I’m pleased to announce that my “Nightscapes and Time-Lapses” eBook is now available for all devices as a “universal” PDF!
First published in 2014, and revised several times since then, my How to Photograph and Process Nightscapes and Time-Lapses eBook had been available only for Apple devices through the Apple iBooks Store. Not any more!
Over the years, many people have inquired about an edition for other devices, notably Android and Windows tablets. The only format that I can be sure the wide array of other devices can read and display as I intend it is PDF.
To convert the interactive Apple iBook into a PDF required splitting the content into two volumes:
Volume 1 deals just with Photography in 425 pages.
Volume 2 deals just with Processing, also in 425 pages.
Volume 2 includes all the same step-by-step tutorials as the Apple edition, but spread over many more pages. That’s because the Apple Edition allows “stacking” many processing steps into a one-page interactive gallery.
In the PDF version, however, those same steps are shown over several pages. And there are about 50 processing tutorials, including for selected non-Adobe programs such as Affinity Photo, ON1 Photo RAW, and DxO PhotoLab.
The other main difference is that, unlike the Apple version, I cannot embed videos. So all the videos are provided by links to Vimeo feeds, many “private” so only my ebook owners have access to those videos.
Otherwise, the combined content of the two PDFs is the same as the Apple iBooks edition.
I’ve also updated the Apple iBooks version (to v3.1) to revise the content, and add a few new pages: on Luminosity Mask panel extensions, southern hemisphere Milky Way and Moon charts, and even the new Nikon Z6 camera. It is now 580 pages.
Owners of the previous Apple iBooks edition can get the updated version for free. In iBooks, check under Purchased>Updates.
Both Apple and PDF editions are now in sync and identical in content. I think you’ll find them the most comprehensive works on the subject in print and in digital.
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.
However, while you can read all about how to shoot the eclipse, nothing beats actually shooting to ensure success. But how do you do that, when there’s only one eclipse?
Here are my “Top 10” suggestions:
Wide-Angle Shots – Shoot a Twilight Scene
The simplest way to shoot the eclipse is to employ a camera with a wide lens running on auto exposure to capture the changing sky colors and scene brightness.
Auto Exposure Check in Twilight
If you intend to shoot wide-angle shots of the eclipse sky and scene below, with anything from a mobile phone to a DSLR, practice shooting a time-lapse sequence or a movie under twilight lighting. Does your camera expose properly when set to Auto Exposure? If you are using a phone camera, does it have any issues focusing on the sky? How big a file does a movie create?
With Telephotos and Telescopes – Shoot the Filtered Sun
The toughest techniques involve using long lenses and telescopes to frame the eclipsed Sun up close. They need lots of practice.
Framing and Focusing
You’ll need to have your safe and approved solar filter purchased (don’t wait!) that you intend to use over your lens or telescope. With the filter in place, simply practice aiming your lens or telescope at the Sun at midday. It’s not as easy as you think! Then practice using Live View to manually focus on the edge of the Sun or on a sunspot. Can you get consistently sharp images?
Exposures of the filtered Sun will be the same as during the partial phases, barring cloud or haze, as above, that can lengthen exposure times. Otherwise, only during the thin crescent phases will shutter speeds need to be 2 to 3 stops (or EV steps) longer than for a normal Sun.
With the camera aimed away from the Sun (very important!), perhaps at a distant landscape feature, practice removing the filter quickly. Can you do it without jarring the camera and bumping it off target? Perhaps try this on the Moon at night as well, as it’s important to also test this with the camera and tripod aimed up high.
Ease of Use
With the Sun up high at midday (as it will be during the eclipse from most sites), check that you can still look through, focus, and operate the camera easily. Can you read screens in the bright daylight? What about once it gets darker, as in twilight, which is how dark it will get during totality.
If you are using an untracked tripod, check how much the Sun moves across your camera frame during several minutes. For videos you might make use of that motion. For still shots, you’ll want to ensure the Sun doesn’t move too far off center.
Aligning Tracking Mounts
If you plan to use a motorized equatorial mount capable of tracking the sky, “Plan A” might be to set it up the night before so it can be precisely polar aligned. But the reality is that you might need to move on eclipse morning. To prepare for that prospect, practice roughly polar aligning your mount during the day to see how accurate its tracking is over several minutes. Do that by leveling the mount, setting it to your site’s latitude, and aiming the polar axis as close as you can to due and true north. You don’t need precise polar alignment to gain the benefits of a tracking mount – it keeps the Sun centered – for the few minutes of totality.
Telephotos and Telescopes – Shoot Full Moon Closeups
Shoot the Full Moon around July 8 or August 7. If you intend to use Auto Exposure during totality, check how well it works on the Full Moon. It’s the same brightness as the inner corona of the Sun, though the Moon occupies a larger portion of the frame and covers more metering sensor points. This is another chance to check your focusing skill.
Telescopes and Telescopes – Shoot Crescent Moon Closeups
Shoot the waxing crescent moon in the evening sky during the last week of June and again in the last week of July. Again, test Auto Exposure with your camera in still or movie mode (if you intend to shoot video) to see how well the camera behaves on a subject with a large range in brightness. Or step through a range of exposures manually, from short for the bright sunlit crescent, to long for the dark portion of the Moon lit by Earthshine. It’s important to run through your range of settings quickly, just as you would during the two minutes of totality. But not too quickly, as you might introduce vibration. So …
In the resulting images, check for blurring from vibration (from you handling the camera), from wind, and from the sky’s east-to-west motion moving the Moon across the frame, during typical exposures of 1 second or less.
By practicing, you’ll be much better prepared for the surprises that eclipse day inevitably bring. Always have a less ambitious “Plan B” for shooting the eclipse simply and quickly should a last-minute move be needed.
However, may I recommend …
For much more detailed advice on shooting options and techniques, and for step-by-step tutorials on processing eclipse images, see my 295-page eBook on the subject, available as an iBook for Apple devices and as a PDF for all computers and tablets.
I present my Top 10 Tips for photographing the August 21 total eclipse of the Sun.
If the August total eclipse will be your first, then you could heed the advice of many and simply follow “Tip #0:” Just don’t photograph it! Look up and around to take in the spectacle. Even then, you will not see it all.
However, you might see less if you are operating a camera.
But I know you want pictures! To help you be successful, here are my tips for taking great photos without sacrificing seeing the eclipse.
TIP #1: Keep It Simple
During the brief minutes of totality, the easiest way to record the scene is to simply hold your phone camera up to the sky and shoot. Zoom in if you wish, but a wide shot may capture more of the twilight effects and sky colors, which are as much a part of the experience as seeing the Sun’s gossamer corona around the dark disk of the Moon.
Better yet, use an adapter to clamp your phone to a tripod. Frame the scene as best you can (you might not be able to include both the ground and Sun) and shoot a time-lapse, or better yet, a video.
Start it 2 or 3 minutes before totality (if you can remember in the excitement!) and let the camera’s auto exposure take care of the rest. It’ll work fine.
That way you’ll also record the audio of your excited voices. The audio may serve as a better souvenir than the photos. Lots of people will have photos, but nobody else will record your reactions!
Just make sure your phone has enough free storage space to save several minutes of HD video or, if your camera has that feature, 4K video.
TIP #2: Shoot Wide With a DSLR
For better image quality, step up to this hands-off technique.
Use a tripod-mounted camera that accepts interchangeable lenses (a digital single lens reflex or a mirrorless camera) and use a lens wide enough to take in the ground below and Sun above.
Depending on where you are and the sensor size in your camera, that’ll likely mean a 10mm to 24mm lens.
By going wide you won’t record details in the corona of the Sun or its fiery red prominences. But you can record the changing sky colors and perhaps the dark shadow of the Moon sweeping from right to left (west to east) across the sky. You can also include you and your eclipse group silhouetted in the foreground. Remember, no one else will record you at the eclipse.
TIP #3: Shoot on Auto Exposure
For wide shots, there’s no need to attend to the camera during the eclipse. Set the camera on Auto Exposure – Aperture Priority (Av), the camera ISO between 100 to 400, and your lens aperture to f/2.8 (fast) to f/5.6 (slow).
Use a higher ISO if you are using a slower lens such as a kit zoom. But shoot at ISO 100 and at f/2.8 if you have a wide lens that fast.
In Av mode the camera will decide what shutter speed to use as the lighting changes. I’ve used this technique at many eclipses and it works great.
TIP #4: Let the Camera Do the Shooting
To make this wide-angle technique truly hands-off use an intervalometer (either built into your camera or a separate hardware unit) to fire the shutter automatically.
Once again, start the sequence going 3 to 5 minutes before totality, with the intervalometer set to fire the shutter once every second. Don’t shoot at longer intervals, or you’ll miss too much. Shutter speeds won’t likely exceed one second.
Again, be sure your camera’s memory card has enough free space for several hundred images. And don’t worry about a solar filter on your lens. It’ll be fine for the several minutes you’ll have it aimed up.
Out of the many images you’ll get, pick the best ones, or turn the entire set into a time-lapse movie.
TIP #5: Shoot on Manual Focus
Use Auto Exposure and an intervalometer. But … don’t use Auto Focus.
Switch your lens to Manual Focus (MF) and focus on a distant scene element using Live View.
Or use Auto Focus to first focus on something in the distance, then switch to Manual and don’t touch focus after that. If you leave your lens on Auto Focus the shutter might not fire if the camera decides it can’t focus on the blank sky.
TIP #6: Shoot Raw
For demanding subjects like a solar eclipse always shoot your images in the Raw file format. Look in your camera’s menus under Image Quality.
Shoot JPGs, too, if you like, but only Raw files record the widest range of colors and brightness levels the camera sensor is capable of detecting.
Later in processing you can extract amazing details from Raw files, both in the dark shadows of the foreground, and in the bright highlights of the distant twilight glows and corona around the Sun. Software to do so came with your camera. Put it to use.
TIP #7: OK, Use a Telephoto Lens! But …
If you really want to shoot close-ups, great! But don’t go crazy with focal length. Yes, using a mere 135mm or 200mm lens will yield a rather small image of the eclipsed Sun. But you don’t need a monster 600mm lens or a telescope, which typically have focal lengths starting at 600mm. With long focal lengths come headaches like:
•Keeping the Sun centered. The Earth is turning! During the eclipse that motion will carry the Sun (and Moon) its own diameter across your frame from east to west during the roughly two minutes of totality. While a motorized tracking mount can compensate for this motion, they take more work to set up properly, and must be powered. And, if you are flying to the eclipse, they will be much more challenging to pack. I’m trying to keep things simple!
•Blurring from vibration. This can be an issue with any lens, but the longer your lens, the more your chances of getting fuzzy images because of camera shake, especially if you are touching the camera to alter settings.
An ideal focal length is 300mm to 500mm. But …
When using any telephoto lens, always use a sturdy tripod with a head that is easy to adjust for precise aiming, and that can aim up high without any mechanical issues. The Sun will be halfway, or more, up the sky, not a position some tripod heads can reach.
TIP #8: Use Auto Exposure, or … Shoot a Movie
During totality with your telephoto, you could manually step through a rehearsed set of exposures, from very short shutter speeds (as short as 1/4000 second) for the diamond rings at either end of totality, to as long as one or two seconds at mid-totality for the greatest extent of the corona’s outermost streamers.
But that takes a lot of time and attention away from looking. Yes, there are software programs for automating a camera, or techniques for auto bracketing. But if this is your first eclipse an easier option is to simply use Auto Exposure/Aperture Priority and let the camera set the shutter speed. Again, you could use an intervalometer to fire the shutter so you can just watch.
Don’t use high ISO speeds. A low ISO of 100 to 400 is all you need and will produce less noise. The eclipsed Sun is still bright. You don’t need ISO 800 to 3200.
Even on Auto Exposure, you’ll get good shots, just not of the whole range of phenomena an eclipsed Sun displays.
Or, once again and better yet – put your camera into video mode and shoot an HD or 4K movie. Auto Exposure will work just fine, allowing you to start the camera then forget it.
Place the Sun a solar diameter or two to the left of the frame and let the sky’s motion drift it across the frame for added effect. Start the sequence running a minute or two before totality with your solar filter on. Then just let the camera run … except …
TIP #9: Remember to Remove the Filter!
You will need a safe solar filter over your lens or telescope to shoot the partial phases of the eclipse, and to frame and focus the Sun. This cannot be a photo neutral density or polarizing filter. It must be a filter designed for observing and shooting the Sun, made of metal-coated glass or Mylar plastic. Anything else is not safe and likely far too bright.
But you do NOT need the filter for totality.
Remove it … when?
The answer: a minute or so before totality if you want to capture the first diamond ring just before totality officially starts. Set a timer to remind you, as visually it is very difficult to judge the right moment with your unaided eye. The eclipse will start sooner than you expect.
If you have your camera on Auto Exposure, it will compensate just fine for the change in brightness, from the filtered to the unfiltered view.
But don’t leave your unfiltered camera aimed at the Sun. Replace the filter no more than a minute or so after totality and the second diamond ring ends.
TIP #10: Focus!
Everyone worries about getting the “best exposure.” Don’t! You’ll get great looking telephoto eclipse close-ups with any of a wide range of exposures.
What ruins most eclipse shots, other than filter forgetfulness, is fuzzy images, from either shaky tripods or poor focus.
Focus manually using Live View on the filtered partially eclipsed Sun. Zoom up on the edge of the Sun or sharp tip of the crescent. Re-focus a few minutes before totality, as the changing temperature can shift the focus of long lenses and telescopes.
But you needn’t worry about re-focusing after you remove the filter. The focus will not change with the filter off.
TIP #1 AGAIN: Keep It Simple!
I’ll remind you to keep things simple for a reason other than giving you time to enjoy the view, and that’s mobility.
You might have to move at the last minute to escape clouds. Complex photo gear can be just too much to take down and set up, often with minutes to spare, as many an eclipse chaser can attest is often necessary. Keep your gear light, easy to use, and mobile. Committing to an overly ambitious and inflexible photo plan and rig could be your undoing.
By following both my “Ten Tips” advice blogs you should be able to get great eclipse images to wow your friends and fans, all without missing the experience of actually seeing … and feeling … the eclipse.
However … may I recommend …
For much more detailed advice on shooting options and techniques, and for step-by-step tutorials on processing eclipse images, see my 295-page eBook on the subject, available as an iBook for Apple devices and as a PDF for all computers and tablets.
The most spectacular sight the universe has to offer is coming to a sky near you this summer.
On August 21 the Moon will eclipse the Sun, totally!, along a path that crosses the continental USA from coast to coast. All the details of where to go are at the excellent website GreatAmericanEclipse.com.
If this will be your first total solar eclipse, you might want to just watch it. But many will want to photograph or video it. It can be easy to do, or it can be very complex, for those who are after ambitious composites and time-lapses.
To tell you how to shoot the eclipse, with all types of cameras, from cell phones to DSLRs, with all types of techniques, from simple to advanced, I’ve prepared a comprehensive ebook, How to Photograph the Solar Eclipse.
It is 295 pages of sage advice, gathered over 38 years of shooting 15 total solar eclipses around the world.
The book is filled with illustrations designed specifically for the 2017 eclipse – where the Sun will be, how to frame the scene, what will be in the sky, how the shadow will move, where the diamond rings will be, what lenses to use, etc.
Here are a few sample pages:
I cover shooting with everything from wide-angle cameras for the entire scene, to close-ups with long telephotos and telescopes, both on tripods and on tracking mounts.
I cover all the details on exposures and camera settings, and on focusing and ensuring the sharpest images. Most bad eclipse pix are ruined not by poor exposure but poor focus and blurry images – the Sun is moving!
A big chapter covers processing of eclipse images, again, from simple images to complex stacks and composites.
For example, I show how to produce a shot like this, from 2012, combining a short diamond ring image with a long-exposure image of the corona.
A final chapter covers “what can go wrong!” and how to avoid the common mistakes.
The ebook is available on the Apple iBooks Store for Mac and iOS devices. This version has the best interactivity (zoomable images), higher quality images (less compression), and easiest content navigation.
However, for non-Apple people and devices, the ebook can also be purchased directly from my website as a downloadable PDF, which has embedded hyperlinks to external sites.
I think you’ll find the ebook to be the most comprehensive guide to shooting solar eclipses you’ll find. It is up to date (as of last week!) and covers all the techniques for the digital age.
Many thanks, and clear skies on August 21, wherever you may be in the shadow of the Moon!
After a year of work, the new edition of my Nightscapes and Time-Lapse ebook is on the e-shelves at the Apple iBooks Store.
In the two years since I first published this ebook, the field of nightscape shooting has enjoyed many changes, to equipment, software and techniques. Not to mention I’ve learned a lot!
All those changes are reflected in this new and expanded edition. It is 100 pages bigger – 500 pages now – than the first edition. It contains:
• 60 step-by-step image processing tutorials, all with current late-2016 software
• a dozen galleries of comparison “before-and-after” images
• 40 HD videos of time-lapse examples
• reviews of current equipment
• reviews of software, some very new – like this week! – to use in place of Adobe
• information on Nikon and Pentax cameras, as well as Canons
• In addition, many images can be tapped on to zoom up. And most text can now be enlarged in a Scrolling View for use on small-screen devices.
The previous 2014 edition garnered rave reviews, with readers calling it:
“Incredibly well put together and visually stunning.”
“Simply amazing! From hardware to software, it’s all covered. Alan Dyer got it right!”
and “It is a must-have resource for anyone doing nightscape and time-lapse photography.”
As with the first edition, I’ve designed the ebook to appeal to both amateur astronomers and landscape photographers by providing what I feel is the most comprehensive information available in any ebook on the hugely popular field of nightscape and time-lapse photography.
This isn’t a simple 50-page PDF pamphlet, as so many ebooks are. This is an extensive and detailed tutorial, with loads of interactive and multi-media content.
The size and media content of the ebook make it impossible to publish on Kindle/Amazon or Google Play/Android.
How to Photograph & Process Nightscapes and Time-Lapses is available worldwide exclusively through the Apple iBooks Store, for the iBooks app on Apple Macs, iPads and iPhones.
I’m pleased to announce that after a year in production, our video tutorial series, Nightscapes and Time-Lapses: From Field to Photoshop, is now available.
It’s been quite a project! Over the last few years I’ve presented annual astrophoto workshops in conjunction with our local telescope dealer All-Star Telescope to great success.
However, we always had requests for the workshops on video. Attempts to video the actual workshops never produced satisfactory results. So we spent a year shooting in the field and in the studio to produce a “purpose-built” series of programs.
They are available now as a set of three programs, totalling 4 hours of instruction, for purchase and download at Vimeo at
For those wanting “hard copies” we will also be selling the programs on mailed USB sticks. See All-Star Telescope for info and prices. The downloaded version can also be ordered from there.
This series deals with the basics of capturing, then processing nightscape still images and time-lapse movies of the night sky and landscapes lit by moonlight and starlight.
Here’s the content outline:
Program 1 – Choosing Equipment (1 Hour)
• Tips for Getting Started • Essential Gear • Choosing A Camera • Photo 101 – Exposure Triangle • Setting Exposure • Expose to the Right • Setting a Camera – File Types • Photo 101 – Noise Sources • Setting a Camera – Noise Reduction • Setting a Camera – Focusing • Setting a Camera – Other Menus • Choosing Lenses • Choosing an IntervalometerSummary and Tips
Program 2 – Shooting in the Field (1 hour)
• Climbing the Learning Curve • Twilights • Astronomy 101 – Conjunctions • Shooting Conjunctions • Moonrises • Shooting Auroras • Astronomy 101 – Auroras • Photo 101 – Composing • Moonlit Nightscapes • Astronomy 101 – Where is the Moon? • Choosing a Location • Shooting the Milky Way • Astronomy 101 – Where is the Milky Way? • Astronomy 101 – Daily Sky Motion • Tracking the Sky • Shooting Star Trails • Shooting Time-Lapses • Calculating Time-Lapses • A Pre-Flight Checklist • Summary and Tips
Program 3 – Processing Nightscapes and Time-Lapses (2 hours)
• Workflows • Using Adobe Bridge – Importing and Selecting • Photo 101 – File Formats • Using Adobe Lightroom – Importing and Selecting • Adobe Camera Raw – Essential Settings • Adobe Camera Raw – Developing Raw Images • Adobe Lightroom – Develop Module • Adobe Photoshop – Introduction • Photoshop – Setup • Photoshop – Smart Filters • Photoshop – Adjustment Layers • Photoshop – Masking • Photoshop – Processing Star Trails & Time-Lapses • Stacking Star Trails • Assembling Time-Lapse Movies • Archiving • Summary & Finale
If this first introductory series is successful we may produce follow-up programs on more advanced techniques.