Chasing the Moon’s Shadow to Spain


On August 12, 2026 the shadow of the Moon crossed northern Spain bringing a total eclipse of the Sun to Europe for the first time since 1999. I was there!

I was able to witness the 2026 total eclipse of the Sun. It was short but spectacular! The sky was clear, though hazy from summer dust, making the normally silvery-white solar corona appear quite yellow to the eye and camera, for a unique eclipse.

But smoke from forest fires that had been raging in Spain was not an issue. Nor did we contend with dense dust from the Sahara blown in on โ€œCalimaโ€ winds. 

Note: Click or tap on images to bring them up to full screen.

The actual weather on eclipse day. Blue = clear. Red = cloudy. We were east of Valladolid and south of Burgos. The blue dots mark the locations of other eclipse chasers logging their observations.

And the summer thunderstorms I had feared would be our downfall, especially with such a low eclipse, held off for another couple of days โ€” it was raining by departure day on the 14th. We were lucky โ€” and happy! 

My eclipse chasing log. Grey paths are central eclipses. T= Total, A = Annular. Courtesy Eclipse-Chaser-Log.com

This was my 18th total solar eclipse (TSE in the lingo). (See my log here.) The first was on February 26, 1979 from Manitoba. But this was my first TSE seen from Europe. While I had traveled to Spain in 2013 for the hybrid eclipse of November 3, that visit was to board a sailing ship in Malaga to intercept the path of totality in the mid-Atlantic. 

So as the map above shows, I have now seen total eclipses of the Sun from all seven continents, including over Antarctica in November 2003, and from two oceans. And from land, sea, and in the sky (on two “e-flight” aircraft intercepts).

The 2026 Path of Totality, in yellow, courtesy EclipseAtlas.com

The 2026 eclipse was unusual in that the path of the Moonโ€™s umbral shadow โ€” where a total eclipse would be seen โ€” did not travel from west to east as most paths do. Instead, it started in Arctic Russia, swept north over the North Pole, then travelled south over eastern Greenland and western Iceland, ending in the evening just before sunset in Spain, only then moving eastward as most paths do. 

The 2026 eclipse had a similar path and was in the same 18-year โ€œSarosโ€ series (during which similar eclipses repeat) as the August 1, 2008 eclipse I and a small group of fellow Canadian eclipse chasers saw from the air over the Canadian Arctic. That 2008 path started in the middle of the night in Canada (where we saw it) with an eclipsed midnight Sun. It swept north over the Pole, then south down into Russia and China for a sunset eclipse, just like we saw in Spain this year. 

The next eclipse in that Saros, on August 22, 2044, like the one in Spain this year, also sweeps south from the Pole and Arctic, to end before sunset โ€” where?? Right over my home in Alberta! 

The entire tour group and CTA staff on site, including Nabal staff. Courtesy CTA.

This year I was honoured to serve as one of five โ€œeclipse expertsโ€ for a group of 80 aspiring and experienced eclipse photographers, plus their companions, traveling with the very popular tour company Capture the Atlas, run by Dan and Ascen Zafra.

CTA Leader Dan Zafra introduces the event, noting this was the first total eclipse in Spain since 1905.

Do visit the CTA site and download their 2026 Capture the Atlas Magazine PDF to see their extensive offerings of photo-oriented tours worldwide. The book includes an interview with me about eclipse chasing, plus several other useful “how-to” articles on astrophotography. So it is a valuable resource apart from the tour listings.

My fellow eclipse experts, L to R: Miguel Claro, Sarah Mathews, Mike Shaw and Dan Stein 

In addition to us eclipse experts (above), for such a large group, Dan also brought on all of his other tour leaders, all of whom are also expert photographers, as well as the great CTA administrative staff who ably handled all the complex logistics. So just the experts, tour leaders, and staff made for quite a crew (below)! 

All of the CTA staff, instructors, and us 5 experts at our designated spot. I’m in the middle.

So among all of us, the hope was we could handle every question about all the brands and models of cameras, the gear people were using, and advise on their plans. Even so, a couple of camera models still stumped us โ€” I’m looking at you Nikon!

Each of us five experts had an expertise in some type of eclipse image or gear. It seemed to work! Everyone got good shots โ€” though perhaps not all that they had planned. Heck, I made mistakes, too โ€” repeating a couple from previous eclipses I had told people not to do!

The hotel conference room and the assembled multitude ready for the pre-eclipse talks.

While we five experts had each delivered on-line tutorials to the group in the months leading up to the eclipse, we all presented briefings (live at last!) the day before and the day of the eclipse. 

Our three busloads of chasers arriving on site the day before the eclipse for our dress rehearsal.

Then, rare for any eclipse I had been to, we were able to do a full dress rehearsal on site the evening before the eclipse, on August 11, allowing everyone to test their gear and routine, with each of us 5 experts assisting about a fifth of the group, so about 16 people each. 

My eclipse charges on eclipse day itself, all ready to go!

My assigned guests were mostly first-time eclipse viewers, using basic gear. Colleagues looked after folks with more advanced gear such as telescopes and tracking mounts. 

A pano of the Bodegas Nabal Winery with everyone lined up for the practice run on August 11.

Our site was very well chosen โ€” the Bodegas Nabal Winery in the Ribero del Duero wine region of northern Spain. We had exclusive use of the winery which looked west to the setting Sun, and had all the facilities needed for a comfortable eclipse in the heat of a Spanish summer. Waiters served us hors dโ€™oeuvres during the partial phases! Luxury!

We could watch as the Sun set still in eclipse at 9:20 pm. Then finish eclipse day with a late evening celebratory banquet โ€” and wine! 

However, our base was at the Sercotel Hotel in Valladolid. It was there we presented our briefings, and our post-eclipse processing tutorials (above) using images we had shot the evening before and barely had time to look at! Talk about pressure!

For the eclipse (and the practice run) everyone was assigned a marked spot along the main plaza, grouped by expertise and type of gear, for us to more easily attend to. 

We experts (above) and the CTA instructors and staff had our own assigned area below the main group. The group had clear instructions that once the eclipse began our assistance would end, with all guests then on their own, allowing us to pursue our own photo plans. (You can see Sarah’s livestream of the eclipse using a Dwarf III smart scope here on her channel.)

A principle challenge was the heat. White hotel towels were the order of the day, to help keep cameras cool in the +37ยบ C temperatures. While the air did cool somewhat during the eclipse, some cameras were flashing โ€œoverheatingโ€ warnings never seen before. One of mine did, but made it through the entire eclipse. But this was a valuable lesson for the 2027 eclipse, which will be in even hotter locations for many eclipse chasers.

Being an overseas eclipse, I kept my gear to a minimum, unlike my previous TSEs in Idaho in 2017 and Quรฉbec in 2024 (the links take you to those blogs) when I could drive to the eclipse with a carload of telescopes and mounts. 


The Main Image

My main goal was a type of eclipse image I had not shot before โ€” an โ€œin-cameraโ€ composite of the progress of the total eclipse from partial, through totality, to sunset, all shot without moving the camera, for accurate Sun sizes and positions. The low Sun (it was just 8ยบ high at totality) lent itself to framing the sequence above the landscape with a modest telephoto lens, a 70-200mm at 70mm in my case. 

I used SkySafari software to plan how to frame the scene โ€” where to place the Sun, and when, at the start โ€” so it would end up near the centre of the frame at totality, and include Regulus and two planets (maybe!), and not move off frame at sunset. It worked! 

The final composite image, with totality itself a blend of several exposures. Note the yellow corona.
The same with labels. I just managed to capture Jupiter and Mercury, and Regulus. The Sun was on the ecliptic (it always is!) but so was the New Moon, thus the eclipse.

I shot the partials through a Maven magnetic solar filter (easy to pop off and on), and the totals unfiltered using a bracketed range of exposures, the longest of which provided the sky and ground as it appeared at totality. A short exposure blended in adds the brilliant red prominence at “9 o’clock” that was obvious even to the unaided eye. (You’ll see it in full-screen view.)

The final setting Sun was shot without a filter, as by then the Sun was very dim and red. 

A “BTS” look at the layers of images in Photoshop that went into the composite. Eclipse images can be complex!

The Time-Lapse

My other image sequence is one I shoot at every eclipse, as it is easy to set up and get running on its own. This was a time-lapse, with no filter, started a few minutes before totality, with the camera taking images every second on auto-exposure. My ebook above provides the “how-to” details on shooting and processing such a series.

Do expand the video to full screen. Note the traffic on the E5 didn’t stop during totality! Except for one truck.

The finished time-lapse, from 520 frames shot at 1 fps, played back at 10 fps. Processed in Adobe Camera Raw and LRTimelapse. Assembled in TimeLapseDeFlicker.

The wide 15-35mm lens at 15mm records the right-to-left (north-to-south) passage of the Moonโ€™s dark shadow, stretched into a long ellipse over Spain. 

The Ra was on the little wood Berlebach tripod and Acratech ball head. But I had it set for +.67 EV exposure compensation not -1 EV so during totality exposures were 1.3 seconds causing frame collision with the 1s interval of the intervalometer.
A single frame from the time-lapse set, from mid-totality, with bright Venus at upper left.
The Ra was on the little wood Berlebach tripod and Acratech ball head. But I had it set for +.67 EV exposure compensation not -1 EV so during totality exposures were 1.3 seconds causing frame collision with the 1s interval of the intervalometer.
The same as above, with labels. Regulus was there, too! And Jupiter, barely.

At low eclipses like this the Moonโ€™s umbral shadow appears as a cone of darkness with the eclipsed Sun at its apex. The time-lapse worked very well. And the resulting frames provide both high-res stills and a movie. 

The complete eclipse sequence and our group enjoying the show. (Courtesy CTA)

A more ambitious time-lapse (above) from one of the CTA instructors, Francesco Dallโ€™olmo, shot from a balcony on the winery records the full sequence with all of us in the foreground. Superb! 

A white sheet in hopes of catching shadow bands. No luck! We looked!

We did set up a white ground sheet, and had the white walls of the winery behind us, where I thought we might see the subtle rippling of shadow bands just before and after totality. We looked both pre-C2 and post-C3 (and called out to remind people to look) but didnโ€™t see any shadow bands. I’ve seen them at low eclipses so the Sun’s altitude was not the issue, but likely the haze was.

Our last look at the eclipse was of its final partial phase as the Sun set. It had been a long day, with every eclipse bringing some stress. But we did not have clouds to contend with, unlike some sites elsewhere in Spain (mostly on the coasts, as had been predicted) or at sea in the Mediterranean. And in Iceland! But the ships in Scoresby Sound in Greenland saw it.

So we had good reason to celebrate that evening and toast our success with a local vintage from the wine cellars below. It had been an experience to remember for a lifetime. But not once in a lifetime โ€” as it can be repeated …!


Next Year’s Eclipse โ€” Back to Spain!

The 2027 TSE path, courtesy EclipseAtlas.com

The next total solar eclipse is only 12 New Moons โ€” a lunar year later โ€” on August 2, 2027. It is the second in a rare trio of annual TSEs from 2026 to 2028 I have written about in my “How to Capture …” ebook linked to above. 

The 2027 TSE belongs to another Saros series notable for its over-six-minute-long eclipses, such as the long eclipses of July 11, 1991 (in Mexico) and July 22, 2009 (in China and the Pacific), and the coming August 12, 2045 eclipse across the U.S. Next yearโ€™s eclipse has a path that crosses Spain, Gibraltar, and North Africa (maximum eclipse is in Luxor, Egypt), so cloudless skies are likely. But heat will be guaranteed!

And as I show above, brilliant Venus near the Sun, with bright Jupiter and Mercury not far away, all amid the winter stars, will make for a spectacular eclipse sky next year. You can see my 2027 shooting plan for Spain in the SkySafari charts above. From Egypt the Sun will be nearly overhead.

Capture the Atlas is offering a similar Summit package for the 2027 total eclipse, to southern Spain. See the page here. I understand the tour is already sold out, but has a waiting list. I will be on that trip along with four eclipse chasing colleagues, some returning from this year, as the resident experts. 

CTA Swag! And souvenir menus.

If you wish to see a total eclipse โ€” or see another โ€” the 2027 TSE is the one to get to โ€” somewhere! Details of locations and times can be found at EclipseAtlas.com

Happy Moonshadow chasing!

โ€” Alan, August 22, 2026 (amazingsky.com

Tutorials and Tips for the Solar Eclipse


As eclipse day approaches here are some tips and video tutorials from me about how best to capture the total eclipse of April 8, 2024.

There are many ways to capture great images and movies of a total eclipse of the Sun. I outline them all in great detail in my 380-page ebook How to Capture the Solar Eclipses, linked to at right.

Originally published in June 2023, I revised the ebook following the October 14, 2023 annular eclipse of the Sun to include “lessons learned at the eclipse,” and some processing tutorials on assembling annular eclipse composites. I’ve also added new content on using software to control cameras and updated information about solar filters.

Brief Tips and Techniques

The August 21, 2017 total solar eclipse over the Grand Tetons as seen from the Teton Valley in Idaho, near Driggs. With the Canon 6D and 14mm SP Rokinon lens at f/2.5 for 1/10 second at ISO 100.

My breakdown of recommend methods, in order from simplest to most complex, and with increasing demands on your time, is generally this:

  1. Use a Phone Camera for a Movie. While they can be used for a quick handheld grab shot during totality, a better method is to place a phone on a tripod using a clamp of some kind. Then a few minutes before totality aim and frame the scene, with no filter over the camera lens. Start it in movie mode to record video of the eclipse and sky changes, and the excited sounds of your group! Just remember to stop the video shortly after the end of totality and aim the phone away from the Sun. Never leave any unfiltered camera aimed at the Sun for a long time.
  2. Shoot a Wide-Angle Time-Lapse. Using a DSLR or mirrorless camera and a wide-angle lens (it might need to be as wide as a 14mm at sites in Mexico and the southern U.S.) aim and frame the camera to include the Sun and landscape below. Focus the lens! And leave it on manual focus. But put the camera into Auto-Exposure Aperture Priority (Av) with wide-area metering and with it set to underexpose by -1 EV Exposure Compensation. With the camera at ISO 100 or 200, use either its internal intervalometer (if it has one) or an external intervalometer to take frames once per second. Start the sequence with no filter on the lens a few minutes before totality. Let it run on its own until a few minutes after totality. The result is hundreds of frames you can turn into a time-lapse movie of the lunar shadow approaching and receding, and of the changes in sky colours. Or you can extract single frames at key points to process individually, as I did for the image above from August 2017. The advantage, as with the phone camera movie method, is that the camera, once going, requires no further attention. You can enjoy the eclipse!
  3. Shoot a Telephoto Video. Use a 300mm to 500mm lens on a DSLR or mirrorless camera to shoot a real-time close-up video of the eclipse. Start the video a minute or two before totality with the Sun positioned to the left of frame centre and with a solar filter over the lens. Use a slow ISO, the lens wide open (typically f/4 to f/5.6) and the camera on Auto-Exposure Aperture Priority (Av). Just be careful to focus precisely on the filtered Sun before starting the video. Poor focus is what spoils most eclipse images, not poor exposure. Just before totality (about 30 seconds prior to Second Contact) remove the filter. The auto-exposure will compensate and provide a proper exposure for the rest of totality. Just let the camera run and the Sun drift across the frame from left to right. Just remember to replace the filter, or cap the lens, and stop the video shortly (~30 seconds) after totality and Third Contact. The video will capture the diamond rings and a well-exposed corona. Vary the exposure compensation during totality if you wish, but that involves more work at the camera. Otherwise, you can just let the camera run. But, as I illustrate in my ebook, it’s important to plan and place the Sun correctly to begin with (using a planetarium app to plan the sequence), so it does not drift off the frame or close to the edge.
  4. Shoot Telephoto Close-Up Stills. Use the same type of gear to shoot still images. While you could shoot stills on Auto-Exposure, it’s better to shoot still images over a range of exposures, from very short (~1/1000 second) for the diamond rings and prominences, to long (~1 second) for the outer corona. No one exposure can capture all that the eye can see during totality. This takes more work at the camera, and with the camera on a static tripod you might have to re-centre the Sun during totality, another thing to fuss with and where things can go wrong. Using the camera’s Auto-Bracketing mode can help automate the shooting, allowing the camera to automatically shoot a set of 7 to 9 exposures at say, one-stop increments in quick succession with just one press of the shutter button (by using the self-timer set to 2 seconds).
  5. Shoot with a Telescope on a Tracking Mount. Telescopes (I like 60mm- to 100mm-aperture apochromatic refractors) allow longer focal lengths, though I would advise against shooting with any optics longer than 600mm to 800mm, so the image frames the corona well. Use similar settings as above, but with the telescope (or a telephoto lens) on a tracking mount to turn from east to west at the same rate as the sky moves. That will ensure the Sun stays centred on its own, provided you have at least roughly polar aligned the mount. (Set it to your site’s latitude and aim the polar axis as due north as you can determine from compass apps.)

Those are brief summaries of the methods I recommend, as they are ones I’ve used with success in the past and plan to use on April 8. My ebook contains much more information, and answers to most of the “But what about using ….?” questions. And I provide lots of information on what can go wrong! Some learned the hard way over 16 previous total solar eclipses.

Video Tutorials

For a video tutorial, check out the webinar I conducted as part of the Kalamazoo Astronomical Society’s excellent Eclipse Series here on YouTube. It is about a 1-hour presentation, plus with lots of Q&A at the end.

KAS Eclipse Series โ€” Part 1: Shooting

Of course, once you have all your images, you need to process them. My ebook’s biggest chapter (at 80 pages) is the one on processing still images and time-lapses.

So, a month after I presented the above webinar on Shooting, I was back on-line again for a follow-up webinar on Processing. You can view that KAS Eclipse Series tutorial here on YouTube.

KAS Eclipse Series โ€” Part 2: Processing

I cover processing single wide-angle images, a wide-angle time-lapse series, single-image close-ups, and blending multiple exposure composites.

A month later, I presented a further webinar to the Astronomical League as part of their AL Live series, again on shooting the eclipse, but now with an emphasis on techniques amateur astronomers and astrophotographers with typical telescope gear might use.

You can view the AL Live webinar here. My presentation begins at the 44-minute mark.

AL Live Webinar โ€” Scrub ahead to 44 minutes

I emphasized that the kinds of gear astrophotographers use these days with great success on deep-sky objects might not work well for the eclipse. The specialized cameras, and software used to control them, are just not designed for the demands of a total eclipse, where exposures have to range over a wide array of settings and change very quickly. Images have to be taken and recorded in rapid succession.

I suspect a lot of ambitious and overly-confident astrophotographers will come away from the 2024 eclipse disappointed โ€” and what’s worse, without having seen the eclipse because they were too wrapped up looking at laptop screens trying to get their high-tech gear working.

The Checklist page from my eBook

Practice, Practice, Practice

In these webinars and in my ebook, my common theme is the importance of practicing.

Don’t assume something will work. Practice with the gear you intend to use, on the Sun now (with proper filters) and on the Moon. The crescent Moon, with dim Earthshine lighting the lunar night side, is a great practice target because of its wide range of brightness. And it moves like the Sun will, to check maximum exposure times vs. image blurring from motion.

Practice with your tripod or mount aimed to the altitude and location in the sky where the Sun will be from the site you have chosen. Set a tracking mount to the latitude you will be at to be sure it will aim at and track the Sun without issues. Some telescope mounts stop tracking when they reach due south, exactly where the Sun will be at totality from southern sites. That’s a nasty surprise you do not want to encounter on eclipse day.

All this and much more is covered in my ebook, available for Apple Books and as a PDF for all platforms here from my website at https://www.amazingsky.com/EclipseBook

Good luck on eclipse day!

โ€” Alan, February 21, 2024