon
The first total lunar eclipse since January 20, 2019, this “TLE” can be seen as a total eclipse only from western North America, Hawaii, and from Australia and New Zealand. Totality lasts a brief 15 minutes, with the Moon in Scorpius not far from red Antares. The red Moon in a twilight sky will be beautiful, as it was for the April 4, 2015 eclipse at dawn over Monument Valley, Utah shown above.
Those in western North America will see the totally eclipsed Moon setting into the southwest in the dawn hour before sunrise, as depicted here. Over a suitable landscape this will be a photogenic scene, as even at mid-eclipse the Moon will be bright red because it passes so far from the centre of Earth’s umbral shadow.
Unfortunately, those in eastern North America will have to be content with a view of a partially eclipsed Moon setting in the morning twilight.
A bonus is that this is also the closest and largest Full Moon of 2021, with a close perigee of 357,311 kilometres occurring just 9 hours earlier. So the Full Moon that rises on the evening of May 25 will be the year’s “supermoon.”
See Fred Espenak’s EclipseWise.com page for details on timing and viewing regions. The dark region on this map does not see any of this eclipse.
May 26 — Comet 7/P Pons-Winnecke at perihelion
The brightest comet predicted to be visible in 2021 (as of this writing) is the short-period Comet Pons-Winnecke (aka Comet 7/P). It reaches its closest point to the Sun — perihelion — the night of the lunar eclipse and is well placed in Aquarius high in the southeastern dawn sky above Jupiter and Saturn.
But … it is expected to be only 8th magnitude, making it a binocular object at best, looking like a fuzzball, not the spectacular object depicted here in this exaggerated view of its brightness and tail length.
May 28 — Mercury and Venus less than 1/2° apart
Look low in the northwest evening sky for a very close conjunction of the two inner worlds. A telescope will frame them well, with Mercury a tiny crescent and Venus an almost fully illuminated disk.
While eastern North America misses the total lunar eclipse, two weeks later observers in the east do get to see a partial solar eclipse.
June 10 — Annular eclipse of the Sun
Should you manage to get yourself to the path of the Moon’s anti-umbral shadow you will see the dark disk of the Moon contained within the bright disk of the Sun but not large enough to cover the Sun completely. You see a ring of light, as above from a 1994 annular eclipse.
The Moon is near apogee, so its disk is about as small as it gets, in contrast to the perigee Moon two weeks earlier. During the maximum of 3 minutes 51 seconds of annularity the sky will get unusually dark, but none of the dramatic effects of a total eclipse will appear. The annulus of sunlight that remains is still so bright special solar filters must be used at all times, covering the eyes and lenses.
The region with the best accessibility to the path is northwestern Ontario north and east of Thunder Bay. However, the annular phase of the eclipse there occurs at or just after sunrise, so clouds are likely to obscure the view, as are trees!
The eastern seaboard of the U.S. and much of eastern Canada can see a partial eclipse of the Sun, as can most of Europe. For details of times and amount of eclipse see Fred Espenak’s EclipseWise website.
Summer officially begins for the northern hemisphere, winter for the southern, as the Sun reaches its most northerly position above the celestial equator. The Sun rises farthest to the northeast and sets farthest to the northwest, and the length of daylight is at its maximum.
June 22 — Mars passes through the Beehive star cluster
Mars, now at a modest magnitude +1.8, appears amid the Beehive star cluster, aka M44, tonight and tomorrow evening, but low in the northwest in the twilight sky. Use binoculars or a telescope for the best view.
Venus and Mars put on a show low in the western twilight.
July 2 — Venus passes through the Beehive star cluster
Venus (at a brilliant magnitude -3.9) follows Mars through the Beehive cluster this evening, but with the pairing even lower in the sky, making it tough to pick out the star cluster.
July 4 — Mercury at a good morning elongation
Though not at its best for a morning appearance from northern latitudes, Mercury should still be easy to spot and photograph in the pre-dawn sky in Taurus, outshining bright Aldebaran.
July 11 — Grouping of Venus, Mars and waxing crescent Moon
Look low in the evening sky for the line of the thin crescent Moon, bright Venus and dim Mars all in the same binocular field. Venus passes 1/2° above Mars on the next two nights, July 12 and 13.
July 21 — Grouping of Venus, Mars and Regulus
The two planets appear with bright Regulus in Leo, all within a binocular field, but again, low in the northwest twilight. The colour contrast of red Mars with white Venus and blue-white Regulus should be apparent in binoculars.
The popular Perseid meteors peak, and we can see (maybe!) the extremely close conjunction of Mercury and Mars.
August 1 — Milky Way core season opens
For southerly latitudes, the first two weeks of May and June are also good, but from the northern U.S. and much of Canada, the nights don’t get dark enough to see and shoot the bright galactic centre until August. The rich star clouds of Sagittarius now shine due south as it gets dark each night over the next two weeks.
August 2 — Saturn at opposition
Saturn is at its closest and brightest for 2021 tonight, rising at sunset and shining due south in Capricornus in the middle of the night.
August 12 — Perseid meteor shower peaks
The annual Perseid meteor shower peaks tonight with a waxing crescent Moon that sets early, to leave most of the night dark and ideal for watching meteors. Look for the crescent Moon 5° above Venus on August 10.
August 18 — Mars and Mercury only 0.06° apart!
Now this is a very close conjunction, with Mercury passing only 4 arc minutes from Mars (compared to the 6 arc minute separation of the Great Conjunction of Jupiter and Saturn on December 21, 2020). But the planets will be very low in the west at dusk and tough to sight. This will be a conjunction for skilled observers blessed with clear skies and a low horizon.
August 20 — Jupiter at opposition
Jupiter, now in Aquarius, reaches its closest and brightest for 2021 tonight, also rising at sunset and shining due south in the middle of the night. On the night of August 21/22, the Full Moon, also at opposition — as all Full Moons are — appears 4° below Jupiter, as shown above.
It’s Harvest Moon time, with this annual special Full Moon occurring close to the equinox this year for an ideal geometry, making the Moon rise due east.
September 5 — Zodiacal light “season” begins in the morning
With no Moon for the next two weeks, from sites away from light pollution look to the pre-dawn sky for a faint glow of light rising out of the east before twilight brightens the morning sky.
September 20 — Full “Harvest” Moon
Occurring two days before the equinox, this Full Moon will rise nearly due east (a little to the south of east) at sunset and set nearly due west at sunrise at dawn on September 21, for some fine photo ops.
September 22 — Equinox at 3:21 p.m. EDT
Autumn officially begins for the northern hemisphere, spring for the southern, as the Sun crosses the celestial equator heading south. Today, the Sun rises due east and sets due west for photo ops.
Mercury adorns the dawn while Venus shines bright but low at dusk.
October 4 — Zodiacal light “season” begins in the morning
With the Moon out of the way for the next two weeks, the zodiacal light will again be visible in the east in the pre-dawn hours.
October 9 — The Moon 2.5° from Venus
The crescent Moon passes close to Venus this evening, with the pair not far from the star Antares. The low altitude of the worlds lends itself to some fine photo ops. Look for a similar close conjunction on the evening of November 7.
October 25 — Mercury at its most favourable morning elongation
The high angle of the ecliptic — the path of the planets — on autumn dawns swings Mercury up as high as it can get in the morning sky, making this week the best for sighting Mercury as a “morning star” in 2021 from northern latitudes.
October 29 — Venus at its greatest angle away from the Sun
While now farthest from the Sun in our sky, its low altitude at this time of year makes this an unfavourable evening appearance of Venus.
The second lunar eclipse brings a mostly red Moon to the skies over North America.
November 3 — Moon and Mercury 2° apart, then a daylight occultation
Before dawn, with Mercury still well-placed in the morning sky, the waning crescent Moon shines 2° above the planet, with Mars below and the star Spica nearby. Later in the day, about noon to early afternoon (the time varies with your location), the Moon will occult (pass in front of) Mercury. This will be a challenging observation even with a telescope, with the pale and thin Moon only 14° east of the Sun. A very clear sky will be essential!
November 19 — 97% Partial Eclipse of the Moon
Though not a total eclipse, this is the next best thing: a 97% partial! And unlike the May 26 eclipse, all of North America gets to see this one.
Mid-eclipse, when the Moon is most deeply embedded in Earth’s umbral shadow, occurs at 4:04 a.m. EST (1:04 a.m. PST) on November 19. While not convenient timing, it ensures that all of the continent can see the entire 3.5-hour long eclipse. The partial umbral phase begins at 3:18 a.m EST (12:18 a.m. PST).
At mid-eclipse, the Moon will resemble Mars — a red world with a bright south “polar cap” caused by the small 3% of the southern edge of the Moon outside the umbra. Its position near the Pleiades and Hyades clusters will make for a great wide-field image.
Remember — this occurs on the night of November 18/19! So don’t miss it thinking the eclipse starts on the evening of November 19. You’ll be a day late!
The year ends with a chance to see four planets together at dusk.
December 4 — Total Eclipse of the Sun
I include this for completeness, but this total solar eclipse (TSE) could not be more remote, as the path of totality lies over Antarctica. Only the most intrepid will be there, in expedition ships and in aircraft. (I took this image over Antarctica at the November 23, 2003 total eclipse one 18-year Saros cycle before this year’s TSE.) Even the partial phases are visible only from southernmost Australia and Africa.
December 6 — Moon 2.5° below Venus
With Venus just past its official December 3 date of “greatest brilliancy” (at magnitude -4.7), the waxing crescent Moon appears close below it, with Saturn and Jupiter further along the line of the ecliptic in the southwest. The Moon appears below Saturn on December 7 and below Jupiter on December 8.
December 13 — Geminid meteor shower peaks
The most prolific meteor shower of the year peaks with a waxing 10-day-old gibbous Moon lighting the sky, so not great conditions. But with luck it will still be possible to see and capture bright fireballs.
December 21 — Solstice at 10:59 a.m. EST
Winter officially begins for the northern hemisphere, summer for the southern, as the Sun reaches its most southerly position below the celestial equator. The Sun rises farthest to the southeast and sets farthest to the southwest, and the length of daylight is at its minimum.
December 31 — Four planets in view
As the year ends the same three planets that adorned the evening sky in early January are back, with the addition of Venus. So on New Year’s Eve we can see four of the naked eye planets (only Mars is missing) at once in the evening sky.
The first total lunar eclipse in 2.5 years provides lots of opportunities for some great photos.
On the morning of January 31, before sunrise for North America, the Full Moon passes through the umbral shadow of the Earth, creating the first total eclipse of the Moon since September 27, 2015.
The pre-dawn event provides many photo opportunities. Here’s my summary of tips and techniques for capturing the eclipsed Moon.
But First … What is a Lunar Eclipse?
As the animation (courtesy NASA/Goddard Space Flight Center) shows, an eclipse of the Moon occurs when the Full Moon (and they can happen only when the Moon is exactly full) travels through the shadow of the Earth.
The Moon does so at least two times a year, though often not as a total eclipse, one where the entire disk of the Moon is engulfed by the umbra.
When the Moon is within only the outer penumbral shadow we see very little effect, with a barely perceptible darkening of the Moon, if that. I don’t even list the times below for the start and end of the penumbral phases.
It’s only when the Moon begins to enter the central umbral shadow that we see an obvious effect. That’s when the partial eclipse begins, and we see a dark bite appear on the left edge of the Moon. The shadow appears to creep across the Moon to darken more of its disk. While it looks like the shadow is moving across the Moon, it is really the Moon moving into, then out of, the umbral shadow that causes the eclipse.
At this eclipse the partial phases last about an hour before and after totality.
Once the Moon is completely immersed in the umbra, totality begins, and lasts 77 minutes at this eclipse, a generous length. However, in North America, only sites in the western half of the continent get to see all or most of totality.
Where is the Eclipse?
As the chart above shows, the Pacific area including Hawaii, Australia, and eastern Asia can see the entire eclipse with the Moon high in the evening or midnight sky.
Most of North America (my tips are aimed at North American photographers) can see at least some part of this eclipse.
From the eastern half of the continent the Moon sets at sunrise during either totality (from the central areas of North America), or during the first partial phases (from eastern North America). Those in the east can take advantage of interesting photo opportunities by capturing the partially eclipsed Moon setting in the west in the dawn twilight.
However, the most dramatic images of a deep red Moon in the western sky, such as above, will be possible only from the west. And even then, the further north and west you live, the better your view.
Even from the southwestern United States the Moon sets just after the end of totality, requiring a site with a low and clear horizon to the west in order to see the whole event.
I live in Alberta, Canada, and the diagrams I provide here are for my area, where the Moon sets during the final partial phase. I offer them as examples of the kinds of planning you can do to ensure great photos. But exactly where the Moon will be during totality, and where and when it will set on your horizon, will depend on your location.
The latter two apps present the sightlines toward the Moon overlaid on a map of your location, to help you plan where to be to shoot the eclipsed Moon setting behind a suitable foreground.
When is the Eclipse?
While where the Moon is in your sky depends on your site, the various eclipse events happen at the same time for everyone, with differences in hour due only to the time zone you are in.
Here are the times for the start and end of the partial and total phases.
Note that all times are A.M., in the early morning, before sunrise, on January 31. Go out at 6 P.M. on the evening of January 31 and you’ll be 12 hours too late. You missed it!
All times are A.M. on January 31. “—“ means the event is not visible; the Moon has set.
The time of moonset at your site will vary with your location. Use planning apps to calculate your local moonset time.
Picking a Site
No matter where you are in North America you want a site with a good view to the west and northwest, preferably with a clear view of a relatively unobstructed but photogenic horizon.
While having an eclipse occur at dawn (or at dusk) does limit the amount of eclipse we can see, it has the benefit of providing many more photo opportunities of the eclipsed Moon above a scenic landscape or foreground element.
From eastern North America you will have to be content with images of the partially eclipsed Moon setting, similar to the image above of a rising partially-eclipsed Moon.
From the centre of the continent, where the Moon sets during totality, the dim, reddened Moon is likely to disappear into the brightening sky. Remember, when the Moon is full it sets just as the Sun rises. So shots of a red Moon right on the horizon aren’t likely to be possible. The Moon will be too dim and the sky too bright.
From sites in the west, the Moon will set either just at the end of totality or shortly afterwards, making the Moon brighter and more obvious in the sunrise sky, as the foreground in the west lights up with red light from the Sun rising in the east.
It is that same red sunlight filtered by our atmosphere that continues on into our planet’s shadow and lights the Moon red during totality.
Picking a Technique
Lunar eclipses lend themselves to a wide range of techniques, from a simple camera on a tripod, to a telescope on a tracking mount following the sky.
What you use depends not only on the gear you have on hand, but also on your site. It might not be practical to set up loads of gear at a scenic site you have to trek into — especially when you have to set up in the wee hours of a cold winter morning.
You could set up earlier that night on January 30, but only if your site is safe enough to leave the gear unattended while you sleep.
Keep it simple!
Option 1: Simple Camera-on-Tripod
The easiest method is to take single shots with a moderate wide-angle or normal lens with the camera on a fixed tripod. No fancy trackers are needed here.
If the sky is bright with twilight, you might be able to meter the scene and use Auto exposure.
But earlier in the night, with the Moon in a darker sky, as I show above, use Manual exposure and try settings of 1 to 10 seconds at f/2.8 to f/4 at ISO 400 to 1600. That’s a wide range, to be sure, but it will vary a lot depending on when you shoot and where you are, factors that will affect how bright the sky is at your site. Just shoot, check, and adjust.
Option 2: Advanced Camera-on-Tripod
A more advanced method is to compose the scene so the lens frames the entire path of the Moon from the start of the partial eclipse until moonset.
As shown above, that will take at least a 35mm lens on a full frame camera, or 20mm lens on a cropped frame camera.
Take exposures every 15 to 30 seconds if you want to turn the set into a time-lapse movie. But a still-image composite with the lunar disks well separated will need shots only every 5 to 10 minutes.
Such a composite takes good planning and proper exposures to pull off, but will be true to the scene, with the lunar disk and its motion shown to the correct scale as it was in the sky. That’s in stark contrast to the flurry of ugly “faked” composites that will appear on the web by the end of February 1, ones with huge telephoto Moons pasted willy-nilly onto a wide-angle sky. Don’t do it!
Exposures for any lunar eclipse are tricky, whether you are shooting closeups or wide-angles, because the Moon and sky change so much in brightness.
For wide-angle composites, you can expose just for the bright lunar disk and let the sky go dark. Exposures for just the Moon will range from very short (about 1/500th second at ISO 100) for the partials, to 1 to 2 seconds at ISO 400 for the totals, then shorter again (1/15 to 1/2 second at ISO 400) for the end shots in twilight when the Moon and sky may be similar in brightness. That’ll take constant monitoring and adjusting throughout the shoot.
As I did below, you’d then composite and layer the well-exposed disks into another background image exposed longer for the sky, likely shot in twilight. To maintain the correct relative locations of the lunar disks and foreground, the camera cannot move.
That technique works best if it’s just a still image you are after, such as below.
The above image is a composite of the April 4, 2015 total lunar eclipse from Monument Valley, Utah. That eclipse occurred under similar circumstances as this month’s eclipse, with the eclipse underway as the Moon set in the west at sunrise.
By comparison, the composite here is made of a few selected frames out of hundreds I took at 15-second intervals, and with each frame exposed for the sky, for use in a time-lapse movie. In this case, the Moon became overexposed at the end as it emerged from the umbra.
Indeed, if it’s a time-lapse movie you want (see the video linked to below), then each frame will have to be exposed well enough to show the sky and landscape.
While this method will overexpose the partially-eclipsed Moon, the Moon will darken and become better exposed throughout totality when the same long exposure for the reddened Moon might also work for the sky, to pick up stars. Exposures will have to shorten again as the sky brightens with twilight.
Again, constant baby-sitting and adjusting the camera will be needed. So if it’s cold where you are prepare for a frigid multi-hour shoot. I doubt you’ll be able to leave the camera on Auto exposure to run on its own, not until at least bright twilight begins.
Option 3: Telephoto Close-Ups
The Moon is surprisingly small (only 1/2-degree across) and needs a lot of focal length to do it justice.
For an “in-your-face” close-up of the eclipse you’ll need a 300mm to 800mm (!) lens. Unfortunately, the Moon and sky are moving and any exposures over 1 to 2 seconds (required during totality) will blur the Moon badly if its disk is large on the frame.
If you don’t have a tracking mount, one solution is to keep the Moon’s disk small (using no more than a fast f/2.8 200mm lens) and exposures short by using a high ISO speed.
Or plan to shoot with a telephoto only when the Moon is low in the sky, as I did above, when you can include the horizon which you would want to be sharp anyway. Framing the Moon and horizon won’t need a super telephoto.
The sky will then also be brighter and require short exposures that don’t need to be tracked. However, how bright and obvious the Moon will be will again depend on your location. This may or may not be a practical option, certainly not if the Moon is setting during mid-totality where you are.
Option 4: Tracked Telescopic Close-Ups
If you have a mount that can be polar aligned to track the sky, then more options are open to you.
You can use a telescope mount or one of the compact and portable trackers, such as the Sky-Watcher Star Adventurer or iOptron Sky Tracker units. While these latter units work great, you are best to keep the payload weight down and your lens size under 300mm.
That’s just fine for this eclipse, as you really don’t need a frame-filling Moon. The reason is that the Moon will appear about 4 degrees away from the bright star cluster called the Beehive, or Messier 44, in Cancer. As shown above, a 200mm to 300mm lens will frame this unique pairing well.
Even so, exposures to show the cluster properly might have to be long enough that the Moon overexposes, even at mid-totality. If so, take different exposures for the Moon and stars and composite them later, as I did below.
If you do want to shoot with more focal length, a monster telephoto lens will work, but a small telescope such as an 80mm aperture f/6 to f/7 refractor will provide enough focal length and image size at much lower cost. But either way, the lens or telescope should be mounted on a solid equatorial telescope mount, and polar aligned to track the sky.
For the sharpest lunar disks, use the Lunar tracking rate.
Exposures will vary from as short as 1/500th second at ISO 100 to 200 for the barely eclipsed Moon, to 4 to 16 seconds at f/6 to f/8 and at ISO 400 to 1600 for the Moon at mid-totality.
As I did above, during the deep partial phases shoot both long exposures for the red umbra and short exposures for the bright part of the Moon not yet in the umbra. Merge those later with High Dynamic Range (HDR) techniques and software, or with luminosity masks.
Even if you’re not sure how to do this now, shoot all the required exposures anyway so you’ll have them when your processing skills improve.
Option 5: Time-Lapse Close-Ups
With a tracking telescope you could fire shots every 30 seconds or so, and then assemble them into a time-lapse movie.
But as with wide-angle time-lapses, that will take constant attention to gradually and smoothly shift exposures, ideally by 1/3rd-stop increments every few shots during the partial and total phases.
If you track at the lunar rate, as I did in the still image below and in the music video linked to at bottom, the Moon will stay centred while it drifts though the stars.
Track at the sidereal rate and the stars will stay more or less fixed while the Moon drifts through the frame from right to left (west to east). But that takes even more careful planning to position the Moon correctly at the start of the sequence so it remains “in frame” for the duration of the eclipse and ends up where you want at the end, which will occur with the Moon low in a bright sky.
Again, planetarium software such as Starry Night, which can be set to display a camera frame, is essential to plan the shoot.
Either way, do take care to accurately polar align your mount, or you’ll be confronted with the monumental task of having to manually align hundreds of images later. Trust me, I know!
I would consider the telescopic time-lapse method the most challenging of techniques.
Considering the hour of the night and the likely cold temperatures, your best plan might be to keep it simple. It’s what I plan to do. I’ll be happy to get a few good wide-angle still images, and perhaps a tracked telephoto close-up of the Moon and Beehive as a bonus.
While there is another total lunar eclipse (TLE) in six months on July 27/28, it is not visible at all from North America.
Our next TLE occurs 12 Full Moons, or one lunar year from now, on the night of January 20/21, 2019, when all of North America gets to watch totality at a more reasonable hour, though perhaps not at a more reasonable temperature.
I leave you with a music video of the last TLE, on September 27, 2015 that incorporates still and time-lapse sequences shot using all of the above methods.
My multiple-exposure composite shows the complete September 27, 2015 total lunar eclipse to true scale, with the Moon accurately depicted in size and position in the sky.
From my location at Writing-on-Stone Provincial Park in southern Alberta, Canada, the Moon rose in the east at lower left already in partial eclipse.
As it rose it moved into Earth’s shadow and became more red, while the sky darkened from twilight to night, bringing out the stars.
Then, as the Moon continued to rise higher it emerged from Earth’s shadow, at upper right, and returned to a brilliant Full Moon again, here overexposed and now illuminating the landscape with moonlight.
The disks of the Moon become overexposed in my composite as the sky darkened because I was setting exposures to show the sky and landscape well, not just the Moon itself. That’s because I shot these frames – and many more! – primarily for use as a time-lapse movie where I wanted the entire scene well exposed in each frame.
Indeed, for this still-image composite of the eclipse from beginning to end, I used just 40 frames taken at 5-minute intervals, selected from 530 I shot, taken at 15- to 30-second intervals for the full time-lapse sequence.
All were taken with a fixed camera, a Canon 6D, with a 35mm lens, to nicely frame the entire path of the Moon, from moonrise at lower left, until it exited the frame at top right, as the partial eclipse was ending.
In the interest of full disclosure, the ground comes from a blend of three frames taken at the beginning, middle, and end of the sequence, and so is partly lit by twilight and moonlight, to reveal the ground detail better than in the single starlit frame from mid-eclipse. Lights at lower left are from the Park’s campground.
The background sky comes from a blend of two exposures: one from the middle of the eclipse when the sky was darkest, and one from the end of the eclipse when the sky was now lit deep blue. The stars come from the mid-eclipse frame, a 30-second exposure.
MY RANT FOR REALITY
So, yes, this is certainly a composite assembled in Photoshop – a contrast to the old days of film where one might attempt such an image just by exposing the same piece of film multiple times, usually with little success.
However … the difference between this image and most you’ve seen on the web of this and other eclipses, is that the size of the Moon and its path across the sky are accurate, because all the images for this composite were taken with the same lens using a camera that did not move during the 3-hour eclipse.
This is how big the Moon actually appeared in the sky in relation to the ground and how it moved across the sky during the eclipse, in what is essentially a straight line, not a giant curving arc as in many viral eclipse images.
And, sorry if the size of the Moon seems disappointingly small, but it is small! This is what a lunar eclipse really looks like to correct scale.
By comparison, many lunar eclipse composites you’ve seen are made of giant moons shot with a telephoto lens that the photographer then pasted into a wide-angle sky scene, often badly, and pasted in locations on the frame that usually bear no resemblance to where the Moon actually was in the sky, but are just placed where the photographer thought would look the nicest.
You would never, ever do that for any other form of landscape photography, at least not without having your reputation tarnished. But with the Moon it seems anything is permitted, even amongst professional landscape photographers.
No, you cannot just place a Moon anywhere you like in your image, eclipse or no eclipse, then pass it off as a real image. Fantasy art perhaps. Fine. But not a photograph of nature.
Sorry for the rant, but I prefer accuracy over fantasy in such lunar eclipse scenes, which means NOT having monster-sized red Moons looming out of proportion and in the wrong place over a landscape. Use Photoshop to inform, not deceive.
I could not have asked for a more perfect night for a lunar eclipse. It doesn’t get any better!
On Sunday, September 27, the Moon was eclipsed for the fourth time in two years, the last in a “tetrad” of total lunar eclipses that we’ve enjoyed at six-month intervals since April 2014. This was the best one by far.
The timing was perfect for me in Alberta, with the Moon rising in partial eclipse (above), itself a fine photogenic site.
In the top image you can see the rising Moon embedded in the blue band of Earth’s shadow on our atmosphere, and also entering Earth’s shadow on its lunar disk. This was a perfect alignment, as lunar eclipses must be.
For my earthly location I drove south to near the Montana border, to a favourite location, Writing-on-Stone Provincial Park, to view the eclipse over the sandstone formations of the Milk River.
More importantly, weather forecasts for the area called for perfectly clear skies, a relief from the clouds forecast – and which did materialize – at home to the north, and would have been a frustration to say the least. Better to drive 3 hours!
This was the second lunar eclipse I viewed from Writing-on-Stone, having chased clear skies to here in the middle of the night for the October 8, 2014 eclipse.
I shot with three cameras: one doing a time-lapse through the telescope, one doing a wide-angle time-lapse of the Moon rising, and the third for long-exposure tracked shots during totality, of the Moon and Milky Way.
That image is above. It shows the eclipsed Moon at left, with the Milky Way at right, over the Milk River valley and with the Sweetgrass Hills in the distance.
The sky was dark only during the time of totality. As the Moon emerged from Earth’s shadow the sky and landscape lit up again, a wonderful feature of lunar eclipses.
While in the above shot I did layer in a short exposure of the eclipsed Moon into the long exposure of the sky, it is still to accurate scale, unlike many dubious eclipse images I see where giant moons have been pasted into photos, sometimes at least in the right place, but often not.
Lunar eclipses bring out the worst in Photoshop techniques.
Above is a single closeup image taken through the telescope at mid-totality. I exposed for 8 seconds to bring out the colours of the shadow and the background stars, as faint as they were with the Moon in star-poor Pisces.
I shot a couple of thousand frames and processing of those into time-lapses will take a while longer, in particular registering and aligning the 700 I shot at 15-second intervals through the telescope. They show the Moon entering, passing through, then exiting the umbra, while it moves against the background stars.
On Sunday, September 27 the Moon undergoes a total eclipse, the last we’ll see until January 2018.
This is a sky event you don’t want to miss. Whether you photograph it or just enjoy the view, it will be a night to remember, as the Full Moon turns deep red during a total eclipse.
Note — For this article I’m giving times and sky directions for North America. For Europe the eclipse occurs early in the morning of September 28, as the Moon sets into the west. But for here in North America the timing could not be better. Totality occurs in the evening of Sunday, September 27 as the Moon rises into the east.
A total lunar eclipse occurs when the Moon — and it can only be Full — passes through the shadow cast into space by Earth. The Sun, Earth and Moon are in near-perfect alignment.
All total eclipses of the Moon consist of 3 main parts:
• The initial partial eclipse occurs as the Moon slowly enters the dark central portion of our planet’s shadow, the umbra. This lasts about an hour.
• Totality begins as the entire disk of the Moon is within the umbra. For this eclipse, totality lasts a generous 72 minutes.
• Totality ends as the Moon emerges from the umbra to begin the final partial eclipse lasting another hour.
WHERE TO SEE IT
All of North America, indeed most of the western hemisphere, can see this eclipse. In North America, the farther east you live on the continent the later in your evening the eclipse occurs and the higher the Moon appears in the southeast.
For example, in the Eastern time zone, totality begins at 10:11 p.m. EDT and ends at 11:23 p.m. EDT, with mid-totality is at 10:47 p.m. EDT with the Moon about 35 degrees up, placing it high in the southeast sky for southern Ontario, for example.
For me in the Mountain time zone, the total eclipse begins at 8:11 p.m. MDT and ends at 9:23 p.m. MDT, with mid-totality is at 8:47 p.m. MDT, with the Moon just 13 degrees up in the east from here in southern Alberta. From my time zone, and from most location in the Rocky Mountain regions, the Moon rises with the initial partial phases in progress.
For locations on the west coast viewers miss most of the partial eclipse phase before totality. Instead, the Moon rises as totality begins, making for a more challenging observation. Viewers on the coast will need clear skies and a low horizon to the east, but the reward could be a beautiful sight and images of a red Moon rising.
This eclipse of the Moon is the last in a series of four total lunar eclipses that occurred at six-month intervals over the last two years. We won’t enjoy another such “tetrad” of total lunar eclipses until 2032-33.
But this eclipse is unique in that it also coincides with the annual Harvest Moon, the Full Moon closest to the autumnal equinox. Harvest Moons are known for their orange tint as they rise into what is sometimes a dusty autumn evening.
But what is making internet headlines is that this Full Moon is also the year’s “supermoon,” the Full Moon of 2015 that comes closest to Earth. In recent years these “perigee” Full Moons have been dubbed “supermoons.”
Call it what you will, it does make this Full Moon a little larger than usual, though the difference is virtually impossible to detect by eye. And it makes little difference to the circumstances or appearance of the eclipse itself.
HOW TO SEE IT
Just look up! You can enjoy the eclipse with the unaided eye, and even from within city limits.
Unlike eclipses of the Sun, the eclipsed Moon is perfectly safe to look at with whatever you wish to use to enhance the view. The best views are with binoculars or a telescope at low power.
Look for subtle variations in the red colouring across the disk of the Moon, and even tints of green or blue along the dark edge of the Earth’s advancing or retreating shadow during the partial phases.
If you can, travel to a dark site to enjoy the view of the stars and Milky Way brightening into view as the Full Moon reddens and the night turns dark.
HOW TO SHOOT IT
1. On A Tripod
The easiest method is to use a camera on a tripod, with a remote release to fire the shutter and prevent vibration from blurring the image. What lens you use will depend on how you wish to frame the scene and how high the Moon is in your sky.
From eastern North America you’ll need a wide-angle lens (14mm to 24mm) to frame the eclipsed Moon and the ground below. The Moon will appear as a small red dot.
While you can shoot the Moon with longer focal lengths it takes quite a long lens (>300mm) to really make it worthwhile shooting just the Moon itself isolated in empty sky. Better to include a landscape to put the Moon in context, even if the Moon is small.
From western North America the lower altitude of the Moon allows it to be framed above a scenic landscape with a longer 35mm to 50mm lens, yielding a larger lunar disk.
From the west coast you could use a telephoto lens (135mm to 200mm) to frame the horizon and the eclipsed Moon as it rises for a dramatic photo.
Use Live View (and zoom in at 10x magnification) to manually focus on the horizon, distant lights, or bright stars. The Moon itself my be tough to focus on.
Exposures will depend on how bright your sky is. Use ISO 400 to 800 and try metering the scene as a starting point if your sky is still lit by twilight. Use wide lens apertures (f/4 to f/2) if you can, to keep exposures times as a short as possible.
The apparent motion of the Moon as the sky turns from east to west will blur the image of the Moon in exposures lasting more than a few seconds, especially ones taken with telephoto lenses.
The maximum exposure you can use before trailing sets in is roughly 500 / lens focal length.
2. On a Tracker or Equatorial Mount
If you can track the sky using a motorized tracker or telescope mount, you can take exposures up to a minute or more, to record the red Moon amid a starry sky.
For this type of shot, you’ll need to be at a dark site away from urban light pollution. But during totality the sky will be dark enough that the Milky Way will appear overhead. Use a wide-angle lens to capture the red Moon to the east of the summer Milky Way.
3. Through a Telescope
The most dramatic closeups of the eclipsed red Moon require attaching your camera body (with its lens removed) to a telescope. The telescope becomes the lens, providing a focal length of 600mm or more, far longer than any telephoto lens most of us own.
You’ll need the appropriate “prime focus” camera adapter and, to be blunt, if you don’t have one now, and have never shot the Moon though your telescope then plan on shooting with another method.
But even if you have experience shooting the Moon through your telescope, capturing sharp images of the dim red Moon demand special attention.
The telescope must be on a motorized mount tracking the sky, preferably at the “lunar,” not sidereal, drive rate. Focus on the Moon during the partial phases when it is easier to focus on the bright edge of the Moon.
Exposures during totality typically need to be 5 to 30 seconds at ISO 800 to 3200, depending on the focal ratio of your telescope. Take lots of exposures at various shutter speeds. You have over an hour to get it right!
I’d suggest attempting time-lapses only if you have lots of experience with lunar eclipses.
Exposures can vary tremendously over the partial phases and then into totality. Any time-lapse taken through a telescope, or even with a wide-angle lens, will require a lot of manual attention to ensure each frame is well-exposed as the sky and Moon darken.
However, even if you do not get a complete set of frames suitable for a smooth, continuous time-lapse, selected frames taken every 5 to 10 minutes may work well in creating a multiple-exposure composite (as above), by layering exposures later in Photoshop.
Whatever method – or methods — you use, don’t get so wrapped up in fussing with cameras you forget to simply enjoy the eclipse for the beautiful sight it is.
This is the last total eclipse of the Moon anyone on Earth will see until January 31, 2018. So enjoy the view of the deep red Moon in the autumn sky.
What a great site to watch the Moon turn red in a total eclipse.
I can’t recall a more scenic total eclipse of the Moon. I planned this site as best I could from Google maps and other apps, and the location proved ideal.
As the Moon went into the Earth’s shadow it set into the notch between the two peaks of this mesa at Monument Valley, Utah. It was a stunning celestial sight seen from one of the most dramatic scenic sites on the planet.
This was the total lunar eclipse on the morning of April 4, 2015, an eclipse that was barely total with just 4 minutes of totality with the Moon within Earth’s umbral shadow. The top of the Moon, grazing the edge of our planet’s shadow, always appeared bright white, as expected.
The lead image is a composite of many exposures: short ones for the partial phases that flank a longer exposure for the single image of totality and and even longer exposure for the sky and landscape, all taken over the course of 2.5 hours with a fixed camera – don’t bump the tripod!
I shot this image with the second camera riding on a tracking platform. It is a bend of three exposures: two long ones for the sky and ground and a short exposure to retain the Moon and avoid it turning into a white overexposed blob.
The long sky exposure was taken with the tracker on, to keep the stars as pinpoints, while for the ground exposure I turned the tracker motor off to keep the ground sharp. I layered and masked these with Photoshop.
The last image is a single image only, just one exposure, taken a few minutes after the end of totality as the sky was quickly brightening with the blue of dawn. It captures the naked-eye scene.
I shot all these from my B&B for the weekend, the Tear Drop Arch B&B, named for the arch on the mesa at left in these images. I chose the spot to provide a scenic foreground to the western-sky eclipse without having to drive miles in the pre-dawn hours. I was moments away from bed as the sun rose and the eclipsed Moon set.
Next lunar eclipse: September 27, 2015, in the evening for North America.
On the morning of April 4 (for North America) the Moon turns bright red in the third of four lunar eclipses in a row.
We’ve been enjoying a spate of total lunar eclipses over the last year. We had one a year ago on April 15 and again on October 8, 2014. This weekend, we can enjoy the third lunar eclipse in a year.
This Saturday, the Moon undergoes a total eclipse lasting just 4 minutes, making this the shortest total lunar eclipse since the year 1529. Typically, lunar eclipses last 30 to 60 minutes for the total phase, when the Full Moon is completely within Earth’s shadow.
But this eclipse is barely total, with the Moon grazing across the northern edge of the umbral shadow, as this diagram courtesy of SkyNews magazine illustrates. (Click on the image to enlarge it.)
• The partial eclipse begins at 4:15 a.m. Mountain Daylight Time on the morning of Saturday, April 4 for North America.
• Totality (when the Moon is reddest and darkest) is from 5:58 to 6:02 a.m. MDT.
• The partial eclipse ends at 7:44 a.m. MDT.
Add one hour for Central time, and subtract one hour for Pacific time.
This lunar eclipse is best from western North America where totality can be seen. From eastern North America, in the grey zones here, the Moon sets while in the initial partial phase and before totality begins. Those in Australia and New Zealand can also see the eclipse, but late on the night of April 4 into April 5. Europe and Africa miss out.
Even from western North America, the Moon will be eclipsed while it is setting into the west, and the sky is brightening with dawn twilight, presenting a view such as in the above photo, which I took in December 2011.
This eclipse occurs over the Easter and Passover weekend – and actually on Easter for some time zones. The last time we had a total lunar eclipse on Easter Sunday was March 23, 1913. The next to occur on Easter won’t be until April 14, 2340.
If you miss this eclipse, you have one more chance this year. On Sunday, September 27, conveniently timed for the evening in North America, we have the last in a “tetrad” series of four total lunar eclipses. After that, we wait until January 31, 2018.
The Full Moon of March 5 will be the smallest and most distant Full Moon of 2015.
In recent years there’s been a huge ado about “supermoons,” the largest and closest Full Moons of the year. This year the biggest Full Moon occurs on September 27.
Photographers wishing to capture a comparison of the biggest Full Moon with the smallest will need to shoot the Moon this week, on March 5. That’s the date for 2015’s most distant and smallest Full Moon – the “mini-moon” of March.
On March 5 the Moon reaches its “apogee” – the most distant point in its monthly elliptical orbit around Earth about 10 hours before it reaches the moment of full phase at mid-day on March 5 for North America. On March 5 the Moon’s maximum distance will be 406,384 kilometres from Earth (measured from the centre of Earth to the centre of the Moon).
By nightfall on March 5 the Moon will be a little closer than that but not by much. Seven Full Moons later, on September 27, the Moon will reach its monthly “perigee” point closest to Earth less than an hour before full phase, at a distance of 356,877 kilometres.
That will be the much-publicized “supermoon” of 2015. Shoot both Full Moons with the same optical system (preferably a telescope with a focal length of at least 600mm to make the Moon large enough on the camera frame) and you’ll have a pair of real images comparing the minimum and maximum apparent sizes of the Moon, much like the simulations above.
You’ll certainly be out shooting the September 27 Full Moon, as that night it also undergoes a total eclipse. The Full Moon will turn deep red in the early evening for North America. But wait until the umbral phase is over, and you’ll have a normal looking Full Moon to create the comparison pair.
There’s also a total lunar eclipse next month, on the morning of April 4, six Full Moons before the September “supermoon” eclipse.
However, that’s not the smallest Full Moon of 2015. On April 4 the Full Moon comes three days after the Moon’s monthly apogee point, putting it a little closer than this week’s Full “mini-Moon” of March. The difference between the two extreme Moons is only about 12 percent, between a lunar disk 30 arc minutes across (1/2 degree) at apogee and one 34 arc minutes across at perigee.
The difference is impossible to detect to the eye, not without two Moons side-by-side in the sky, something we’ll never see. But by taking photos of the March and September moons with the same optics you can create a matched two-moon comparison.
The Hunter’s Moon of 2014 turned deep red during a total lunar eclipse.
It wouldn’t be an eclipse without a chase!
To see and shoot this total eclipse of the Hunter’s Moon I had to chase clear skies, seeking out the only clear area for hundreds of miles around, requiring a 3-hour drive to the south of me in Alberta, to near the Canada-US border, at Writing-on-Stone Provincial Park.
It was worth the midnight trek, though I arrived on site and got set up with just 10 minutes to go before the start of totality.
But I was very pleased to see the sky remain mostly clear for all of totality, with only some light haze adding the glow around the eclipsed Moon. Remarkably, the clouds closed in and hid the Moon just after totality ended.
This is a single 15-second exposure at ISO 400 with a Canon 60Da, shooting through an 80mm apo refractor at f/6 and on an equatorial mount tracking the sky at the lunar rate. I shot this shortly after mid-totality. It shows how the Moon’s northern limb, closest to the edge of the umbral shadow, remained bright throughout totality.
It shows lots of stars, with the brightest being greenish Uranus at the 8 o’clock position left of the Moon, itself shining in opposition and at a remarkably close conjunction with the Moon at eclipse time.
More images are to come! But this is the result of fast processing after a dawn drive back home and an all-nighter chasing and shooting an eclipse.
‘Twas the night before the night before … an eclipse of the Moon.
This was the beautiful moonrise tonight, on Monday, October 6, two days – by calendar date – before the total lunar eclipse on October 8.
However, as the eclipse occurs at pre-dawn on October 8, it’s really just a day and half to go before the Moon turns red as it passes through Earth’s shadow.
I shot these as the gibbous Moon, waxing toward Full, rose over the harvested field to the east of home. The setting Sun nicely lit the clouds which partly hide the Moon.
Earlier in the evening, I grabbed this shot as the Moon appeared and two white-tailed deer ran through the yard and out into the field below the rising Moon. Moon deer!
This is the sequence that will happen early on October 8, in a diagram courtesy Fred Espenak at EclipseWise.com. The times are for Mountain Daylight, my local time zone. The eclipse will be total from 4:25 to 5:24 a.m. MDT (6:25 to 7:24 a.m. EDT) when the Moon will be immersed in the umbral shadow and will appear deep red.
Use binoculars for the best view of the colours. An eclipsed Moon looks wonderful, like a glowing red globe lit from within, but it’s really lit by the red sunlight from all the sunsets and sunrises going on around the world at once.
The next total lunar eclipses are April 4, 2015 (again pre-dawn) and September 27, 2015 (at convenient early evening hours), both visible from North America.
The eclipsed red Moon rises over the waters of Lake Macquarie on the east coast of Australia.
I was still in Australia for this eclipse and managed to see and shoot it, but only just!
I was on the Central Coast of New South Wales, where clouds and rain have been prevalent all week, in part caused by departing remnants of Cyclone Ita. The prospects for seeing this eclipse from the coast looked bleak indeed.
From eastern Australia, the Moon rose at sunset in mid-eclipse on our evening of April 15. I was with family in Australia and so we made an evening picnic of the event, joining a few others in the lakeside park who were there to also see the eclipsed Moon over Lake Macquarie, Australia’s largest salt water lake. I wanted to catch this eclipse over water, to see the effect above — the “glitter path” from the Moon but one turned red by the eclipsed Moon.
As we were about to give up, I caught sight of the Moon as it rose into breaks in the cloud, revealing the red Moon near Spica and Mars. We saw the last of totality and the early stages of the final partial eclipse. But later in the evening clouds rolled in again and the rain poured down. Indeed, I took my last images of the eclipse with light rain falling and the cameras getting wet. This isn’t the first eclipse I’ve watched in the rain!
I shot with fixed cameras with 50mm and 135mm lenses. The top image is a 135mm telephoto shot, the other three are with the 50mm lens.
This was the kind of eclipse chasing I like — just to the end of my driveway … to shoot the partial eclipse of the Moon before dawn on June 4.
While the car is all packed with gear for a possible flight or cross-country chase to clear skies to catch the Venus transit tomorrow, the lunar eclipse required no travel at all. Not that I was going to make too much effort at 4 am!
While some clouds got in the way, a clear hole opened up at the right time, with the remaining clouds adding a photogenic touch. I’m hoping to be as lucky for the transit!
This was just a partial lunar eclipse, with only 37 percent of the Moon immersed in the Earth’s umbral shadow at mid-eclipse, shortly after this image was taken. Even so, some of the reddening of the shadowed portion of the Moon’s disk does show up here.
I shot this from southern Alberta with a Canon 60Da and an 18-200mm lens at 115mm to frame the Moon and prairie landscape.
This is my favourite shot from the December 10 dawn eclipse. It’s the one I was after, with the red Moon in a blue sky over the snow-covered Rockies.
Lunar eclipses don’t have the dramatic and sudden effects of a total eclipse of the Sun. But neither do they have the anxiety and sometimes sheer panic! Lunar eclipses are more stately affairs as they play out in a relaxed manner over 2 to 3 hours. But they are beautiful nonetheless, especially when the Moon is low in the sky and set above a scenic landscape at moonrise or, as it was with this eclipse, at moonset.
The red colouration of the Moon makes the scene, as the Moon, embedded in Earth’s shadow, becomes lit by the light of all the sunsets and sunrises going on around the world at once. If Earth had no atmosphere the Moon would go completely black during a total eclipse. But besides making life on Earth possible (no small thing!), our atmosphere also provides us the wonderful sight of a red Moon during a total eclipse. Take a deep breath and enjoy!
This was the view well into totality as the eclipsed Moon set into the morning twilight sky. On December 10 we got a fantastic view of the total lunar eclipse at dawn, with the red Moon over the Rockies.
I shot this from the grounds of the Rothney Observatory in the foothills southwest of Calgary. The Moon is completely in Earth’s shadow here but with its southern or bottom edge brighter than the top, so it overexposes here. This view captures the scene as the eye saw it, at about 7:30 a.m. local time, an hour before sunrise and moonset.
A full house of 100 people showed up at the Observatory for a public event and breakfast. I dare say they got the best view of this eclipse of anyone in Canada.
It has been a long time between Blog posts, with no new astrophotos from me for a while. But the drought ends due to thankfully fine conditions for the total eclipse of the Moon, on Saturday morning, December 10.
Skies were wonderful and the conditions actually pleasant for a winter morning at 6 a.m. For us in southern Alberta, the Moon went into eclipse as it descended into the western sky in the pre-dawn hours. The timing wasn’t convenient, but the view more than made up for the effort of getting up at 3 a.m. to drive west out of cloud to the Rothney Observatory. Their location in the foothills proved clear and perfect for looking west, to see the Moon over the Rockies.
This is one of my earlier shots in the 3-hour event, taken just before totality began, when the Moon was still in a dark sky. The camera was on a tracking platform to keep the stars from trailing during the 30 second exposure, causing the ground to trail instead.
You can see the Pleiades cluster at right, and Betelgeuse in Orion at left.
This was the last total eclipse of the Moon anywhere in the world until April 14, 2014.
For years we astrophotographers have been thwarted by our recording media’s inability to capture a wide range of brightness in one exposure. A classic example is a lunar eclipse. The range in brightness between the non-eclipsed Full Moon and the part of the lunar disk in the Earth’s shadow is so great no one exposure can grab it all. You are left with either an over-exposed crescent or a dark under-exposed eclipsed Moon — nothing that looks anything like the eye can see.
At last, modern image processing comes to the rescue! This is a stack of 9 exposures, from 1/125th to 2 seconds, all at f/6 with a 130mm apo refractor and Canon 7D camera. The images were stacked and merged into one “high dynamic range” image using Photoshop CS5, whose new HDR mode is wonderful! A little tweaking of settings in the Tone Mapping dialog box, and voilá! An image of the partially eclipsed Moon that really looks like what the eye saw. I’m impressed.
The December 20, 2010 total lunar eclipse promised to be a photogenic one. With the Moon smack dab in the middle of the winter Milky Way, it was going to be a great sight, as the Milky Way appeared during totality. The event did not disappoint. Though some haze intervened, I wasn’t complaining, as the weather has been so poor of late, we were lucky to get a clear night at all, despite having to endure -20° C temperatures to take in the event. This shot captures the scene from my backyard during totality, with the over-exposed eclipsed Moon sitting in the Milky Way above Orion. The naked and binocular view was truly stunning.
I got back from Australia in time to see this event from home, squeezed in between Oz and a Xmas trip to the rainy west Coast. The plan worked! I managed to catch the eclipse, against the odds, which defeated many across Canada. Alberta was one of the few clear places for this event. I had considered a hasty trip to Arizona for it, but decided against it — a good thing, as I think they had cloud. The winter of 2010/11 is proving to be an awful one for many.