Andrea Minoia – ExpertPhotography

5 Best Compact Cameras for Travel in 2024

Andrea Minoia — Tue, 22 Nov 2022 09:52:24 +0000

With the best compact camera for travel, you can capture stunning images and videos without being weighed down by heavy equipment. But which compact camera is best for your next adventure?

Are you looking for a simple photography camera? Are you a travel vlogger? Or are you an intrepid explorer who needs a robust travel companion? Our list has compact cameras for all types of travelers.

The Sony ZV-1 II is our top choice for the best compact camera for travel. Its pocket-sized body makes it super portable. It also has specialist features for vlogging, like a built-in mic and rotating touchscreen, and it takes gorgeous still images. It’s the perfect camera for the modern traveler.

Our Top 3 Choices for the Best Compact Camera for Travel

Sony ZV-1 Mark II

Panasonic Lumix ZS200 / TZ200

Olympus OM System Tough TG-7

What Is the Best Compact Camera for Travel?

The best compact camera for travel should be small and easy to carry wherever you go, but it shouldn’t compromise on results. The Sony ZV-1 II, Panasonic TZ200, and OM System Tough TG-7 top our list for those reasons.

With a compact camera, just because it’s not an interchangeable lens doesn’t mean you can’t capture incredible photos and videos. All the cameras on our list prove that compact doesn’t mean compromise.

Some have larger sensors than others, but you can expect gorgeous images from each one. And some of the cameras even produce stunning 4K video footage.

Other handy features for travel photographers? They include a zoom lens, accurate autofocus (AF), and specialist shooting modes. You might also want some durability so you and your camera make it home in one piece.

You can see our selection of the best compact cameras for travel in the table below. We take a closer look at each camera in the section after. Then we have a buyer’s guide at the end if you need more information to help you.

Our Top Pick

Sony ZV-1 Mark II

Compact size for easy transportation
Fixed 18-50mm lens with f/1.8-4.0 max aperture
Eye-detection and tracking autofocus
Webcam functionality
Built-in 3-capsule microphone with sound muffler
4K video at 30 fps and 120 fps in Full HD

Best Image Stabilization

Panasonic Lumix ZS200 / TZ200

In-body 5-axis stabilization
Very useful 15x zoom
Sharp and clear 4K video
Impressive battery life

Most Rugged

Olympus OM System Tough TG-7

Rugged, waterproof, dustproof, freezeproof, crushproof
Fixed f/2.0 lens with 4x zoom range
Five underwater shooting modes including underwater HDR
Macro modes with 0.4 inch / 1 cm min focus distance
4K video with high-speed frame rates and vertical mode

Best for Street Photography

Fujifilm X100V

26 MP sensor for good noise reduction and fast readout
Sharp JPEGs with low noise
15 quality film simulations
Hybrid optical/electronic viewfinder
Tilting touchscreen
Excellent 4K Ultra HD video

Best Zoom

Sony Cyber-shot RX10 IV

Impressive lens quality in a compact camera
24-600mm equivalent zoom lens
Superb 24 fps burst speed
4K video with several frame rate options

5 Best Compact Cameras for Travel

1. Sony ZV-1 II

Brand	Brand Sony
Sensor Format	Sensor Format 1"
Lens Mount	Lens Mount None
Megapixels	Megapixels 20 MP
Autofocus Points	Autofocus Points 315
Minimum ISO (Native)	Minimum ISO (Native) 125
Maximum ISO (Native)	Maximum ISO (Native) 12800
Frame Rate	Frame Rate 24 fps
Max Video Resolution	Max Video Resolution 4K
Screen Size	Screen Size 3
Other Key Features	Other Key Features Cinematic vlog mode, rotating touchscreen, 3-capsule microphone
Best For	Best For Travel vloggers and content creators

The Sony ZV-1 II is the best compact camera for travel right now. Its high-resolution sensor and specialist vlogging features meet the needs of modern travelers. It’s an all-in-one content-creation camera small enough to carry in your pocket.

The 18-50 mm zoom lens offers decent composition flexibility. Although it doesn’t offer much magnification, the wide angle is perfect for filming vlogs and travel footage.

The optical quality of this Zeiss lens is excellent. Its f/1.8 to f/4 max aperture provides good low-light performance.

This entry-level Sony mirrorless is equipped with a small yet powerful CMOS sensor. Its 20 MP resolution is impressive for a one-inch sensor, and its images look fantastic on social media. You can even expand the low ISO to 80 to help you maximize image quality.

But most users choose the ZV-1 II for its video features. And the standard 4K footage at 30 fps is terrific. But you can switch to Sony’s special Cinematic Vlog Setting to make your video content more unique and eye-catching.

A built-in three-capsule mic helps you record audio with your video. You don’t need any extra audio equipment, which helps you travel light. The camera also comes with a wind muffler, so voices come through loud and clear when shooting outside.

Real-time autofocus keeps your subjects in focus as they move around the frame. The sophisticated system also has face and eye detection, which is ideal for filming people.

It also has gyroscopic video stabilization that reduces the effects of camera shake. This is handy if you don’t have a travel tripod or stabilizer.

The Sony ZV-1 II is the must-have compact camera for the traveling vlogger. It has everything a vlogger needs when traveling abroad. And it’s a worthwhile investment if you’re serious about creating exciting travel content.

2. Panasonic Lumix ZS200 / TZ200

Brand	Brand Panasonic
Sensor Format	Sensor Format 1"
Lens Mount	Lens Mount Fixed
Megapixels	Megapixels 20 MP
In-body Stabilization	In-body Stabilization 1
Autofocus Points	Autofocus Points 49
Minimum ISO (Native)	Minimum ISO (Native) 125
Maximum ISO (Native)	Maximum ISO (Native) 12800
Frame Rate	Frame Rate 10 fps
Max Video Resolution	Max Video Resolution 4K
Screen Size	Screen Size 3
Other Key Features	Other Key Features 15x zoom lens, expandable ISO range, 350-shot battery life
Best For	Best For Travelers who want a small compact with the best image stabilization and a helpful zoom

The Panasonic Lumix ZS200 (TZ200) is a pocketable compact camera. It comes with an impressive retractable 15x zoom lens. Weighing 0.75 lb (340 g), it feels solid in your hand, thanks to the metal body.

It has a large 20.1 MP, one-inch sensor to ensure high image quality. Although not very fast, the zoom lens of the ZS 200 covers an impressive 24-360mm focal range. This is ideal for travel photography.

Low-light performance is good thanks to the five-axis Hybrid OIS stabilization. You can raise your ISO to 25,600. But aggressive noise reduction at the higher ISO values might make the image look too smooth.

Images are composed and reviewed with the large three-inch LCD screen. Although it’s not tiltable, it has touchscreen capabilities. The ZS 200 has plenty of auto modes to make it easier for beginners. Experienced users will enjoy switching to manual.

The Lumix ZS200 features 4K/30 video and a 4K Photo mode. You can extract single frames and save them as 8 MP still photos.

Battery life is good, ensuring about 350 shots before recharging. Another great feature for the travel photographer is the AC charger. This Olympus OM System camera can also be charged via USB using a portable power bank.

3. Olympus OM System Tough TG-7

Brand	Brand Olympus
Sensor Format	Sensor Format 1/2.3”
Lens Mount	Lens Mount None
Megapixels	Megapixels 12 MP
In-body Stabilization	In-body Stabilization 1
Autofocus Points	Autofocus Points 25
Minimum ISO (Native)	Minimum ISO (Native) 100
Maximum ISO (Native)	Maximum ISO (Native) 12800
Frame Rate	Frame Rate 8 fps
Max Video Resolution	Max Video Resolution 4K
Screen Size	Screen Size 3
Other Key Features	Other Key Features 4x zoom f/2.0 lens, macro and underwater shooting modes, waterproof, dustproof, freezeproof, crushproof
Best For	Best For Adventurer travelers in need of a rugged, compact camera

The Olympus OM System Tough TG-7 is the best rugged compact camera on the market. Tough isn’t just a clever name with this one. It really can cope with the toughest of tough conditions. So, if you’re the more adventurous type of traveler, this is the camera you need.

It’s completely waterproof down to 50 feet (15 m). And we don’t just mean it’ll survive a dip in the water. You can use this camera underwater! It even has five specialist underwater photography modes.

It’s also shockproof and withstands drops over 6.5 ft (2 m). Through dust-proofing allows you to use the camera in dry, desert-like conditions. And Arctic explorers can keep shooting in temperatures as low as -10 C. You can take this camera anywhere.

We’re disappointed OM System hasn’t improved the sensor resolution from the previous model. It stays at a modest 12 MP, which isn’t great compared to other modern cameras. But the picture quality is still accurate, rich, and vibrant. Your pics will look great on social media.

A 4x zoom lens gives you decent magnification and shot variety. And the constant f/2 maximum aperture gives you solid low-light performance.

The in-camera macro modes are a brilliant way to capture details close up. Nature lovers can snap detailed images of all the new flora in an exotic country.

Thrill seekers can use this Olympus OM System as a rugged action camera. You can attach it to your handlebars or helmet and record exhilarating 4K footage at 30 fps. And if 30 fps isn’t fast enough, switch to Full HD for a smoother 60 fps video frame rate.

The OM System Tought TG-7 is the perfect compact camera for wild, adrenaline-fueled travels. It can withstand the toughest conditions and helps you bring home some fabulous media.

4. Fujifilm X100V

Brand	Brand Fujifilm
Sensor Format	Sensor Format APS-C
Lens Mount	Lens Mount Fixed
Megapixels	Megapixels 26 MP
Autofocus Points	Autofocus Points 425
Minimum ISO (Native)	Minimum ISO (Native) 160
Maximum ISO (Native)	Maximum ISO (Native) 12800
Frame Rate	Frame Rate 11 fps
Max Video Resolution	Max Video Resolution 4K
Screen Size	Screen Size 3
Other Key Features	Other Key Features 23mm f/2.0 lens, film simulation modes, tilting touchscreen
Best For	Best For Traveling street photographers

The Fujifilm X100V is one of the most popular cameras among street photographers. It looks fantastic with a classic rangefinder design. It’s compact and easy to hold for hours at a time.

The weather sealing protects it from bad weather. Combine all that with outstanding image processing powers, and you’ve got one of the best compact cameras for travel.

Although it’s a compact camera with a fixed lens, it has a powerful APS-C sensor. The 26.1 MP resolution gives vibrant images with rich colors and details. The quality is far superior to most smartphones, even beating many interchangeable-lens cameras.

A 23mm focal length gives you a lovely wide angle for street-style travel shots. The wider field of view helps you snap images in tight spaces like old European streets or crowded markets. It also has an f/2 maximum aperture, giving you brilliant low-light performance.

The native 160 t0 12,800 ISO range isn’t great, but you can expand the top end to 51,200 if you’re in a dark location. There’s also a low ISO setting of 80, allowing you to boost image quality in stunning locations.

Fujifilm has used its knowledge and heritage of film photography to create fantastic film simulation modes. Each mode gives you images that replicate the finish of one of their iconic film stocks. They have simulations of color and black-and-white films.

Thanks to the glorious 4K video recording, this Fujifilm mirrorless is ideal for video travel logs. It offers a smooth 30 fps frame rate at full resolution and 10-bit 4:2:2 color via the HDMI port. The 120 fps frame rate option enables full HD slow-motion videos.

The X100V‘s size, durability, and retro style make it a top choice for traveling street photographers. It fits in any camera backpack without fuss and is an absolute joy to shoot. It’s the best compact camera for travel if you love street photography.

5. Sony Cyber-shot RX10 IV

Brand	Brand Sony
Sensor Format	Sensor Format 1"
Lens Mount	Lens Mount Fixed
Megapixels	Megapixels 20 MP
In-body Stabilization	In-body Stabilization 1
Autofocus Points	Autofocus Points 315
Minimum ISO (Native)	Minimum ISO (Native) 100
Maximum ISO (Native)	Maximum ISO (Native) 12800
Frame Rate	Frame Rate 24 fps
Max Video Resolution	Max Video Resolution 4K
Screen Size	Screen Size 3
Other Key Features	Other Key Features 24-600mm equivalent zoom lens, weather sealing, NFC, Wi-Fi, and Bluetooth connectivity
Best For	Best For Professional travel photographers who want the best zoom to capture subjects from a distance

The Sony Cyber-shot RX10 IV is the most expensive camera on our list. But the price is justified by the camera’s performance, which will appeal to expert and pro photographers on the move.

The RX10 is a rather bulky, DSLR-style bridge camera. It’s not the lightest and most compact camera on our list. But it packs a wonderful zoom lens, covering an impressive 24-600mm range. And it is bright, too, having an f/2.4-4 variable aperture.

Optical stabilization is very effective. Combined with the fast aperture, it makes taking good images in low-light conditions easier. Another interesting feature is the hybrid AF. It’s fast and precise, and it has a 14 fps burst shooting mode and RAW image format.

The camera includes NFC, Wi-Fi, and Bluetooth for connectivity. These allow for the easy transfer of your images to a smartphone and remote control of the camera.

This camera also records high-quality 4K video. The dedicated microphone jack port allows recording audio with an external microphone. This makes this camera very attractive for vloggers.

Due to its size, the handling experience is very similar to that of a classic DSLR camera. You will not find yourself battling with small buttons.

A welcome feature for travel photography is that the Sony Cyber-Shot RX10 IV is weather-sealed. You can shoot in any conditions without worries.

Best Compact Camera for Travel FAQs

Packing the right gear is a key element of success when traveling abroad. Finding the best compact camera for travel is an important factor, but your camera is only one piece of the puzzle.

Other accessories are also important. And maybe you’re not confident about compact cameras. These Q&As should help you prepare for your next photography trip.

(Adobe Stock)

What Are the Best Mirrorless Cameras for Travel?

The Nikon Z50 is our top recommendation for a mirrorless camera for travel. Its compact body fits any travel backpack, and the APS-C sensor produces gorgeous images. The camera has many creative features and delivers lovely 4K video footage.

More experienced travelers might prefer the Canon EOS R8. It’s one of the most compact and lightweight full-frame cameras around.

Its 24.2 MP resolution might be modest for a full-frame sensor. But the image quality is still exceptional, with a wide dynamic range and low-noise performance in low light.

Mirrorless cameras are an excellent choice for travel photographers. They are lighter and have smaller bodies than DSLR cameras, making them more portable. They have powerful sensors and superior features. A mirrorless is ideal if you want more from a camera.

Our full article has more of the best mirrorless cameras for travel. We also have another article on the best lightweight cameras, all of which make excellent travel cameras.

Best Mirrorless Travel Camera

Nikon Z50

Its compact size and advanced features make the Z50 ideal for travel photography and videography. It’s compatible with Nikon’s Z-range lenses, which ensures versatility and quality in capturing diverse shots on the go.

Which Backpack Is Best for Compact Travel Cameras?

If you’re traveling with a compact camera, we recommend the Wandrd Duo Daypack. It’s a stylish yet unassuming backpack with plenty of storage space and thorough weather sealing.

If you’re traveling with a compact camera as your main shooter and minimal gear, you don’t need a big travel camera backpack if you’re traveling with minimal equipment.

The Duo Daypack is ideal for the photographer who travels light. It has a protective “pop camera cube” for larger mirrorless cameras or DSLRs. But it also has padded pockets for smaller gear like compact cameras.

Sensational build quality reassures you when you’re traveling in a new place. You know your gear is safe within. And you’re confident the backpack will last the distance.

You can read our full, in-depth review of the Wandrd Duo Daypack here. Or you can see more of the best camera backpacks for travel we recommend.

Best Travel Backpack

Wandrd Duo Daypack

Experience the ultimate travel companion with this high-quality camera backpack. It is light, compact, and robust and offers excellent weather protection and thoughtful features.

What Other Camera Accessories Does a Travel Photographer Need?

Packing too much gear can be a problem when going on a photography trip. It’s easy to fill your backpack with every piece of gear you have, just in case. You then have a heavy backpack of camera gear you won’t use.

The key to a successful trip is packing smart. So here are some photography accessories that are genuinely useful when you’re in a far-flung location.

A secure and protective SD card case is a must-have when traveling. When new, exciting visuals surround you, you can get pretty trigger-happy, and memory cards fill up fast.

Take as many SD cards as possible so your storage isn’t limited. But you have to keep them safe in a durable holder.

The Kiorafoto Professional Card Case is the best option. It has a solid outer casing and is completely watertight when closed. This affordable item can be a lifesaver. See more top-quality SD card cases we’ve reviewed.

Another digital storage solution is to take a rugged portable external hard drive. The LaCie Rugged Mini is ideal for travelers. It has storage options from 1 to 5 TB, is water and dust-resistant, and has fast read-write speeds for quick media transfers.

Another handy digital gadget is a portable power bank like Anker’s slim one. If your camera has USB charging, a power bank lets you fill it up whenever and wherever. This allows you to shoot longer without returning to your hotel or hostel.

Some travelers like to travel with a tripod. While tripods might seem big and cumbersome, you can get specialist travel tripods that are portable. The K&F Concept Lightweight Tripod is one of those. And it’s one we recommend if you need extra stability when country hopping.

Mini tripods are another handy option if you want a light pack. They’re popular with travel vloggers and content creators. And they work very well with compact cameras. The Manfrotto Pixi Evo is the best place to start with mini tripods.

Best Camaera Accessories for Travel

Kiorafoto Professional Memory Card Case

LaCie Rugged Mini

Anker PowerCore Slim Portable Charger

K&F Concept Lightweight Travel Tripod

Manfrotto PIXI Mini Tripod With Handgrip

Conclusion: Best Compact Cameras for Travel

The best compact camera for travel is lightweight and portable yet delivers top-quality media. Whether you want high-level holiday snaps or exotic video content, there’s a compact camera with your name on it.

The Sony ZV-1 II is the top choice as the best compact camera for travelers. It produces lovely still photos but excels in vlogging features. The 4K video footage is gorgeous. Hardware features like the built-in mic or rotating touchscreen make it an all-in-one camera for content creation.

Our Top 3 Choices for the Best Compact Camera for Travel

Sony ZV-1 Mark II

Panasonic Lumix ZS200 / TZ200

Olympus OM System Tough TG-7

Camera Settings for Lunar Eclipse – Best Settings and Tips

Andrea Minoia — Fri, 11 Sep 2020 17:16:46 +0000

If you’re looking to photograph the upcoming lunar eclipse, you’ll need to make sure your camera is set up properly. Here are the best camera settings for lunar eclipse photography.

Stability And Portability

Rollei Compact Traveler Tripod

Capture stunning lunar eclipse photos with ease using a lightweight and stable travel tripod that can handle up to 17.64 lbs of camera gear, and folds to a compact 12.99″.

Camera Settings For Lunar Eclipse: What Is a Lunar Eclipse?

A lunar eclipse happens when the Earth moves between the Moon and the Sun.

It should not be mistaken with a solar eclipse when the Moon positions itself between the Earth and the Sun.

This photo was taken from a spacecraft orbiting the Moon, showing the Earth about to cover the Sun. For us here on Earth, this would be a lunar eclipse.

Why Does the Blood Moon Occur During an Eclipse?

Sometimes, a totally eclipsed Moon has a reddish color. The reddish tint of the Moon is the result of sunlight getting scattered in the atmosphere. This faint scattered light is what illuminates the Moon during totality.

It happens because the Earth is completely blocking the direct sunlight from reaching the Moon. Because of its reddish color, this lunar phenomenon is called a blood Moon.

The Blood Moon

When Is the Lunar Eclipse Visible?

Two to five lunar eclipses happen every year. But not all of them are total lunar eclipses. Time and Date is an excellent website to check the date of the next eclipse. You can see when it will happen and from which part of the world you can see it.

Depending on where you are and the Moonrise/set time, you may not be able to witness the full eclipse. From your location, the Earth may not shadow the Moon completely. That way, you will witness only a partial lunar eclipse.

The number of solar and lunar eclipses is pretty much the same in a year. Because the Earth is much bigger than the Moon, lunar eclipses are visible from more places on Earth than solar eclipses.

The Earth’s shadow is rather large, so eclipses of the Moon can take a few hours to unfold.

This gives you plenty of time to both observe and work on your photography. You can test and adapt the camera settings to the ever-changing Moon brightness.

Comparison between worldwide visibility of a typical Lunar Eclipse (top) versus a Solar Eclipse (bottom). Source: timeanddate.com

Lunar Eclipse Timeline

A lunar eclipse unfolds in steps, as illustrated in the scheme below.

During the eclipse, the Moon will approach the Earth’s shadow. This is a Penumbral Eclipse. In time, the Moon will gradually enter the Umbra. This is the darkest part of Earth’s shadow (Partial or Umbral Eclipse).

When the Moon is inside the Umbra, you get the full eclipse. Because Earth’s shadow is larger than the Moon’s, this phase can last one hour. The Moon will continue to darken while getting red. It will gradually reach the maximum of the Eclipse.

After the maximum, the Moon will get brighter. The reddish color will vanish. This is the end of the full eclipse.

Next, the partial and penumbral eclipses will end and the Moon will be in full sunlight once again.

Timeline of a lunar eclipse

How to Photograph a Lunar Eclipse: The Gear

Binoculars

This is not a piece of specific photography equipment. But it’s good to observe the eclipse before taking the winning shot. A simple 8×40 binocular will allow you an immersive, 3D-like experience.

Tripod and Tracking Heads

A tripod is a must-have. It will allow you to set up your DSLR camera for amazing images.

You might have to compete for your photography spot. Particularly if you want to photograph the eclipse and the landscape using a wide-angle lens. Plan to be at your location well in advance.

The Moon moves quickly in the field of view of a long telephoto lens or telescope. If you want to follow the Moon during the eclipse, consider a 3-way pan head rather than a ball head. That way you can re-center the Moon in the frame with ease.

Better still, you can use a tracking head such as the SkyWatcher Star Adventurer.

Remote Shutter

A remote shutter/intervalometer will allow you to create a time-lapse of the event. It will also prevent camera shake.

Lens Heater

Lunar eclipses are long-lasting. If you are following one during the winter, fog and ice can form on your lens. This will soften your images and add haze.

A USB-powered lens heater wrapped around your lens will solve this problem. You can also strap a hand heater pad to the lens.

Whatever you use, take a test shot to ensure your focus is still good. If not, refocus.

What Lens Should You Use?

Wide-angle lenses are great for the lunar eclipse especially if the outcome is a stacked photo of the moon. You can capture it as it unfolds over an interesting landscape.

Even if you are interested in isolating the Moon, you still don’t need extreme focal lengths.

A telephoto lens or zoom lens of about 300-400 mm is a good starting point. The biggest features of the Moon surface will start showing with a decent amount of detail.

The full moon, at different focal lengths

If you are on a budget and don’t have a long focal lens, you may want to consider using an old, manual lens from the film era. They are rather cheap and still have good optics.

I took many of my lunar and solar images with an old Olympus Zuiko OM 200 f/4 with its 2X teleconverter. I used it on my micro four-thirds Olympus OMD camera.

The Moon during different phases, photographed with a 40+ years old, fully manual, Olympus Zuiko OM 200 f/4 and Olympus Zuiko OM 2X-A teleconverter, on Olympus OM-D EM5 Mk ii camera.

What Camera Should You Use?

Any camera will do, as long as you can use a long focal length lens. Low light and high ISO performance are not much of an issue here.

Cameras with crop sensors have an advantage. They fill the frame better at any given focal length than full frame cameras.

This is because they will show a narrow field of view.

If you have only one setup, you have to decide whether you want to capture the unfolding of the eclipse on a landscape, using a wide-angle lens. Or if you want to zoom on the Moon, in a classic astrophotography style.

If you have two cameras, you can use two setups to capture both the Moon and the unfolding of the eclipse.

Camera Settings for Lunar Eclipse Photography

First of all, set your camera to shoot in RAW. Next, consider using an ISO value of about 400 or 800.

The Moon will get quite dark and you don’t want to risk motion blur with long exposures. Especially if you are not tracking its movement while using a telephoto lens.

If you are on a tripod, remember to disable any image stabilization. As for aperture, I rarely go wider than f/5.6.

White balance should be set to sunlight. By shooting in RAW you will be able to adjust it during the editing.

How to Focus on the Moon

When it comes to photographing celestial bodies, I prefer to use manual focus. Use the live view, magnify the lunar surface and try to get a contrasting region as sharp as you can. It is even better if your camera has focus peaking as a feature.

When I have to focus on the full Moon, I zoom in on the Plato region.

Plato is iconic and easy to find crater at the edge of Mare Imbrium. Below it, there are the Montes Teneriffe.

Montes Teneriffe (circled in red), near Plato is the perfect feature to manually focus on when the Moon is full.

How to Set Your Exposure for Eclipse Photography

If you are following the entire eclipse, the amount of shadow cast on the Moon will vary. So will the Moon’s brightness. This means that you will have to adjust your shutter speed from time to time.

Here is a handy formula to calculate the shutter speed in seconds, ss, for a given aperture, f, ISO value, I, and Moon brightness, b:

ss = f^2 / ( I * 2^b ).

Moon brightness for the different phases of a Lunar eclipse appear in the scheme below.

Moon brightness (arbitrary units) for the different phases of a lunar eclipse. Image Credit: Sky Guide App.

Say you are using ISO 400 and f/8. To expose the full Moon (b=8), keep your shutter speed at 1/1600s. With the same ISO and aperture settings, your shutter speed will drop to about 20 seconds during totality (b=-7).

These settings are indicative and not foolproof. The actual brightness of the Moon is affected by visibility conditions, i.e. haze, humidity and other atmospheric factors.

The Moon moves faster than the average star. If you are not tracking it with a tracking mount, you may need to use a more conservative version of the 500 rule (say, 300).

This will help you guesstimate the slowest shutter speed (ss) you can use without blurring the Moon with your setup.

In short, the rule reads like this:

ss = 300 / (CP * FL)

SS is the shutter speed in seconds, CP the sensor crop factor and FL the focal length.

If you are using a 12 mm lens on a micro four-thirds camera, for example, the slowest shutter speed you can use will be ss = 300 / (2*12) = 12.5 seconds.

With this in mind, you can use the formula with the Moon brightness ( ss= f^2 / ( I * 2^b ) ) to set the aperture and ISO value.

This is so that you will be able to shoot faster than 12.5s during totality, i.e. when the Moon is darkest.

Capturing the Eclipse and the Landscape

If you have only a moderate telephoto reach, it may be best to go for landscape composition. You have to get an interesting foreground to keep your image fresh and interesting.

The Moon is bright throughout the eclipse, except for the totality moment. Because of this, you can get away even with photographing from the city. Try capturing the path of the Moon during the eclipse over an iconic cityscape.

Interesting lone trees, mountain peaks, and rock formations make exciting foreground too.

In this case, since you want to show the path of the Moon across the sky, you don’t have to track the Moon. Its small size in the frame will allow you to stretch your shutter speed without introducing motion blur.

When you go for this kind of time-lapse, an intervalometer is a must. If your camera does not come with a built-in intervalometer, get an external one.

Also, bring a fully charged battery and an empty memory card. Take a frame every minute or so. This way you will have more images to choose from when creating your composite image.

Composite image of a total lunar eclipse during a Supermoon over Santa Fe, New Mexico, USA. Image Credit: bigstockphoto.com/Dean Fikar

How to Capture Moon Details

To isolate the Moon, you need a long focal length. This isn’t much of a problem when photographing the full Moon from a fixed tripod. But you may risk blurring the Moon during totality.

Using my setup with the old telephoto lens and 2X teleconverter (800 mm equivalent on a full frame camera), the 300 rule above will give me a slower shutter speed of less than half a second.

For this reason, it’s better to track the Moon or choose a shorter focal length.

In terms of editing your photos, check out this article for all you need to know about editing astrophotography shots.

How to Get Creative With Eclipse Photography

Let’s have a look at all the interesting things you can show in your lunar eclipse photography.

The Classic Composite Image

Let’s begin with the classic: create a composite image.

Choose your best images where the Moon is as sharp and detailed as it can get. Then, make a collage.

If you photographed a landscape, align the foreground for all your images. Reveal the Moon from each frame to create a path in the sky.

If you have isolated the Moon, try to keep your composite symmetric, both in shape and in Moon appearance.

In the composite below, I arranged my moons in an “S” shape. The darkest Moon (slightly magnified) is in the middle, to show the evolution of the full eclipse only.

The sequence begins with the top right Moon.

The Moon During the Partial Eclipse Phase

Before totality, the presence of the penumbra ensures a gentle gradient in Moon brightness.

This is a feature you don’t find during classic Moon phases. The transition between light and dark is much harsher.

Take advantage of the partial eclipse to create a more compelling, interesting and moody image of the Moon.

Here I have rotated the Moon, so to create a moody image that looks like the poster for a SciFi movie.

The Stars and the Moon

Often, you don’t get to see stars right next to the full Moon. But during a lunar eclipse, you can photograph both the full Moon and the stars. This is because the Moon gets so much darker than usual.

Depending on your gear and settings, you may need to edit the images twice. Once for the Moon and once for the stars. And then merge the two copies into a final image.

You can learn more about capturing the starry night sky with Milky Way Mastery!

Blood Moon, during totality. Stars can be seen in the sky around the Moon.

The Moon Before/After Totality: The Turquoise Effect

Near totality, when a bit of the Moon is still at the edge of the Umbra, the so-called Turquoise Effect takes place.

In this phase, you may notice a faint blue or purple area near the brightest region of the Moon.

Using auto white balance or doing it manually using a grey area of the Moon, should make the blue color pop.

This is not a fake effect. The bluish color is due to sunlight shining through the stratosphere and through the ozone layer.

The Turquoise Effect, right before totality.

Stars and Planets

Getting close to totality, you will see stars around the Moon. It is worth checking if any notable star (or planet) is near the lunar disc.

In the image above showing the Turquoise Effect, you see a star near the left edge of the Moon. That is a faint star.

Checking with the Sky Guide App, I was able to determine that the Appulse in the previous image is with the star HD 67424.

Meteor Impacts

During the last lunar eclipse, a meteorite hit the darkest side of the Moon during totality.

Many people taking videos or very short exposures were able to capture it.

The flash from the meteorite that struck the Moon during totality, last January 21st 2019. Image Credit: Griffith Observatory.

Conclusion

There are many elements to consider when shooting a lunar eclipse. You only have a few opportunities in a lifetime to capture a total Lunar eclipse, so it’s essential to be prepared. Make sure you have all the gear, and brush up on our tips before you go!

If you are eager to try the tips in these articles, check the eclipse page of the Time&Date website.

Stability And Portability

Rollei Compact Traveler Tripod

Capture stunning lunar eclipse photos with ease using a lightweight and stable travel tripod that can handle up to 17.64 lbs of camera gear, and folds to a compact 12.99″.

How to Shoot Night Sky Photography (For Magical Stars)

Andrea Minoia — Thu, 06 Aug 2020 18:50:13 +0000

Night sky photography is one of the most beautiful fields of photography. Turning your camera towards the skies to photograph stars is, however, no easy feat.

We’re here to share all the basics you need from adjusting your settings to buying camera accessories for astrophotography.

Precise Timing Control

Pholsy C6 Shutter Remote with Intervalometer

Capture stunning inspiration and magical stars in your night sky photography with a remote shutter that allows you to take photos without touching your camera. This accessory is a must-have for astrophotographers.

Night Sky Photography Equipment For Astrophotography

Camera

When it comes to night sky photography, you need either a DSLR or mirrorless camera. Options with high ISO capabilities are not necessary. What you need are options that are considered ISO invariant.

Also, your camera must allow you to shoot in RAW format. Why? Because RAW allows you to edit your files without losing any quality.

An entry-level model such as the Canon 1300D is usually good enough for astrophotography.

Mirrorless M4/3 cameras such as the Olympus OM-D EM-10 MK III are impressive because of their 2x crop factor. It allows you to close in on targets with shorter and cheaper telephoto lenses than those with full frame cameras.

You can check our post on the best astrophotography cameras here.

Lenses

You don’t need to have the latest pro-graded lens to do night sky photography. For the most part, autofocus or in-lens/in-camera stabilization aren’t necessary in astrophotography.

The truth is, I use old manual lenses from the film photography era.

What you need is a lens without too much chromatic aberration at relatively wide apertures. This is where modern ED lenses and APO refractors using low dispersion glass often have the edge over many old legacy lenses.

A great way to check if you can use your lens in astrophotography is to search it on Astrobin. It’s a great free site and image database where photographers like you can contribute.

Finally, you should go for lenses that perform well with apertures in the range of f/2.8 to f/5.6 for deep-sky astrophotography. Slower lenses require longer exposures and even more images for stacking.

Typical focal lengths for the full frame camera are:

50mm for wide star field images;
135mm for closing in on small constellation or narrower starfields;
longer telephoto for nebulae and galaxies close-ups;
Teleconverters to extend your lens’s reach. It tends to cut some light coming into your camera. Nevertheless, It’s ideal for Moon Sun photography. You can also use them to capture other celestial objects such as the Orion Nebula and the Pleiades.

If you want to see how big a target will be in the field of view of your camera-lens system, you can use the free software Stellarium. Just insert the info for the camera sensor and lens (telescope).

A word of advice. Don’t get stuck with filling the frame at all costs. Very long focal lengths and high magnifications are challenging. Cropping your image is perfectly acceptable in astrophotography.

Must-Have Accessories

If you don’t have the luxury of doing night sky photography from your garden and have to backpack like me, you’ll be out in the field for a while. You’ll need to carry your gear and things to make your Astro trips more comfortable. I prefer to use backpacks similar to those for mountaineers, such as those in the F-stop mountain series.

Below is a shortlist of the essential photography accessories you should have with you:

Remote shutter with an intervalometer;
Sturdy tripod;
Camera backpack with some room for your stuff;
Lightweight equatorial mount with accessories;
A classic compass is more reliable than the one on your smartphone, and it is essential for an excellent polar alignment of the mount;
UHC and LPR filters (Baader, Hoya, etc.) to boost contrast in the images and fight light pollution;
USB dew strip heater to prevent your lens from fogging in cold and humid conditions. A power bank to power it;
Lens hood;
Spare batteries and a high capacity memory card;
Headlamps with a red light to see what you are doing without spoiling your night adaptation;
Tea/kitchen sieve to help you focusing on stars;
Smartphone with astronomy apps;
Post-processing software, such as Photoshop;
Noise Reduction software, such as Noise Ninja.

Subjects for DSLR Astrophotographers

There is no shortage of subjects for astrophotography. There’s the Moon, Sun, constellations, stars, and countless deep-sky objects. You can keep yourself busy for many years to come.

The Moon and the Sun

You can capture the Moon and the Sun with a long telephoto lens. You don’t even need a tripod if you have image stabilization.

Warning! DO NOT attempt to observe the Sun or photograph it without using a properly designed filter. They are cheap and will save your eyes and your gear.

This article deals with Moon and Sun photography in detail. It’s a great place to start on how to take night photos.

Stars and Star Clusters

Apart from photographing the Sun and the moon, you can also try shooting the stars. Sirius and Betelgeuse are ideal, especially if you have a long telephoto lens and teleconverter.

Some celestial pairs are famous in star photography. Pollux and Castor or Procyon and Gomeisa are a great example, where one star is orange (“cold”) and the other blue (“hot”).

Clusters of stars are beautiful too.

The Pleiades is a region of bright, hot (hence the blue color) and young stars soaked in dust clouds. They give it a classic blue nebulosity.

This cluster is very bright (apparent magnitude 1.6) and large (apparent size of about 2º). You can spot it from a large city.

Constellations and Star Fields

With a wide-angle lens, you can photograph constellations at night with the Milky Way shining over a landscape. I discussed it in this article.

You can also take pictures of star constellations as part of wide star fields. The aim here is to capture the many nebulae and dust clouds that are part of the constellation.

If you are in the Northern hemisphere, one of the best targets is the Orion Constellation. Its shape is so unique that you can see it high on the winter horizon.

Thanks to the three stars in line forming the belt of Orion, this constellation is a great place to start taking stars pictures.

This region is rich and complex, with plenty of bright nebulae. There’s the famous Orion Nebula (M42). And then the Flame Nebula, Horsehead Nebula, Running Man Nebula, and Barnard’s Loop.

It also contains the bright and colorful stars of Betelgeuse (red) and Rigel (blue).

On the right of Rigel, there is the darker Witch Head Nebula. On the left of Betelgeuse, there is the Rosette Nebula.

With a 300mm lens on a full frame camera, you can close in on the belt and sword of the Orion constellation. Like this, you’ll get a family portrait of the Orion, Running Man, Flame and Horsehead Nebulae.

Other notable targets are Auriga. It contains the Flaming Star Nebula, and the dense region of Deneb (here below).

You can see bright North America and Pelican Nebulae in the Cygnus Constellation.

Finally, we have a picture of stars containing the Pleiades and the California Nebula.

Galaxies

There are many galaxies you can photograph. The easiest one is Andromeda and its M110 and M32 satellite galaxies.

The Pinwheel Galaxy and Triangulum Galaxy are bright. You can capture them without a telescope. They will be rather small in the field of view of a telephoto lens on a DSLR camera, though.

How to Do Night Sky Photography: Basic Rules

Now that you have an idea about what you can photograph, it is time to discuss how to do it.

An astrophotography session is not quick. Even experienced astrophotographers still need to set up their gear.

On top of this, they need to find and frame the target and get the star in focus.

And then you have to wait to get tens (or hundreds) of exposures of the same target before you move on.

Let’s now discuss some of those steps in detail.

How to Frame Your Target

How do you frame a target you can’t see? When you have to use a telephoto lens with a narrow field of view?

There are three ways:

Buy a (rather expensive) computerised GoTo mount. It has the coordinates of many deep-sky objects. Once you set it up, it will point the camera at the desired target;
Trial and error: try your best to frame your target. Exhausting at best;
Buy a cheap red dot star pointer and hot-shoe adapter. It’s the perfect choice for beginners.

A red dot star pointer usually comes with most telescopes. You can buy it with an adapter to mount it on the camera hot shoe.

The idea is simple. A laser hits the screen of the pointer so that a red dot becomes visible. It’s then superposed to the unmagnified view of the horizon.

If you align the pointer, it superimposes the dot to a target, so it’s center in the frame.

In the image below, I used my Micro Four-Thirds camera with a 300mm lens to frame the moon.

The lens gives me a field of view of only 3.3ºx2.5º, which makes it challenging to find and frame the bright moon.

By superposing the red dot to the moon, I can find and center it in the frame in no time.

Put your pointer on the camera hot shoe, and switch it on. Then, use the knobs to align it to your gear from time to time.

If you cannot see your target and you have no GoTo mounts, you have to become fluent in the star-hopping technique.

Nothing keeps you from aiming your camera at a random direction in the sky. This is how I took my first Astro image, the one that opens this article.

If you want to know what you have photographed, you can upload your final image on Astrometry for free. This process is “plate solving.” It will return your copy with annotations for all identified objects.

It turned out I had photographed the Deneb/Sadr region in the Cygnus Constellation. The North America Nebula is visible near the star S7Cyg, below Deneb.

This image consists of 30 pictures taken on a fixed tripod using my old Olympus Zuiko OM 50 f/1.4 on OM-D EM 10 m43 camera.

How to Focus on Stars

Forget using autofocus for astrophotography. Also, don’t trust the infinite mark on your lens. Instead, use your live view at high magnification and frame a bright star at night.

The more you focus in, the smaller the star will become, and more of the faintest stars will begin to come into view. Turn your focusing ring slowly back and forth to find the sweet spot.

The problem is that every time you touch the camera, the image will blur due to camera shake. It makes the whole process a bit random.

You can buy a Bahtinov mask, but I like DIY solutions when possible. Placing a kitchen sieve on the front of my lens will create diffraction spikes around the stars when the focus is correct.

I found this method very reliable and fast. If you have difficulties to see the spikes on your live view, try to do your best to focus and take a test shot. When you see you have sharp diffraction spikes, your focus is perfect.

You can also mark the actual infinite on your lens with a marker to make the whole process even faster in the future. Use a bit of gaffer tape to lock down your focus.

How to Freeze the Stars

In night sky photography, except for star trails, you want to have stars like points of light. But stars move across the horizon at, on average, about 15º/ hour because of Earth’s rotation.

That does not seem much when we stargaze. But consider that a 100mm lens on a full frame camera gives you a field of view of only about 20º x 15º.

The photo below shows how the stars will look after three-minute-long exposure.

There are only two ways to freeze those stars:

Take very short exposures on a fixed tripod;
Use an equatorial mount. Rotate the camera around the celestial pole to counteract Earth’s rotation.

Astrophotography With a Fixed Tripod

On a fixed tripod, you have to take very short exposures. A rule of thumb, also known as 500 rule, is the following:

ET= 500 /(FL*CF)

ET is the longest exposure time (in seconds) before you start seeing star trails. FL is the focal length, and CF is the crop factor of your camera sensor.

My M43 camera has a crop factor 2. With a 50mm lens, I could expose for max 5 seconds before I start noticing the star trails.

Rules like 400-500-600 are qualitative. I was able to expose the Orion Nebula for 3 seconds on a 150mm lens with decent results.

This image is the result of aligning and stacking 50 exposures.

In 2 minutes, this is how much the nebula moved in the field of view.

You cannot expose the stars for much longer than the value calculated with the 500 rule.

Astrophotography With an Equatorial Mount

An equatorial mount is a motorised head. Once you align it to the celestial pole, it will rotate the camera to counteract the Earth’s rotation.

Doing so negates the apparent motion of the star on the horizon.

In 45 minutes, this is how much the Orion Nebula moves in the field of view of a 270mm lens (EFL 540mm).

The tracking is not perfect, but I could expose each image for 40 seconds without getting star trails.

My gear sat on the Skywatcher Star Adventurer, which is excellent for DSLR work. It also comes with some interesting functions for photographers such as automated time-lapse and pano capabilities.

As you can see, an equatorial mount is a crucial piece of equipment. It’s the first one you should buy if you are serious about astrophotography.

If you don’t plan to use large telescopes and long focal lengths, you can buy a lightweight mount for photographic tripods.

Examples include my Skywatcher Star Adventurer, iOptron Skyguider, etc.

ISO and ISO Invariance

Look at the ISO invariant regime. Brightening your scene by +1 EV is comparable to shooting at a double ISO value in the first place.

So in the invariant regime, there is no “noise” advantage to shoot at higher ISO. And you will reduce your sensor’s performance by reducing the dynamic range you can capture.

You should find online which ISO values make your camera ISO invariant. Use the lower ISO in this regime to maximise the dynamic range of the sensor.

You might find the cramped histogram in the top right-hand corner. The critical thing to remember is not to clip the highlights.

Conclusion

There are still things for you to research on your own, how to find a dark sky and how to fight light pollution, for instance. But this guide will help you get started. We also have a useful glossary of astrophotography terms you can check here.

You can learn how to take breathtaking night sky images with our course – Milky Way Mastery!

Pholsy C6 Shutter Remote with Intervalometer

Take your night sky photography to the next level with this remote shutter with intervalometer, allowing you to capture stunning long exposure shots with ease.

How to Use the 500 Rule for Astrophotography Exposure

Andrea Minoia — Thu, 09 Jul 2020 16:03:49 +0000

Mastering the 500 rule for astrophotography is crucial for achieving perfect exposure. This lets photographers capture mesmerizing night sky images with clarity and precision. You can use the 500 rule to guesstimate the slowest possible shutter speed to avoid star trails.

Precision Time-Lapse

Remote Control with Intervalometer

Capture stunning underwater pictures with ease using a multi-function remote control with intervalometer. Get perfect exposure with the 500 rule and experiment with camera settings to improve your astrophotography results.

Explaining the 500 Rule for Astrophotography

The idea behind the 500 rule is to provide you with an easy-to-remember formula to freeze the movement of the stars. This way, you will get images without any star trails.

Of course, if your goal is to make star trails, you should ignore this rule. Otherwise, you need to use it so that you can capture clear pictures of the Milky Way and the starry sky in general.

If you have a fisheye, it is worth spending a few hours under the starry sky, to capture the Milky Way. I took this on a fixed tripod by using the 500 rule to prevent blurry stars.

But why are you getting trailing stars in the first place? That’s because the Earth is rotating on itself once every day. This rotation creates the rather fast 15º/hour apparent motion of stars.

The gif below shows how stars move around the North celestial pole, roughly indicated by Polaris, the North Star.

In astrophotography, we make a big deal out of freezing the stars. To be rigorous, the length (in mm) of a star trail on your image will depend on the field of view, sensor size, image resolution, exposure time and the star angular speed and declination.

While this is not rocket science, the formula that links all those variables together is not the simplest one to remember and use in the field.

If you are an occasional star shooter, knowing how to use the much simpler 500 rule will let you capture trail-free starry skies.

The rule reads like this: SS = 500 / (FL * CF)

SS is the shutter speed in seconds. FL is the focal length expressed in mm and CF is your sensor’s crop factor, i.e., the ratio between the size of a full frame sensor and yours.

Here you can find the crop factor for different types of cameras:

1 for full frame cameras;
1.6 (1.5) for Canon (Nikon) APS-C cameras;
2 for micro four-thirds cameras;
2.7 or higher for compact cameras with a 1″-type sensor or smaller.

As far as I know, while it can be related to image resolution and field of view at a specified focal length, the number “500” doesn’t have an actual meaning. It is an arbitrary constant chosen so that the guideline will work in most cases.

Example of the 500 Rule in Action

Let’s consider my Olympus OM-D EM-5 Mk II micro four-thirds camera. It has a crop factor equal to 2. Now let’s see how this rule works.

With a 50mm lens, for example, the guideline will tell me the exposure time for which the stars will not trail.

See the calculation below:

SS= 500/(50*2)= 5 seconds.

With a full frame camera with the same lens, the result will be:

SS=500/(50*1)= 10 seconds.

The image below shows how many stars are trailing when I use a shutter speed of 3 minutes with my 50mm lens on my Olympus. This exposure time is much longer than the rule suggests.

Star trails from a 3-minute long exposure with 50mm lens on Olympus OM-D 10.

With this guideline, you can even get decent results when photographing bright deep sky objects such as M42 (The Great Orion Nebula) using a telephoto lens.

While the level of details will not be impressive, it will be a very satisfying experience. I would recommend you give it a try.

M42 on fixed tripod. Olympus OM-D EM-10, 150mm, f/4, 3.2 seconds, stack of 50 images.

The 400-, 600- and NPF Rules

There are two common variants of the 500 rule; the 400- and 600-Rule.

In the 400-Rule, the number 500 in the formula above is replaced by 400. This results in an even shorter exposure time. With the 600-rule, the number 600 is used instead, resulting in slightly slower shutter speeds, i.e., longer exposure times.

If you want better results, you should switch to other rules, such as the NPF rule. These are more accurate and rigorous than the 500 rule.

You can find many star trail calculators online, as well as smartphone apps such as PhotoPills. You can also calculate the values online.

For Android, there is also PinPoint Starts available. These can help you choose the best exposure time for your camera-lens combination.

Image Stacking and 500 Rule Combined

The first thing to do to improve your night star pictures is to shoot in RAW instead of JPEG. This will ensure you have the maximum flexibility when you need to edit your images.

If you are not tracking the sky movement with a tracking head, the stars will always move across the sensor. The light you can collect for each pixel depends only on how long the star will stay over the same pixel.

You may be tempted to bump up your ISO. But this will only increase image noise, with no extra benefits.

Allowing stars to trail a bit more by using longer exposures will not help either. The time a star will excite the same pixel will not change. You will only record a trail.

The solution is called image stacking. So how do you do that?

You take many photos at a quite low ISO. You expose each according to the 500 rule. Then you can combine (stack) them later on in Adobe Photoshop. This technique will improve the number of details in the final image a lot.

The process involves masking and aligning the sky among all the exposures. But software like Deep Sky Stacker, Sequator (windows, free) and Starry Landscape Stacker (Mac OS X, commercial) will make the whole procedure faster.

Below you can see the comparison between a single raw from my Sony RX100 Mk II pocketable compact camera (1″ sensor type) …

Sony RX100 Mk ii on a tripod and set to ISO 6400, 15″, 28mm EFL (equivalent focal length), f/1.8. Single RAW.

… and the final image, obtained by staking 8 different exposures. You can see how stacking has boosted details and enriched the sky.

Stack of 8 different exposures.

You can read more about image stacking in this article about editing techniques for astrophotography.

The Science Behind the 500 Rule

The idea behind the 500 rule is to provide an easy way to guesstimate the longest exposure time for which the stars’ movement is not noticeable.

The sky rotates 360 degrees in 24 hours or 0.0042 arc degrees per second. A full frame camera with a 24mm lens will have a horizontal view of about a 73.7 degree.

Let’s assume we have a 24 Mpx sensor (6000px X 4000px). Those 73.7 degrees are projected onto 6000 horizontal pixels, giving 81.4 pixels per degree.

Assuming a 24mm lens, the “rule of 500” gives you an exposure time of about 21 seconds (500/24).

In 21 seconds the sky will move about 0.09 degrees (0.0042*21).

For our 24 Mpx full frame camera with a 24mm lens, 0.1 degrees translates to 7.3 pixels (81.4*0.1).

Those 7.3 pixels represent the maximum acceptable movement blur before point-like stars will turn into trailing stars. But is this movement really acceptable?

We are used to looking at our images on a computer screen. If you blow up your full resolution image to 100%, you will see that the star is not a dot.

But what about prints?

It turns out that if you print your image in 30x45cm format, those 7 pixels will make up a trail on your print only 0.5mm long!

Experimenting With Camera Settings

You might already understand that the shutter speed is only dependent on your camera’s crop sensor and the lens’ focal length.

But what about the other camera settings, you might ask. How should I set my ISO and my aperture? Not all combinations of ISO and aperture will result in successful Milky Way photos.

As I said before, cranking up your ISO may result in digital noise. But you still need to have a high ISO to get enough light.

Your aperture should be wide open. So try to work with the lowest possible F-stop. Remember, your shutter speed is fixed. You can only play around with the two other elements to get enough light.

Photo by Ashan Rai on Pexels

Conclusion

If you find yourself struggling to capture that starry night sky photography, using the 500 rule will improve your results a lot. If you combine it with image stacking, the difference will be dramatic.

This rule is something you should remember when you find yourself under the Milky Way Galaxy shining through the night.

For more low light photography tips, check out our twilight portrait or night street photography posts! Enthusiastic astrophotographers should check out our SkyWatcher Star Adventurer Review.
For stunning starry shots, don’t miss out on our Milky Way Mastery course!

Precision Time-Lapse

Remote Control with Intervalometer

8 Best Astrophotography Apps for iPhone in 2024

Andrea Minoia — Sun, 21 Jun 2020 12:15:54 +0000

Astrophotography can be technically challenging. But with these eight astrophotography apps, your iPhone will become your best night sky photography buddy. They will help you understand, navigate, and photograph the night sky.

The 8 Best Astrophotography Apps

Astrophotography is a really cool genre of photography! Here are the top apps to help you make the most of it.

8. Stellarium PLUS – Star Map

Explore the night sky with the Stellarium star map.
This app labels objects in the night sky. It also allows you to see the stars at any point in history and as other cultures view the heavens.
iPhone

Screenshot of Stellarium Plus

Stellarium has an easy-to-navigate interface. Point your iPhone anywhere in the night sky and constellations appear. Tap on a star or constellation and more information will appear. Stellarium lets you zoom in for a closer look or zoom out for a 360-degree view of the sky.
Stellarium doesn’t have augmented reality, but this isn’t a deal-breaker. Where this app shines is the ability to find deep-space objects. It will even pair with your telescope.
Stellarium is also available for Android.

7. Sun Surveyor

Sun Surveyor is one of my favorite night photography planning apps. It shows the positions of the Sun, Moon, and Milky Way.
The app is simple to use, but also powerful and highly customizable. The developers seem tuned in to exactly what information astrophotographers need. Then they make it easy to find.
iPhone

Screenshot of Sun Surveyor

The interface is clean, and the information is color coded. Though there is a lot of information included, the screen doesn’t feel cluttered.
Sun Surveyor quickly lets you know about photo opportunities for a given night. At your fingertips are the exact times the opportunity is available. With one click, you can add the event to your Google calendar.
The maps work with Google (or Apple) to help you plan photoshoots. They even let you get down to street view to virtually put yourself into position.
Live view lets you visualize where objects in the night sky are in relation to your environment.
The Lite version of Sun Surveyor gives you a taste of the app’s functionality. But you’ll quickly upgrade. It’s worth every penny.
Sun Surveyor is also available for Android.

6. PhotoPills

PhotoPills is a monster of a photography app. Each “Pill” or tool is a helpful program. At your fingertips will be information to help you track the Sun, Moon, and Milky Way. Also included are tools to help you photograph star trails and meteor showers.
iPhone

Screenshot of PhotoPills

In this app, you also have a handy exposure guide to help you with a number of things. These include camera settings, a depth of field calculator, and focal length tools. The app will also help you figure out how many photos you’ll take in a time-lapse. Then, it will help you plan star trail photos.
Augmented reality overlays information onto the scene in front of your iPhone. Dragging moves the Sun, Moon, or Milky Way across the sky. This lets you see exactly when the object will be in position.
All the tools can be overwhelming. But the PhotoPills Academy will walk you through the features.
PhotoPills is also available for Android.

5. Astrospheric

Astrospheric is one of the best apps for astrophotographers. It contains information about skies and cloud cover. Whether you’re looking for clear skies or planning sunsets, this is a fantastic app.
iPhone

Screenshot of Astrospheric

This app gives cloud cover forecasts for a specified location. Impressively, Astrospheric goes beyond most weather apps.
It is created for photographers and includes information that affects photography. It forecasts the effects of smoke, elevation, surface pressure, and air turbulence in the atmosphere. Dark sky photographers look for excellent atmospheric transparency, not just low cloud cover.
The information is easy to understand and color coded in table form. Map overlays are also useful.
There is also an overlay to help you find areas with low light pollution.
And the best part is it’s free.
Astrospheric is also available for Android.

4. Sky Guide

Sky Guide has a clean interface showing you a classic view of the night sky, labeling everything you can see.
You can navigate it and zoom in and out. The latest version comes with augmented reality. This allows you to place the stars on top of the scene viewed by your iPhone’s camera.
iPhone

Screenshot of Sky Guide

You can also navigate through time. The app will show the sky as it will be (or was) on a specified date and time.
The Sky Guide has a huge database of information on celestial objects. You can find out when they rise, peak and set, and also their apparent magnitude and apparent size.
You can navigate different categories or search objects by name or classification. And you can even save your favorite targets to find them even faster.
There’s also a calendar of notable future astronomical events. These include planet conjunction, eclipses, moon phase, comets, etc.
Whether you are into stargazing or a keen amateur astrophotographer, Sky Guide will let you know what is happening in the night sky.

3. Dark Sky Finder

Dark Sky Finder app allows you to overlay a light pollution map over a normal map.
iPhone

Screenshot Dark Sky Finder

The map uses the Bortle Scale. Different levels of darkness are color coded from black (darkest) to white (brightest).
The app has a database of dark skies locations. You can also add locations yourself and contribute to the app.
The about icon will show you a great deal of info and light pollution in general.
It is one of the best apps to plan your next Milky Way photography outing.

2. Clear Outside

Clear Outside has a useful free little weather app to help you find clear night skies. It gives you weather forecasts including seeing conditions, visibility, and sky clarity. This includes the hourly amount of low, medium, and high altitude cloud coverage.
iPhone

Screenshot of Clear Outside

The app can display a range of information for your current location or a specific one. In one handy table, you’ll have everything you need to plan your photoshoot.
Clear Outside is also available for Android.

1. The Photographer’s Ephemeris (TPE)

The Photographer’s Ephemeris (TPE) is the industry standard for astrophotography planning.
iPhone

Screenshot of The Photographer’s Ephemeris

TPE allows you to predict the positions of the Sun, Moon, and Milky Way. Where this app shines is when using the geodetic tool.
Select a position and a topographical feature to photograph. The app helps you determine what landscape features will be in view from a given position. You can search parameters and determine what dates and times the Sun or Moon will be in place.
Augmented reality lets you visualize the Sun, Moon, and Milky Way in relation to your environment. You can quickly scan through the timeline to find when the subject and night sky features will align.
Light pollution overlays give you a good idea in advance of how dark the night sky will be in a set location.
TPE is designed to interact with the weather forecasting app Skyfire. There is a subscription fee, but you can try it free for 30 days.
You can easily share your plans with fellow photographers via email or IM or add it to your calendar.
TPE is also available for Android.

Conclusion

These are my eight favorite astrophotography apps for iOS. They will cover all your astrophotography needs. Most will help you with any type of sky photography.
These apps will allow you to track objects in the night sky and plan an astrophotography shoot.
Not all of them are free, but they are well worth their price tag!
Check out our course Milky Way Mastery course to take your astrophotography to the next level!

How to Take Photos of a Solar Eclipse (Gear, Settings, Tips)

Andrea Minoia — Sat, 13 Jun 2020 07:13:28 +0000

It’s no surprise that you’ll want to take photos of a solar eclipse. A total solar eclipse is a rare event. And even when it happens, you can only see it from certain locations and for a short period of time. So how do you photograph a solar eclipse?

Knowing how to photograph a total solar eclipse well in advance is key. This article will show you how to bring home great images of this rare phenomenon.

Safe Solar Viewing

Thousand Oaks Black Polymer Solar Filter

Capture stunning photos of a solar eclipse with ease! Get the right information and gear, including a CE & ISO approved black polymer solar filter for your camera.

How to Take Photos of a Solar Eclipse: What is a Solar Eclipse?

A solar eclipse is when the Moon comes between the Earth and the Sun, blocking the Sun at least partially. Eclipses depend on the relative location of the Earth, Moon, and Sun.

Graphic showing the relative position of the Earth, Moon, and Sun during a solar eclipse.

If this celestial alignment is perfect, and if you are in the right location, the Moon will totally cover the Sun. This plunges you into darkness. No wonder people in ancient times saw a solar eclipse as a bad sign.

A total solar eclipse is possible because the apparent size of the Moon in the sky is almost the same as the Sun. If the alignment is less than perfect, we see a partial eclipse. This is where the moon only partially covers the Sun.

If you haven’t taken an astronomy class recently, you may not be familiar with words associated with solar eclipses. Here are a few terms that might help you plan and photograph this rare celestial event.

Annular Solar Eclipse – This is like a total eclipse except the Moon isn’t large enough to completely cover the Sun.
Baily’s Beads – Beads of light appear that on the Moon’s surface just before totality.
Corona – The outer layers of the Sun’s atmosphere.
Diamond Ring – This is the last flash of light just before totality. It is named because the effect looks like a piece of jewellery in profile.
Partial Solar Eclipse – The Moon passes in front of the Sun, but does not fully cover it.
Totality – Point where Moon entirely obscures the Sun during a total eclipse.
Total Solar Eclipse – The Moon passes in front of the Sun completely obscuring it from view.

Diamond Ring captured during the August 17, 2017, total eclipse. Photo by Jenn Mishra

How to Take Photos of a Solar Eclipse

There are a few considerations you’ll need to take into account to get the best photos of a solar eclipse.

When and Where to Photograph the Solar Eclipse

Scientists predict solar eclipses based on orbital cycles. These are popular astronomical events, so they are generally well publicized.

Solar eclipses don’t happen that often, so a bit of planning is needed to make the most of the experience.

First, find the eclipses. You may be waiting for the next eclipse in your area or looking to travel. NASA has a good website for finding the next eclipse in your area. The site gives you the date and time of the eclipse. It also tells you the region and which countries will have the best visibility.

This gives you a general idea, but the eclipse traces a path across the sky. Not everyone in the same country sees the eclipse the same way at the same time. For instance, the August 21, 2017, total eclipse in the U.S. was seen in Oregon at 5:24 PM (UTC), Missouri at 6:16 PM (UTC), and North Carolina at 6:46 PM (UTC). States like Texas saw only a partial eclipse.

You’ll need to scout your location in advance and be in place and set up well in advance. In order to take photos of a solar eclipse, planning when and where to be to see the eclipse is very important.

How to Time Your Shoot Perfectly

Totality or the time of the greatest eclipse is the highlight of the eclipse. It’s the point of maximum eclipse. On their table, NASA gives us the time of the greatest eclipse. But this isn’t usually when photographers start shooting. The eclipse begins to happen when the Moon first covers the Sun.

In 2017, the partial eclipse started about 90 minutes before totality.

An eclipse happens in five major steps. Each one lasts for a short amount of time and has exciting characteristics you can photograph.

Check out the graphic below for more details.

The five steps of a solar eclipse.

Here’s a brief description of what happens during each phase.

Partial Phases of an Eclipse

During a partial eclipse, the Moon only partially blocks the Sun. Because the Sun is bright compared with the Moon, you will only be able to see the shape of the Moon as it passes in front of the Sun. The Moon will be in silhouette, obscuring all detail of the Moon’s surface.

During a total or annular eclipse, partial phases will precede and follow totality.

The Moon is only partially blocking the Sun. Image Credit: Marco Bruno.

Taking a series of photos during the entire eclipse is popular. This shows the progression of the Moon across the Sun.

Composite image showing phases of a solar eclipse. Image Credit: Michael Dimaculangan.

Baily’s Beads & Diamond Ring

The moment of most excitement is just before totality. This is when you can photograph Baily’s Beads and the Diamond Ring effect. These last only seconds, so photographers have to be ready!

Baily’s Beads the Diamond Ring are the result of the Sun shining through the uneven Moon’s Limb (the edge of the lunar disk). This forms a series of bright “beads.”

In this phase, you can have a hint of the Solar Chromosphere too. This is a reddish line around the still visible solar edge.

Baily’s beads right before the total eclipse. The chromosphere is also partially visible, as well as a solar prominence. Image credit: Marco Bruno.

When the total eclipse is almost reached, only a single bead will shine. This looks like a shiny diamond on a ring (hence, its name).

Solar Corona

The eclipse itself, where the Moon is covering the Sun, may last one minute or ten minutes. Each eclipse is different.

The Moon will then move and begin to uncover the Sun. If you didn’t get your time-lapse photos before the eclipse, here’s your second chance.

The corona is very faint and can be seen only during totality. When the New Moon covers the Sun, the outer corona is the only visible part of the Sun. It often appears as a halo.

At totality the Solar Corona appears as a halo around the blocked Sun. Image credit: Marco Bruno.

On Earth, the Solar corona can only be seen during totality. It doesn’t matter how good, large, or expensive your equipment is. With less than totality, the remaining sunlight will overpower the much fainter halo of the Sun’s corona.

During an annular solar eclipse, the Moon only covers the center of the Sun. This leaves the Sun’s visible outer edges to form a “ring of fire.”

A prominence is a bright, gaseous feature extending outward from the Sun’s surface. This is often in a loop shape.

Prominences can be seen and photographed all year by using special narrow-band telescopes. These telescopes allow you to see only a particular kind of light.

During a solar eclipse, you might be able to photograph a prominence with the white light filter.

Two prominences are visible near totality in this image. Image credit: Marco Bruno.

Weather Watching

If you want to take photos of a solar eclipse, you need clear skies—at least around the Sun itself. Cloud cover at the wrong time will completely ruin your eclipse photography.

Apps that help astrophotographers plan Milky Way photoshoots will also help plan for the eclipse.

Clouds obscure a solar eclipse. Image by centfie10 from Pixabay.

The Best Location to Take Photos of a Solar Eclipse

Find a place where trees or buildings won’t obscure your view of the Sun. If the eclipse happens at mid-day, you probably won’t have a problem finding a location, though your compositional opportunities may be limited.

If the eclipse happens with the Sun low on the horizon, you will need to find a place with a good foreground element.

Use apps like PhotoPils or The Photographer’s Ephemeris to help you plan where to photograph. These apps contain virtual reality tools that let you see exactly where the Sun will be at a specific time of day on a set date. You can plan exactly where a foreground element will be when the eclipse happens.

You might have to compete for your photography spot. Particularly if you want to photograph the eclipse and the landscape using a wide-angle lens, so plan to be at your location well in advance.

You can use a wide-angle lens to capture a solar eclipse over a landscape. Image credit: Brian Chorsky @bianxplores.

The Best Gear to Photograph a Solar Eclipse

Solar eclipses are rare events. You will get news of the incoming eclipse weeks in advance, even if you aren’t into astronomy.

Use this time to ensure you have the right gear to photograph a solar eclipse, and that you know how to use it.

Safety First!

Photographing the Sun should be done with caution. There is a reason we’re not supposed to look directly at the Sun. It can damage your eyes and your camera.

Eye Protection

You will need eye protection to view a solar eclipse. You should be able to purchase specially-designed eyewear in advance of an eclipse. Regular sunglasses won’t protect your eyes when looking directly at the Sun.

Eclipse glasses are coated with a special material to block the Sun’s rays. To make sure you’re purchasing authentic gear, make sure they are ISO-approved. ISO stands for International Organization for Standardization (rather than the camera setting). You can also view the eclipse with welding goggles.

During totality, you remove your glasses and look directly at the Sun. Otherwise, the lenses are too dark for you to see anything.

EVF vs Optical Viewfinder

It’s important to know whether your camera has an Electronic Viewfinder (EVF) or an optical viewfinder. It is VERY important not to look through an optical viewfinder when composing an image of the Sun. There is no protection on an optical viewfinder.

There’s debate about whether it’s safe to look through an EVF. If you do look through your EVF, make sure you have a solar filter in place on your lens.

It’s generally recommended to use live view to compose shots of the Sun.

Solar Filter

A solar filter is by far the most essential piece of equipment when it comes to photographing the Sun. This solar filter is not there to create nice photographic effects. It’s there to prevent irreparable damage to your camera. The lens, a telescope, or a binocular will concentrate sunlight. Failing to photograph the Sun with the proper filter may burn a hole in your sensor.

You can buy a proper solar filter (white light solar filter) online. It’s worth looking on astro-related websites as well. They start at $50 or so and will cut down not only the visible light but also the IR and UV radiations.

There are ways of making a DIY filter with solar safety film to photograph the solar eclipse. You can also stack neutral density filters to block sunlight coming into your camera. Sixteen stops is the minimum you should use. But be very careful with these solutions. Getting it wrong can permanently damage your camera.

This video below shows quite well the point I’m trying to make.

Before using the solar filter, inspect it for deep scratches, cuts or holes. Change it if you are not sure about its integrity. Having a damaged filter is like looking directly at the Sun with your naked eye.

Once you’re sure it’s okay, slide it on the camera lens and tighten the thumbscrews to lock it in position. Check the filter is stable and be careful not to knock it off the lens.

Here’s the filter mount on a Skywatcher Skymax 90/1250 telescope (left) and on the Sony RX10 (right).

You can use white light solar filters all year long to observe and photograph Sun Spots. These are regions of the solar surface that are colder than the rest.

With white light filters, you can easily image Sun Spots. Olympus OM-D EM-5 Mk ii with Zuiko OM 200 f/4 and Zuiko OM 2X-A teleconverter. Stack of 20 images.

Your filter must be properly mounted before you point the camera at the Sun. Also, don’t allow children to manipulate your equipment to observe or photograph the Sun on their own.

If you’re photographing a total eclipse, you’ll remove the solar filter during totality.

Choosing the Best Camera Gear

Now, let’s go over the camera equipment that will help you take photos of a solar eclipse. If you take photos of the Moon, landscapes, or wildlife, you’ll probably already own this gear.

What Camera Should You Use?

You can photograph an eclipse using any camera. The best is to use a long focal length lens. Low light, high ISO performance, and camera lens performance are not an issue here. So cameras with crop sensors have the advantage. They fill the frame better at any given focal length than full frame cameras.

For example, 1-inch or point-and-shoot digital cameras, such as the Nikon P900 or Sony RX100 give great reach in a smaller package.

You can photograph an eclipse using your smartphone, but the telephoto capabilities may be limited. The Sun will appear small in the frame.

Total eclipse photographed with a point-and-shoot Sony HX90V Compact Camera. I made a solar filter to fit onto the lens using a toilet paper role and a pair of eclipse glasses. Photo by Jenn Mishra. Settings: 123 mm | 1/25 s | f/8 | ISO100.

What Lens Should You Use?

As mentioned before, the Sun appears in the sky as big as the full Moon. This means that you can use the same telephoto lenses you would use in Moon photography. Unlike Moon photography, there isn’t a lot of detail in the Sun. But you may capture sunspots on the surface with a long lens.

If you want to isolate the Sun, a telephoto lens starting about 300 mm is a good focal length. But a longer telephoto lens with a teleconverter will let you get even closer.

The effect of focal length in filling the frame (35mm) with the solar disc.

If you want to photograph the landscape too, you’ll instead opt for a wide-angle lens. Solar eclipses don’t happen often, so I bring both!

Tripod

A tripod is a must-have. It will allow you to set up your camera before the beginning of the phenomenon and keep it trained on the Sun during the eclipse. If you’re using a long telephoto lens, a tripod helps you stabilize the lens.

The Sun moves in the sky at about 15 degrees per hour. You will have to readjust the frame periodically. A tracking device like the Skywatcher Star Adventurer will help you follow the Sun.

If you don’t have a tracker, a 3-way pan head may be a more comfortable option than a ball head. That way you can re-center the Sun in the frame easily.

Remote Shutter

A remote shutter/intervalometer is optional, but it will allow you to create a time-lapse of the event easily. Remote shutter release will also prevent camera shaking.

Once you have your camera trained on the Sun, a remote shutter lets you take photos without fussing with your camera during the event.

How to Find the Best Solar Eclipse Camera Settings

You have a lot of flexibility in your settings when photographing a solar eclipse.

First of all, set your camera to shoot in RAW. Use the lowest possible ISO (typically ISO 100 or ISO 200). If you are on a tripod, remember to disable any image stabilization. Because the Sun is bright even with a solar filter installed, your auto-focus should work well. Once you have your camera focused to infinity, turn the auto-focus off. You won’t need to change focus during the eclipse.

Select an aperture around f/5.6 to f/8. During most of the eclipse, you’ll have plenty of light even though your solar filter limits light. During totality, you’ll remove your solar filter and may want to open your aperture for more light.

The amount of Sun blocked by the Moon varies during the eclipse. This means that you will have to adjust your shutter speed or your solar eclipse exposure. During a total eclipse, you will basically be shooting night photography, which will need a slower shutter speed.

Here are some shutter speeds you should consider during the phases of the solar eclipse. This is assuming you are using a white light solar filter, ISO 200 and f/5.6.

Full Sun: 1/1000th of a second or faster
Partial Solar Eclipse: 1/500 – 1/250th of a second
Diamond Ring: 1/250th of a second
Totality: 1/25th of a second

Please note that those settings are more of a solar eclipse exposure guide or a starting point. You may fine-tune your exposure settings considering your gear and weather conditions (haze, fog, clouds, etc.).

Tips for Solar Eclipse Photography

Having photographed several solar eclipses, here are a few tips I picked up along the way. Eclipses happen fast, and there aren’t a lot of opportunities to practice.

Remove Solar Filter During Totality

When photographing a total or annular solar eclipse, remember to remove your solar filter at the point of totality. Solar filters protect your sensor from the Sun, but at the point of totality, the Sun is covered by the Moon. This means you’re essentially photographing at night.

You may want to practice this in advance to speed up the process.

Shoot in Burst Mode During Totality

Just before totality, switch your camera into burst mode. Baily’s Beads and the Diamond Ring will happen quickly. Burst mode gives you the best chance at capturing this unique phenomenon.

Bracket Your Shots During Totality

It’s also a good idea to bracket your shots during totality. The dynamic range is huge between the Sun’s surface, the edges of the corona, and the Moon’s surface. With bracketed images, you will be able to pick up fine details and light variation.

This will also ensure you won’t blow out the highlights.

Photograph More Than the Sun

During an eclipse, there are more things to photograph than just the Sun.

Take a look at the shadows around you. Shadows will start to change during an eclipse. The shape of the partial phases will show as little crescents. You can see the crescents in dappled light through tree leaves, or you can use a pinhole camera.

You may also see shadow bands just before totality.

Capturing crescent shadows through holes in a fan.

If you’re photographing a total eclipse, you may want to dedicate one camera to shooting video.

Experiencing a total solar eclipse is unique. Don’t underestimate how amazing it is to experience day-to-night without a period of sunset or sunrise. The world is simply plunged into darkness. People around you will react in amazement. If you are in nature, you will immediately hear the sounds of the night.

Practice in Advance

It’s a good idea to practice in the days leading up to the eclipse.

Visit the site at the time of day that the event will happen. Check for any obstructions.

Practice photographing the Sun with the specialized gear you’ll need. Know how your solar filter attaches and detaches from your lens.

If you’re photographing a total solar eclipse, you’ll have to make a lot of changes at the point of totality. You’ll be removing your solar filters, changing the shutter speed for night photography, and possibly manipulating multiple cameras.

Enjoy the Experience

Many photographers get the photo but miss the experience. Solar eclipses are special events. Take time to enjoy them. For total eclipses, totality will last at least a couple of minutes. Photograph for a minute or two and then stop and enjoy the show.

Image Credit: https://unsplash.com/@billy_huy

Conclusion

A solar eclipse is a unique event that not everyone gets to experience. If you’re lucky enough to take photos of a solar eclipse, know what to expect in advance. It’s important to be ready with the correct gear and camera settings.

In this article, you have learned the basics of solar eclipse photography. The main thing to remember is to stay safe and use eye protection and solar filters. No shot is worth hurting your eyes or melting your camera!

Once you have your shots, you can create a composite to show the progression of this rare and breathtaking event.

Interested in learning more about astrophotography? Why not try our Milky Way Mastery course!

Safe Solar Viewing

Thousand Oaks Black Polymer Solar Filter

Capture stunning photos of a solar eclipse with ease! Get the right information and gear, including a CE & ISO approved black polymer solar filter for your camera.

How to Blur the Background in Lightroom (Step by Step)

Andrea Minoia — Thu, 04 Jun 2020 14:41:44 +0000

This article will teach you how to blur the background in Adobe Lightroom. It’s a useful process to know and can really improve your photos.
A typical rookie photographer’s mistake is to focus so much on your subject that you lose track of what is around it. And sometimes, you take photos where the background distracts from your subject.
So we’ll take you through each editing stage in Lightroom Classic to add blur for cases like this. (We’ll show you three ways, depending on your version of Lightroom). Adding background blur will help make your subjects stand out better.

When to Blur the Background in Lightroom

Of course, it’s always easier if you don’t need to make this adjustment in post-processing at all. Getting it right at the time of shooting will save you the work.

The sooner you learn to pay attention to a subject’s surroundings while shooting, the better. There are two details to look for in general.
If the subject is in the background, the foreground might contain an element of interest. But it shouldn’t distract from your subject.

And the second detail to look out for is… If the subject is in the foreground, the background shouldn’t be so distracting that it diverts the viewer’s eyes.

Sometimes it is possible to fix things in post-production. You can add interesting elements in the foreground, thus creating a composite image. Or you can blur the background. So it’s less distracting and makes your subject stand out more.

Read on to learn how to blur a distracting background in Lightroom. And if you want to know more about how to get it right straight out of the camera, check out the bonus section at the end.

My dog against a very distracting background.

Blur the Background in Lightroom CC vs. Lightroom Classic

Do you want to blur the background in Lightroom but are unsure which Lightroom version is best? Don’t worry; both versions allow you to perform the same actions with the same detail. There are usually small differences between the Lightroom versions, but they are very similar when considering the techniques we are talking about.

The only point you must be aware of is that finding the Masking section differs in Lightroom Classic vs. CC. You can find the same icon in Lightroom CC along the right-hand toolbar.

Different Techniques to Blur the Background in Lightroom

In this article, we will cover three different methods to blur your background in Lightroom. Theres are:

Using Lens Blur
Using AI Mask
Using the Brush Tool

Click these links above to go the section that may be the most relevant for you!

Blur the Background in Lightroom Using Lens Blur

One of the newest features in Lightroom is the Lens Blur tool. This has massively decreased the time it takes to blur the background in Lightroom. The Lens Blur tool uses AI to identify key features and apply different styles of bokeh to your photograph.

One of my favorite features is that it allows you to visualize and edit the focal range. This allows you to have great control over what areas are blurred. It even has a brush to blur sections that may be in the foreground, but you want to be blurred!

Step 1. Open the Image and Find Lens Blur

First, find your image, go to the Lens Blur panel, and click Apply.

Step 2. Choose the Blur

You will then want to set your blur amount and the bokeh style you want. This is the only way to choose the kind of blur effect you get when you blur the background in Lightroom. There are five options to choose from that reflect different aperture styles, which in turn dictate the blur style.

Step 3. Set the Blur Distance

You are now able to fine-tune the blur distance. The Focal range slider is a unique slider that uses AI to judge the distance of objects in your image. This slider works surprisingly well.

My favorite bit is that you can click the ‘Visualize Depth’ button to see how the AI reads your image.

Step 4. Fine Tune Your Selection

You can now click on the Blur button to fine-tune your blurred areas. This will bring up a Brush tool with its own Blur Amount and other brush customizations.

This is helpful to get areas that may exist in a similar focal range to your main subject but you want them blurred.

Blur the Background in Lightroom Using an AI Mask

If you have updated Lightroom Classic (after October 2022), you will have access to all of the new AI features! Here is a super-quick and simple walkthrough of blurring the background with these new tools.
We will show you three masking options to highlight the background. The first option is masking the subject and inverting the selection. This takes a bit longer. And it may need work with the Brush tool.
The second option is even quicker by using the AI background mask. And finally, if you have an older version of Lightroom Classic, we’ll show you the required brushwork and selections.

Step 1. Open the Image and Select the Masking Icon

First, open your image in Lightroom and go to the Develop page.

You will find a range of icons under the main histogram to the right. Click the Masking icon to begin or press Shift + W.

Highlighted masking icon

Step 2. Add a Subject Mask (Option 1)

You will then get a range of options to apply a mask to your image. For our example, we want to blur everything but the monkey. So we’ll click “Select Subject.”

This will apply an AI mask to our image. As the image I have used is black and white, it can be hard to identify the parts in the foreground and background. Surprisingly, the AI has even noticed our rope is more in the foreground than other objects!
This is great, but I also want the rope to be blurred for this image. Here’s how to remove certain sections from your mask.

We will click the “Subtract” box in our current selection. And for this method, I will show you how to use the Brush tool, as it is the easiest and quickest method.

After selecting the Brush tool, brush over the parts you want to be blurred. Your image should end up looking like this.

You can invert your selection when your subject is fully masked. Do this by right-clicking on Mask 1 and clicking “Invert.”

Your image should now look like this.

Step 2. Add a Background Mask (Option 2)

Those with the most up-to-date Lightroom Classic get a third option to mask the background. So click “Background.” The AI should automatically select the subject.
You will get the same result as the masked photo above—just quicker! And you can make the same brush adjustments as necessary.

Step 3. Apply Blur By Reducing the Sharpness Slider

Now we’re ready to apply blur to your background. You will see a range of adjustments you can apply to your mask in the Adjustments panel.

Look for the Sharpness adjustment. You can also play with the Texture and Clarity adjustments for a more subtle effect. To make the difference clear, I will move the Sharpness slider quite far to make the subject pop.

Here is the final result (before and after). And it took me under two minutes to create!

If you don’t have the most up-to-date version of Lightroom, follow the instructions below!

Blurring the Background Using Lightroom Brush Tool

This is the third option for older versions of Lightroom without AI features.
The Brush tool is used to apply an effect to a part of your image.

The mask part of the Brush panel lets you create a new mask or edit an existing one.
In the Effect section of the panel, you can choose a preset or manually create your effect.

The Brush section of the panel lets you define effects for two brushes.
The brush properties can be changed anytime and will not affect the painted parts.

These are the brush settings you can apply:

Size: Sets the relative size.
Feather: Sets how soft or hard the brush is.
Flow: Sets the strength of the brush. Use a value lower than 100 to slowly build the effect while painting in the same area.
Auto Mask: Toggle on to help you follow borders when you paint.
Density: Sets a cap for the maximum strength of the brush.

Step 1. Open the Image and Select the Brush Tool

Open your image in the Develop Module of Lightroom. Select the Sharpening Adjustment Brush tool.

Step 2. Adjust the Sharpening Slider and Paint the Background

Then set the sharpening slider to -100 and start painting over the background. You do not need to be precise at this stage.
Use the keyboard shortcut “O” to show or hide the selected mask overlay (displayed in red). This way, it will be easier to see where you’re painting. While the mask overlay is on, the brush effect on the image is not shown.

Once you have a coarse mask, start working around the edges. Tune the Size, Flow, Density, and Feather of your brush to refine the mask edges. Sometimes, the Auto Mask option can help you with this.
Eventually, you might have to use the Erase brush to clean up your subject. That ensures that the blur effect is applied only to the background.
Remember that the amount of blur gradually increases with the distance from the focal plane for a realistic blur. All the objects on the focal plane must be kept sharp.
After the paint-and-erase process, you’ll have a good mask.

Step 3. Increase the Amount of Blur

Setting the Sharpness to -100 introduced a certain amount of lens blur, but not much. The good thing about Lightroom is that you can duplicate your Adjustment brush by simply right-clicking on the brush marker and selecting “Duplicate.”

This new brush has the same settings and mask as the previous one. Be sure all the sliders are set to 0 except Sharpness, which should be set to -100.
From now on, duplicate the brush as much as you need to apply the blur and create the effect you’re after. But be aware that having many adjustment brushes in an image will slow down Adobe Lightroom.

Step 4. Final Retouches

After blurring the background, you can duplicate the brush one last time. This time, slightly reduce the clarity (set the Sharpness back to 0) to accentuate the blur.
Next, you can use the global settings or other Selective Adjustment tools to make the final adjustments to your image.
When you’re happy with your image, the only thing left to do is export the photo and share the results of your hard work.

Bonus Section: How to Get Blur Right In-Camera

Your camera sensor size will affect the depth of field. With any given combination of focal length, aperture, and subject distance, small sensors give a greater depth of field than larger sensors.
Depth of field can be modified by the following:

Aperture: Double the f-number (e.g., move from f/4 to f/8), and the depth of field is also doubled.
Subject Distance: Double it, and the depth of field increases by a factor of four.
Focal Length: If you double it, the depth of field is reduced by a factor of four.

Example of a natural in-camera blur. Shallow (top image) vs. deep (bottom image) depth of field.

Do you want to maximize the depth of field so that most of your landscape is sharp? Then you should use high f-numbers, a short focal length, and focus reasonably far away. A general rule of thumb says you should focus a third of the distance into the scene.
Or do you want to minimize the depth of field to better isolate your subject from the background and have nice bokeh? Then you should use small f-numbers and long focal lengths and move closer to your subject.
And there’s an option if you shoot portraits with natural light outdoors. Using a two- or three-stop neutral density filter allows you to shoot wide open with fast lenses.
Finally, what if you cannot reduce your depth of field further but still need to blur the background? Your last option is to increase the subject-to-background distance, if possible.

Conclusion

We hope we’ve helped you create a beautifully blurred background using Lightroom. Check out our updated Effortless Editing in Lightroom course for even more Adobe Lightroom knowledge!
But don’t forget that you can minimize your depth of field by using the widest aperture. This way, you can get an even separation between your subject and the background without editing!

How to Set Up a Home Photography Studio (Easy & Cheap)

Andrea Minoia — Mon, 01 Jun 2020 18:30:57 +0000

Many photographers dream of having their own home photography studio to practice their craft. So you must be wondering, how can I make a photography studio at home?

Well, what if I told you it’s easy to get started? Here are some tips on how to set up a low-cost photo studio at home!

Versatile and Affordable

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Looking to set up a low-cost home photography studio? Our complete lighting kit includes everything you need for professional-quality photos. It includes backdrops, softboxes, umbrellas, and bulbs.

How Do You Set Up a Home Photography Studio?

Planning how to set up a home photography studio can be overwhelming. With so many things to consider, where do you start?

The first step for me was to do some research on the photo studios near me. Of course, I didn’t have to visit those places physically. A simple internet search was enough.

A photo studio near me even had images of their facilities. Seeing their setup allowed me to figure out how to arrange my equipment at home.

Remember that it would take years to acquire the expensive equipment you see in professional studios. So, for now, don’t be afraid to start small with the essential gear.

Which Is Better: A Fixed Location or a Portable Studio?

Think about how you intend to do your photoshoots. Do you want to stay in a single place? Or do you see yourself shooting in different locations often?

If you’re not doing photoshoots on a regular basis, you can get away with a clean wall and natural light from a window. That’s all you really need for simple portraits.

But what if you’re shooting product photography several times a week? Then a dedicated home photography studio is ideal.

It’s best to invest in equipment that is compact and easy to store. That way, you have the option to have a permanent studio. But you still have the ability to move your gear to different locations.

How Big Should Your Photography Studio Be?

You don’t need to have access to a 100-square-meter venue to take studio portraits. You can convert a spare room or even a tool shed into a home photography studio.

But working in smaller spaces can be quite challenging. It demands a good deal of flexibility, compromises, and a lot of creativity.

But then again, you don’t need a lot of equipment for your home studio. In most cases, even a 100-square-foot room is enough to fit all of your photography gear. Place your background stand against one of the walls, set up the light stands in front, and that’s it!

One factor you need to consider for your studio is the number of people you can fit in it.

Do you like to photograph groups of people? If so, look for big spaces that allow for unobstructed movement.

For single-person portraits and headshots, a few square meters are enough. Portraits of newborns and toddlers are possible almost anywhere.

You should also beware that the size of your home studio may affect the light in your photos.

It’s easier to control artificial light in large photography studios. In very small places with low ceilings, stray light can be more of a problem.

So if your space is small, it’s best to stick to window lighting. It creates pleasing light no matter the size of your studio.

How Do You Manage a Small Studio Space?

Building complicated lighting sets can be trickier to do in small studios. This is because of the lack of space.

For the same reason, your expensive 70-200mm f/2.8 could end up being too “long” for your space. With a lens of that focal length, you will only be able to take headshots (at best).

In small photography studios, it may be better to invest in lenses with shorter focal lengths. Try any option between 80-100mm for taking larger portraits.

Finally, your home photography studio setup should have a few power outlets around.

You’ll likely have to plug in gear all the time when taking pictures. These could be lights, a laptop (if you shoot tethered), and chargers. You may even need fans for cooling your place or for portrait effects.

What Is the Basic Gear Setup for a Small Photography Studio?

There are tons of studio gear to choose from. And it can be difficult to know which ones to buy first. So what equipment do you need for a photography studio?

Don’t obsess over buying all the gear as you start building your studio. It’s surprising how little equipment you need for most photoshoots.

Here is a handy list for a basic gear setup in a small home studio:

Lights: One light and one reflector are enough to start. But three lights will give you the best flexibility. Those lights can be three cheap manual speedlights (Speedlites). Try the Yongnou 560 IV or studio strobes such as Godox strobes.
Flash Trigger: This tool is necessary to trigger your flash units remotely. You’ll need a specific model that’s compatible with your strobes and your camera. Otherwise, it won’t work at all.
Lighting Modifiers: A reflector and umbrella are a must. Neewer and Godox produce cheap umbrellas, softboxes, and octaboxes. These are quite good and fold into small, easy-to-store packages.
Light Stands: You need one stand for each light. As a rule of thumb, the heavier your light is (along with the light modifier), the sturdier your stands need to be. Don’t invest in cheap gear, or you will risk your lights being too unstable and wobbly. I prefer stands that extend to 2.4 meters and higher. Especially since the lights need to be above the model. But it is also useful to have a small stand. This can light the model from below or hide your background light behind the model.
Background: A collapsible background is a good place to start. That is if you cannot install a permanent background. Impact and other brands are not too expensive. Especially when compared to Lastoline’s collapsible backdrops.

Other Optional Gear

It’s best to have more than just photography equipment for your home photography studio. You should also get these everyday accessories you’ll likely need for your shoots:

Step Ladder: Ladders are useful to change your point of view on your model. But you can also use it to change the orientation and settings of your lights.
Fan: A fan can introduce some motion into your portrait (think wind-blown hair or clothes). But they also make it more comfortable while working in hot studios. Continuous studio lights and strobes with modeling lights generate a fair amount of heat. A fan helps provide some relief.
Extension Cords and Power Strips: If you use studio lights other than portable lights, think about getting extension cords and power strips. You’ll need space to plug in your lighting equipment.
Furniture: If you are going to do portraits larger than headshots, you should consider having some furniture around. Chairs and stools are must-haves.

How Much Does It Cost to Build a Photography Studio?

When it comes to building a photography studio, you want to ensure your equipment meets your needs. Do not spend a lot of money on a light that you’ll never use.

The good news is you can find plenty of home studio lighting kits online for a reasonable price.

Most home studio kits include two light stands, two modifiers, a background stand, and muslin backgrounds. The stands can be a bit flimsy, but they will last you years if you keep them in your home studio. If you plan on shooting in different locations, I suggest getting sturdier professional options. They may be more expensive, but they’ll last much longer.

You should also beware that the lights from the kit are simple white bulbs and aren’t that bright. But you can easily swap them out with the speedlights you already have.

Setting Up a Home Studio For Portrait Photography

Think about the types of portraits you plan to take and how you want them to look. Do you like working with natural light? Then you will need a home studio with big windows.

Are you a flash photographer? Then an empty wine cellar or basement is great for shooting studio portraits.

How to Choose the Best Lighting Equipment for Your Home Studio

You have plenty of options when it comes to lighting in your home studio. We’ll discuss the two most popular types of lights below.

Speedlights (Speedlites)

Pros:

Perfect in small photography studios and for portable setups.
Lightweight and small.
Cheap—particularly manual units like Yongnuo, Phottix, etc.

Cons:

Low power.
Lack of modeling light prevents you from seeing where the flash beam goes and fine-tuning your autofocus.
Can have a long recycle time (particularly at full power), making it hard to shoot in burst mode.

Some of the speedlights’ shortcomings can be overcome by using flash units such as the Godox V850II. These are much more powerful than speedlites, and they’re still portable. Unfortunately, these units are quite expensive.

Photography Studio Flashes

Pros:

Powerful light.
Can have a built-in modeling light.
Includes an AC plug for batteryless operation.

Cons:

Price.
Heavy and bulky.
Need sturdy light stands.
Cheap units can overheat and stop working until they cool down.

So how many lights should you have? I would say three. These will give you a great deal of flexibility in your work.

Whatever option you choose, remember that you’ll need one light stand for each flash unit. In most cases, two or three should be enough.

But don’t let shopping fever get you. Start with one light. Learn the basics and build your equipment kit once you need more flexibility. You can also take great portraits with a single speedlight, as you can see in the example below.

Must-Have Light Modifiers

Reflectors: They bounce light back into the scene. 5-in-1 reflectors provide various types of reflective surfaces. In one package, you get silver, gold, white, black, and translucent.
Umbrellas: These are the cheapest light modifiers you can buy. They soften the light from the flash. But the problem with them is that they let light spill everywhere. As a consequence, they reduce your ability to control the light, particularly in small studios.
Softboxes or Octaboxes: They’re more expensive than umbrellas, but they give you better control over your light. They also produce a softer glow in general.
Grids: Grids concentrate the light in tight beams, making light very directional.
Gels: Gels are sheets of semitransparent materials. They come in different shapes and colors. They change the background color when used on a background light. And they introduce light effects in your portrait. They are cheap too.
Flags: They stop stray light from bouncing around the set. You can make flags from any black material. A panel, cardboard, a curtain, a cloth, etc., work really well. 5-in-1 reflectors have a black side allowing you to use them as flags.

Bear in mind that the larger the light modifier is, the softer (but weaker) your effective light will become.

DIY Speedlight Flash Modifiers

If you have a speedlight, why not try creating DIY modifiers?

Creating softboxes at home means that you get to try different ways to light your portraits. All without spending a lot of money!

With a few small pieces of plastic, you can create a few different modifiers. Other items you might have lying around the house.

You might need to buy a pack of Pringles, but then you can enjoy them too!

How to Choose a Background for Your Home Studio

There are two kinds of photography studio backgrounds you can choose from. The first is a collapsible portrait backdrop. The second is a professional photography studio backdrop on a support or on a rail/roll system that’s fixed to a wall or ceiling.

Collapsible Backgrounds

Pros:

Relatively cheap.
Folds into a compact, portable package.
One side is black for low-key portraiture. And the other one will turn it into a white photo backdrop for high-key photography.

Cons:

Small—most suitable for headshots or single-person portraiture.
The tissue can have creases.
Folding them is an art difficult to master.

Professional Portrait Background

Pros:

Paper, vinyl, or tissue backgrounds.
Comes in many background sizes.

Cons:

Often large and heavy.
Cheap models will not support heavy backgrounds, such as a 3 x 11-meter paper roll.

As for the background color, they come in black, white, and grey. For small studios, a grey backdrop is often the best solution. It can be black or white, depending on your lighting setup.

Gels can also change the color of the background in your images.

How to Get Rid of Ambient Light

Keep in mind that when you work with a flash indoors, you do not want natural ambient light. This can contaminate your studio lighting setup.

Of course, not using ambient light does not mean you should work in total darkness. But it’s good to have a low level of ambient light. This will improve your portrait home photography studio setup.

You can achieve this by shielding the windows with curtains or by using flags. This will stop unwanted light from bouncing around the set.

To ensure your ambient light will is not affecting the photo, do a few test shots. Set up your camera to take a photo without firing your flash. Make sure that the resulting image is completely black.

You can then manipulate your lighting to achieve the exposure you want.

I usually photograph at f/8, 1/125 s, and ISO 200. I then use a flash meter or a trial-and-error process to set the power of the lights to match my target exposure.

How Do You Start a Home Photography Business?

Having a small studio is enough to start a business. Once you’re comfortable with your lighting setup, ask your friends if they need professional portraits.

Remember that presentation and professionalism are crucial elements for success. So if you’re not ready yet, stick to the people you know first. They’ll be more forgiving with your studio setup and are usually more excited by your talent.

So what if taking paid portraits of strangers is still not possible? There are also tons of brands out there that need pictures of their products. You can ask local businesses if they need eCommerce photos and photograph their products. Use the money you earn to buy more equipment and eventually rent a real studio for your business.

Conclusion: Setting Up a Home Photography Studio

I hope these tips give you a good idea of the basics you’ll need to build your own home photography studio.

My advice is to not get too stuck on the idea of the perfect photography studio and equipment. What counts the most is your creativity and your willingness to squeeze the most out of what you have to work with.

Versatile and Affordable

MSMK Photography Lighting Kit

Looking to set up a low-cost home photography studio? Our complete lighting kit includes everything you need for professional-quality photos. It includes backdrops, softboxes, umbrellas, and bulbs.

23 City Photography Tips for Awesome Photos

Andrea Minoia — Sat, 30 May 2020 15:00:02 +0000

Cities are the most dynamic, vibrant, and ever-changing playgrounds for photographers. But city photography is not only about breathtaking skylines and cityscapes.

It is easy to play it safe and limit yourself to the classic tourist snapshots. Or to be overwhelmed and try to shoot everything that moves or stands tall.

Versatile Tripod Option

Joby GorillaPod SLR

Elevate your city photography game with this versatile, lightweight tripod. Its flexible legs and precise positioning will inspire you to capture unique perspectives and stunning shots.

City Photography: Golden Rules for the Urban Photographer

Below are our top 23 tips for getting the most out of your city photography adventures!

23. Be Safe

Every city has its fair share of crime. Ask the locals and tourist offices for places a tourist should avoid. Keep in mind that what seems like a nice, common street by day can be a risky area by night.

A small alley in Copenhagen.

Be aware of what is going on around you. Try not to attract too much attention by walking around with lots of equipment. If you are not on a professional assignment, you may ditch your expensive pro gear. Take a more modest-looking bridge camera or compact camera instead.

You won’t compromise much image quality, but you’ll be safer. It’s always a good idea not to go out on your own. But it’s worth bringing a friend or two when it gets dark.

22. Be Respectful of Others

The city is not your home studio, and the people you see are not there posing for you. Be respectful and make sure you’re not being imposing or threatening.

Some street photographers like to jump at people’s faces with a flash to get candid reactions. Like Magnum photographer Bruce Gilden. Not everybody is comfortable enough to do this with strangers in the street. And it’s not always legal depending on where you are.

Be aware that some places do not allow cameras. Some buildings (or parts of them, like the light display on the Eiffel Tower) are copyrighted. You can photograph them for your personal use. But cannot sell your images without paying royalties to the copyright owner.

Many (micro) stock agencies need a signed property release form.

The Atomium is a famous landmark in Brussels (Belgium) and it is copyrighted.

21. Stay Comfy

Urban photographers hit the streets for many hours at a time in all . Dress comfortably and stay warm in the winter. Make sure to dress in layers and have good shoes.

If you are carrying heavy equipment, a backpack is more comfortable than a shoulder bag.

20. Keep Looking and Experimenting

Look up, look in front, now to the left and to the right. And now look behind you. Scan the city for small details, hidden patterns, interesting people, and situations.

The best thing about city photography is that you cannot plan your pictures. There’s always something new, even if you photograph the same location every day.

Did you notice the man with the frame?

Photographing from ground level or from above the crowd can help to shoot better street photography.

I mounted my old Panasonic GF-2 mirrorless camera on a monopod to lift it well above eye level for a different view of the city street.

19. City Photography Gear

If you are visiting a city for tourism, a good zoom lens is far more important than the kind of camera you are using. A travel zoom lens for DSLRs and mirrorless cameras is often all you need. They will allow you to shoot both cityscapes and candid portraits.

Bridge cameras with power zoom, such as Sony RX10 with its 24-200 f/2.8 lens, are great all-around cameras for the city. The fast aperture is also great for indoor use.

Then there are pocketable compact cameras, such as the Sony RX100. It sports a great 24-70mm f/2.8 zoom lens, is portable, and can often be used where DSLR cameras are forbidden. Like at concerts and some events. Small cameras are also less intimidating when you shoot street photography.

Smartphone cameras are best used for casual shots. And for some street photography, they’re great because they’re small and don’t attract too much attention.

A travel tripod, such as the MeFoto RoadTrip S and the Gorillapod, is also a nice thing to have. Especially if you are after some night shots. Unfortunately, some cities have laws against the use of large tripods in the urban environment.

If you are unsure but you really want to bring the shot home, set up the tripod. But if you are asked to leave, don’t make a fuss. Sometimes a monopod is more accepted.

Some filters can be handy too. Graduated filters are great for getting those magical sunsets over the city. Neutral density filters can be used to shoot long exposures in daylight. They let you capture clouds or remove pedestrians and traffic from your images.

A circular polarizer can remove glare from the streets and cobblestones in wet weather.

18. Frame Your Photos Through Archways

Shoot your image through archways so that it has a nice frame around it. In general, there are archways in older parts of the city. Sometimes you have to wait for the right time to get the perfect shot.

You can also look for interesting shadows that the sunshine generates through the arches.

Photo by Dora Jokkel

17. Focus on Architecture Photography

The most obvious kind of photography you can do in the city is architecture photography. Every city has famous landmarks such as monuments, buildings, churches, and more.

Basilica of the Sacred Heart, Brussels (Belgium). Also known as Koekelberg Basilica. Note the wide-angle lens distortions and how it affects the lamp post in the foreground.

A wide-angle lens is a must for capturing an entire building. But you will get some distortions in the image. If you can, try to put some distance between you and your target to reduce perspective distortions.

A careful composition can help to make the building more imposing. I did this by increasing lens and perspective distortions in the image below.

The Skuespilhuset (Copenhagen, Denmark) at sunset.

Famous landmarks are not the only kind of interesting architecture you can find. Look around for shops, train stations, modern corporate buildings, and anything else that looks interesting.

Focus on the typical architectural style of the city you are in. New York and Rome have very different buildings. But they are both iconic, and most people would recognize them in city photography.

The entrance of the Luxembourg Metro Station in Brussels is quite interesting.

16. Shoot Cityscapes

There are two kinds of cityscapes—the skyline, where you see part of the city from a distance. And bird’s-eye views over the city.

Skylines require putting some distance between you and the city. A famous example is New York City’s skyline seen from across the Hudson River. Or the City from across the Thames in London.

Bird’s-eye views are taken from rooftops and high vantage points. Some monuments, hotels, and buildings also give access to a panoramic terrace.

Keep in mind that not every city has a nice skyline. It is always worth climbing up to a higher spot and getting a new perspective on the city.

Copenhagen at sunset from my hotel room on the top floor.

I’m lucky enough to live in a tall building on top of a hill in Brussels. And I like to sneak on the roof to take breathtaking images of the south part of Brussels.

The view from the roof of my building at sunset.

Sometimes, though, it is nice to zoom in a little to isolate some interesting buildings.

Note the different style mix and the huge graffiti taking up a full facade at the center of the frame.

15. Take Day to Night Shots

This technique is very specific. It consists of photographing the same place for many hours at a regular intervals. All the images are then combined together to display the passing of the day, from morning to night. Photographer Stephen Wikes is a specialist in this technique.

Mons des Arts, Brussels (Belgium).

Day-to-night works best on large cityscapes, where you can create a smooth transition. A less time-consuming alternative is what I call Golden2Blue (from the golden to the blue hour).

You can still observe how the city transforms with the passing hours. But you’ll be done in a little over an hour, not an entire day.

You need a tripod, and you will occupy that spot for quite some time. Be respectful of others and don’t block a passage or the only view available.

Graduated filters can help balance the exposure across the scene at sunset or during the day. Panorama stitching is a great way to create large cityscapes. And it works very well with this technique.

A panorama stitch from the Atomium (Brussels, Belgium)

14. Shoot Fisheye Photography in Cities

Fisheye lenses are often considered toy lenses because of their distortions. But you can use them for serious photography to create interesting city images.

A few years ago, I did a project called Fisheye & The City. I found that the lens works very well in the urban environment.

Mons des Arts by night (Brussels, Belgium).

Fisheyes are compact and light lenses. They have very wide fields of view, are quite fast, and have very large depths of field. Focus is not something to worry about. Even with manual lenses such as the Samyang 7.5mm f/3.5 MFT fish-eye lens I own.

We have written about fisheye photography in detail before. To summarize, it is all about understanding lens distortions and working with those to create more dynamic images.

The fisheye allowed me to capture the entire Atomium (102mt tall) from just across the street. The distortions and the light trails create a powerful, dynamic, and uncommon view of this famous landmark.

The combined effect of lens distortion and architecture creates some powerful leading lines to the main entrance of Brussels Central Station.

The increased distortions make the leaning building effect less disturbing. It’s handy when photographing a building from up close.

Tall buildings from a low angle give the idea of waves about to break on the shore. Again, for a powerful image where perspective distortions are not disturbing.

13. Focus on Colors

Colors are everywhere. Try to look for matching colors in your scene. Some cities such as Rome, Venice, or Nice have amazing pastel colors everywhere.

12. Focus on Details

Buildings are nice and easy to spot. But look around for those interesting details that are everywhere to be found. This can be anything from an ivy-coated building to funny street art.

When I stroll around a city, I always look at empty courtyards or abandoned streets. You never know what hidden gem you may find in there.

Florence has lots of similar funny street signs

11. Focus on Patterns

Patterns are another exciting subject in city photography. In harsh daylight, it’s better to focus on patterns rather than cityscapes. Take advantage of the strong contrasts due to the hard light.

Windows can reflect the sky. In the cloudless and sunny afternoon, I managed to get both a pattern and matching colors in this image.

10. Focus on the Weather

Weather can have a huge impact on your city photography. Brussels is not known for its thunderstorms. But I was lucky enough to catch a bolt of lightning striking somewhere across the street.

Bad weather at sunset creates spectacular skies. It will make your cityscapes stand out.

And what about a double rainbow over the city?

9. Take Photos at Golden, Blue, and Night Hours

To photograph the city with plenty of details during these times of the day, you need a tripod. But the results are well worth dragging your tripod around.

Golden hour over Brussels from the belvedere of Place Poelaert (Justice Palace).

At night, the city transforms thanks to all the different lights. You get yellows from the older parts of the city and blues from the more modern areas.

Brussels at night from the roof of my building.

Sometimes you will find some light displays at monuments, buildings, and squares.

Mons des Arts by night, with the changing lights making the small park very picturesque.

And the night is the realm of the light trail from the traffic. Photograph a road at night to get the classic brake light trails. Or you can be more creative and use a fish eye to capture an entire roundabout and its carousel of light trails.

8. Look for Interesting Graffiti in the City

There is no city without graffiti. Many of them are uninteresting, but some are very nice and artistic.

The best ones, though, are often quite small and unexpected, so keep an eye out while you wander the streets. Many cities welcome street art now.

Vienna has a canal where graffiti is legal, and the artists repaint the walls every now and then. Brussels has a comic strip walk with walls depicting comic book characters. Florence has street signs decorated with funny figures.

And not to mention Banksy! The famous British street artist who left his signature work in cities all around the world.

Look for street art and interesting graffiti in every city you visit. Who knows, your hometown might have a few interesting pieces that you didn’t know about.

7. Use Infrared Photography in Cities

You can use infrared photography to add a wow factor to your city pictures. You may create fresh images of tourist spots. Also, it’s interesting to see how materials look in infrared light.

Infrared photography of the famous Justice Palace in Brussels. Because of the long exposure, passing cars were not a problem for this image.

To start, all you need is an infrared filter such as the Hoya R72 and a sunny day. With unmodified cameras, infrared photography means doing a long exposure photograph. So you will need a tripod.

Parks are great locations for infrared photography. The most surprising effects are on tree leaves and grass.

Parc du Cinquantenaire (Brussels, Belgium).

If you are curious about this technique, read our detailed article about how to shoot infrared photography.

6. Shoot Long Exposures in Your City

Long exposures are great in the city because pedestrians and moving traffic will be invisible in your image. You can do long exposure in daylight by using strong neutral density (ND) filters and a tripod.

The classic image is a black-and-white building with interesting architecture. It is standing against a dynamic sky with fast-moving clouds that will introduce movement to your image.

The Congress Center in Mons (Belgium).

You can also combine a standard exposure with one taken with an ND filter. In the image below, I wanted to get the movement from the slow-turning Ferris wheel. I combined exposure for the city and the sky with a long exposure taken with a 10-stop ND filter.

The reason to combine the exposure was that the clouds were nicer in the short exposure.

A turning Ferris wheel in Brussels.

5. Look Up

As I said, you should always look out for interesting subjects and angles. But don’t forget to look straight up at building facades for interesting shapes and patterns.

Look straight up at buildings and facades for interesting shapes and patterns.

4. Include People in Your City Photography

People are a big part of the city. They are everywhere and are interesting subjects. But remember, they aren’t there to pose for us, so be respectful.

Avoid photographing children or jumping in people’s faces even if you are after candid portraits. Don’t photograph them just because they look weird or to ridicule them. Instead, try to build a story or convey a message.

It is easy to photograph people in tourist places as they are used to seeing other people photographing and tend to ignore you. Also, smaller cameras can help you go unnoticed when you shoot street photography.

Strangers converge together in the main square in Strasbourg (France).

Photographing people can be intimidating. If you are shy, try practicing with street artists. (Leave them a tip afterward!) Or photograph people that are on buses, trams, cars, or trains.

Split Frame. This young lady spotted me and looked straight at the camera, while the tram provided a nice frame for the picture (Strasbourg, France).

You can also shoot from the hip. This means that the camera is at your hip and you aim and shoot blindly to go unnoticed. This requires a bit of practice, but autofocus can make things easier.

I was drawn in this photo by the empty cup of the man in the wheelchair. By shooting from the hip I was able to get a candid shot.

You can get more creative and photograph people in silhouette or out of focus.

A blurry street view where shapes, shadows, and colors are playing a key role.

3. Look For Reflections in the City

Cities are full of reflective surfaces—puddles, fountains, windows, glass, and steel. Reflections are everywhere. You just need to find them.

It is not rare to have multiple reflections interacting together, creating interesting patterns. This is often the case with modern buildings and skyscrapers with plenty of windows.

I love shooting after a rainy day and trying to find puddles with interesting reflections. Water surfaces such as small ponds can also get you exciting shots.

The multiple reflections playing together create a checked pattern on this building’s facade.

2. Capture the City’s Silhouettes

I like to capture the city’s silhouette against the bright sky. This way, I can focus more on the shape of the skyline, rather than on the building details.

Cityscape during a late afternoon walk in Copenhagen.

Sometimes the interplay between light and shadows is what makes an image interesting.

The Arc du Cinquantenaire in Brussels. The light filtering from behind the monuments adds interest to the photo.

1. Work the Angle

Don’t photograph only at eye level! This is a major cause of boring images, particularly in tourist spots. Low angles can make for an unusual composition.

Strassbourg is not a game: this photographer means business.

The low angle in the image above, the tilt, and the line in the pavement add interest to an otherwise common image.

Below is the most iconic place in Copenhagen—the Nyhavn canal. This is the tourist spot of that city, because of the colorful houses, the channel, and the restaurants.

By tilting the camera, I was able to get a more dynamic and interesting composition.

Conclusion

Whether you are photographing in your city or you are visiting a new one, keep experimenting. Try to find new compositions even at touristy spots.

There are plenty of things you can try that I haven’t mentioned here. If you are n’t feeling confident, just take one classic shot of your subject. Then you’re free to move on to more creative ideas.

Keep an eye on shadows and patterns! Look straight down at the street from a high point of view rather than into the distance. Experiment with panning, intentional camera movements, and more.

Practicing with intentional camera movement and image stacking.

And, above all, be safe and have fun.

How to Shoot Star Photography (Night Sky Photos)

Andrea Minoia — Sun, 24 May 2020 14:51:29 +0000

Night photography can lead to some amazing images. But photographing stars can be tricky.

In this article, we will cover the different types of star photography and the gear you might need. We’ll cover camera settings, certain types of star photography, finding a location, and setting up your shot.

We use some specialised terms when talking about astrophotography. Check out our useful astrophotography glossary for the most common terms.

Let’s get started with the necessary settings and a list of gear you’ll need.

Light Pollution Reduction

Hoya Red Starscape Glass Filter (62mm)

Enhance the colors of your star photography with a filter that intensifies reds, oranges, and browns while maintaining natural tones. Tips recommend using an LPR filter to reduce light pollution.

Camera Settings for Star Photography

Camera settings vary depending on the type of night sky photography. Let’s start with settings that are similar across different types of star photography.

Shoot in Manual mode. You’ll need to be able to change aperture, shutter speed, and ISO independently.

Set your camera to manual focus. It is usually too dark for autofocus to work for star photography. Later in the article, we’ll show you a couple of different ways to focus on the stars.

Shoot in RAW format. Post-processing is essential to making the most of star photography. Gather as much information as possible in a RAW file.

Many photographers suggest turning off the internal stabilization when putting your camera on a tripod. But not all photographers agree.

Turning on your camera’s noise reduction is also a debated setting. This feature reduces the noise created by using a high ISO. The camera takes a completely black photo and merges it with your image. Unfortunately, this doubles the exposure time.

If you set your shutter speed for 30 seconds, your camera will take 60 seconds to process the image. Many photographers prefer to use other noise reduction techniques in post-processing.

The well known Orion Constellation is hovering over this winter landscape.[/caption]

Recommended Gear for Star Photography

You’re going to need some specific camera gear for star photography. The best gear to use depends on the type of night photography you’re doing. We’ll start with a list of recommended gear that is useful for most forms of night sky photography:

A digital camera with a good ISO performance – We’ll be talking more about the importance of ISO later in the article. ISO performance is especially important when photographing the Milky Way. As ISO on new versions of digital cameras improve, so does the ability to make star images.
A sturdy tripod – Camera shake will show in the long exposures needed to capture star photos.
A fast lens with an aperture of at least f/2.8 – A lens with a narrow aperture captures less light. The wider you can open the aperture of your lens, the more light hits the sensor. Lenses for photographing the night sky often have apertures of f/1.4, f/1.8, f/2.0, or f/2.8.
A Condensation Prevention Lens Heater – Cool night can create condensation on the front of the lens. This heater warms the lens and prevents water condensation.
Smartphone – Many useful star photography tools are available as smartphone apps. We’ll recommend a few in this article.
Headlamp with red light option – A headlamp is useful for navigating at night or adjusting settings. But turning on a white light will ruin your night vision. Use a headlamp that casts a red glow if you need a bit of light on the ground or your camera.
Light Pollution Reduction (LPR) filter – LPR filters help counteract the orange glow in the sky from light pollution. LPR filters include Hoya Red Intensifier or Nisi Natural Night.

Diptych comparing trying to photograph the Andromeda galaxy under a heavily polluted sky with and without an LPR filter.

Other gear, like the following, is useful for some types of astrophotography:

Remote Shutter with Intervalometer – Some forms of star photography need shutter speeds longer than the 30-second time limit of most digital cameras. To open the shutter longer than 30 seconds, you’ll need a remote trigger. Buy one with an intervalometer. An intervalometer automatically controls your camera. You can set it up to take a series of photographs of a certain time duration at a pre-determined interval. We’ll need this feature to photograph star trails.
Low-level LCD light – Low-level LCD panels are used in astrophotography to light foreground elements. The light doesn’t need to be bright to be effective.
Wide-angle or telephoto lens – The optimal focal length of the lens depends on the type of photography you’re doing. For moon and DSO photography, you’ll want a long telephoto lens. A 400mm-800mm lens will get you started. Most photographers use a wide-angle lens for the Milky Way, star trails, and other forms of starry landscapes. These lenses are usually in the 8mm to 24mm range.
An equatorial tracking head – This is a specialised tripod mount that moves the camera to follow the star movements. The tool allows you to extend exposure time without having to worry about star trails.

Types of Star Photography

There is no one-size-fits-all procedure for night sky photography. Each kind of star photography has its own set of rules, optimal gear, and camera settings.

Star Trails

Star trails are the easiest type of starry night photography you can do. As the earth rotates, stars appear to move. Star trail photography captures this movement by using long exposure settings. The photographic technique is like photographing light trails created by moving vehicles. But there are a few extra steps to photographing star trails that we’ll go through in a minute.

The lone pine tree on the cliff makes a strong foreground for a classic star trail centered on Polaris. The Moon was shining on the left, lighting the cliff and the foreground.

To photograph star trails, you’ll need the following gear:

Tripod
Lens heater
LPR Filter
Intervalometer
Wide-Angle lens

Set your camera’s aperture to f/2.8 and ISO to 400.

For star trails, we recommend taking a series of long exposure photos over about an hour. The stars will move enough in an hour to create a nice circular movement. But you can’t leave your shutter open for this length of time. A 60-minute exposure will blow out your image.

This is where your intervalometer is useful. Set up the intervalometer to take a series of images, each 30 seconds long, with 1 second between images. The short interval between photos reduces gaps in the trail. You can take just over 100 images in an hour.

In post-processing, stack these images together. This will create a circular star trail pattern.

If you are in a very dark place, you can try a 10-minute exposure time.

See our article ‘Post-Processing Astrophotography: All You Need To Know‘ on how to do this.

Milky Way Photography

Starry landscapes and Milky Way shots are a bit more demanding than star trails. These types of photographs feature the night sky usually as a background to a landscape. We are part of the Milky Way galaxy and can see the pattern of stars for about half of the year. Most photographers want to capture the galactic core of the Milky Way.

To capture the Milky Way, you have to freeze the stars’ movement in the sky. Depending on the focal length of your lens, you will see stars begin to blur in your photo after only a few seconds. This means carefully balancing shutter speed with ISO.

A selfie with the Milky Way.

To photograph the Milky Way, you’ll need the following gear:

Tripod
Fast, wide-angle lens
Lens heater
LPR filter
LCD light

Set your camera’s aperture to f/2.8 or wider and ISO to 3200. Many of the newer digital cameras can handle a much higher ISO. Go as high as you feel comfortable with your camera.

Your shutter speed depends on the focal length of your lens. When photographing the Milky Way, we want to freeze the stars’ motion. Shutter speed needs to be long enough to capture stars on a dark night, but not so long that the stars begin to trail. This is a tricky balance.

We use the 500 Rule to figure out how long we can leave the shutter open before the stars smear.

In the 500 Rule, divide 500 by the focal length of the lens. For instance, if you’re using a 14mm lens, divide 500 by 14.

500 / 14 = 35.7 seconds

You should be able to leave the shutter open for 35 seconds before the stars start to blur.

But there’s a problem with the 500 Rule. The rule was developed for film cameras. Looking closely at the stars on a digital image shows that they are already starting to blur at 35 seconds. With digital cameras, a 300 rule is probably better.

300 / 14 = 21 seconds

Because the shutter speed is limited, a camera with high ISO performance is particularly important.

Deep Space Objects

Photographing deep space objects (DSO) is a lot more challenging. DSO are bright star clusters, nebulae, or galaxies other than the Milky Way.

Some photographers mount a camera to a telescope. But long telephoto lenses will capture bright star clusters like the Pleiades. Photographing bright nebulae like the Orion and Cygnus constellation is also possible. The most difficult subjects are galaxies, due to their small size and low light. A notable exception is the Andromeda Galaxy. With the right settings, the camera can see what we can’t see with the naked eye.

We’ll limit our discussion of photographing DSO in this article. But we have an extensive article on how to photograph DSO.

You can also go check out these composition tips for DSO astrophotography if you want to learn more.

The Great Orion Nebula, perhaps the most spectacular jewel of the winter sky in the Northern Hemisphere.[/caption]

To photograph deep space objects, you’ll need the following gear:

Tripod
Fast, telephoto lens
Smartphone
Equatorial tracking head

The camera settings for DSO photography are like photographing the Milky Way (f/2.8 or wider and ISO to 3200).

The 500 rule still applies. But using a telephoto lens will greatly reduce your shutter speed. Using a 200mm lens reduces the maximum shutter speed to 2.5 seconds.

This shutter speed isn’t long enough to capture distant starlight. An equatorial tracking head allows us to increase exposure. It moves the camera to follow the star movement. This allows you to capture longer exposure shots of the night sky without star trails.

If you’re using an equatorial tracking mount, you’ll have to set it up properly.

This article will help you: ‘SkyWatcher Star Adventurer Review | Astrophotography Equatorial Tracking Mount‘.

The Andromeda Galaxy is one of those bright and large DSOs that can be easily photographed with standard photographic equipment.

Scouting a Location for the Best Starry Skies

The night sky is all around us, but some locations work better than others for creating good star photography.

You’ll need to find a location with dark skies. City light pollution obscures the stars. Use a tool like Dark Site Finder to find areas away from city light pollution.

It’s also important to keep track of the phases of the moon. A full moon is bright and will obscure the stars. Most star photography is best at or near the new moon.

It’s also important to know where stars and galaxies will be in the sky. For instance, the Milky Way is visible in the northern hemisphere from about March until November. It will rise in the southern skies. Apps like PhotoPils, Stellarium, or Sky Guide tell you exactly where and when the galactic core of the Milky Way will appear above the horizon.

When scouting a location, look for an interesting foreground element in the landscape. Star photography looks great behind a building, a rock formation, mountain peaks, or lone trees. Foreground elements can be in silhouette or lit by a low-level LCD or moonlight.

PhotoPils and The Photographer’s Ephemeris (TPE) have a virtual reality setting. Point your phone’s camera at a scene and the apps will show you where the moon or the Milky Way will rise in relation to a foreground element.

If nothing looks interesting, photograph yourself in silhouette against the sky. A human figure will give a sense of scale to the image. It will also help the viewer connect with your photo.

A lucky shot thanks to this van parked right in front of the Milky Way.

Setting Up for the Shot

Once you’ve found a location, it’s time to go out in the field and set up your star photography shot.

First, check the weather and the phases of the moon. Choose a clear night near the new moon. Cloud cover and moonlight obscure the night sky.

Set up and level your tripod. Don’t fully extend all the leg sections. Start extending the segment with the largest diameter first. If possible, spread the legs a bit. This reduces the chance that you will tip it over if you bump it in the dark. You can further stabilize the tripod by hanging your camera bag or a weight from your tripod. For best results, the weight should touch the ground rather than free-float in mid-air.

Set up your intervalometer and tracking mount if you are using these tools.

If you have a zoom lens with no locking mechanism, tape down the zoom ring. The weight of the lens will not slowly change the focal length during the session.

How to Focus on the Stars

Achieving focus on stars can be a bit tricky. The stars are faint, and the infinity mark on many lenses is only a guide, not a true focus point.

To focus on stars, use live view and magnify the brightest star you can see. Increase the ISO if that helps. Turn your focus dial until the star size shrinks to its minimum chromatic aberration (purple fringe). You’re looking for the point at which the star becomes the smallest pinpoint of light. Blur creates a halo around the star. Removing blur (focusing) shrinks the star.

Lighting up a distant tree or rock will also help you focus. If the light is bright enough you might be able to use autofocus. Make sure the object is far enough away that you are focusing to infinity.

If you are doing DSO photography, a more precise focusing tool is a Bahtinov mask. This is a special mask placed in front of your telescope to create diffraction spikes around the brightest stars. The perfect focus is achieved when all the spikes cross on the bright star you are considering.

A Bahtinov mask[/caption]

For those of us shooting with photographic lenses, there is a simpler tool we can use to focus: a kitchen sieve. Put it in front of your lens and when you see strong, contrasted diffraction spikes, you are good to go.

Focusing with a kitchen sieve.[/caption]

Once you are happy with your focus, you can tape down the focusing ring with some gaffer tape. This will help you avoid moving it when you mount filters or reposition the camera.

To help beginners work fast in the field, we created an infographic on how to focus when taking pictures of stars. Either save the infographic on your phone as an image or print it. If you fold it, the printed version will have the size of a credit card.

Infographic on how to focus when taking pictures of stars[/caption]

Frame the Photo

Once your tripod is set and your focus is good, it is time to frame your target.

With star trails and starry landscapes, framing is like with any classic landscape composition.

Take a test shot using a very high ISO around 10,000. This sample shot allows you to check the composition. Make sure your horizon is level and the foreground element is in the right place in the frame. The test image will have too much noise. But it helps you frame the scene without waiting 30 seconds for a long exposure.

If you’re lighting the foreground element, you may not be able to see the illumination with the naked eye. Remember that you’re taking a long exposure. The light will intensify with exposure time.

In some situations, it may be better to expose for the foreground element separately. This may mean exposure time of a couple of minutes. You can combine the foreground image with the night sky image in post-processing.

Preparing for some Milky Ways shots.[/caption]

If you are after DSO photography, identify your celestial target. Then double-check that its path across the sky will stay unobstructed.

Take the Shot

Once you’ve checked your composition, lower the ISO and exposure time to the correct camera setting and take another test shot.

Use this image to check that your stars are in focus, sharp and round. Unless, of course, if you are shooting star trails. Make sure that highlights aren’t clipped.

The settings we’ve suggested are a general starting point. If you are not happy with the result, feel free to experiment with different camera settings.

To reduce noise in the image, some photographers take a series of 10 to 12 images of the same scene. In post-processing, they use programs like Starry Landscape Stacker to merge the images together. The program adjusts the stars to remove the movement, then compares the frames to reduce noise.

A man sitting on a rock under an impressive star-filled sky

Conclusion

Capturing star pictures is not the easiest skill to master. But when you do, you will get breathtaking images.

Camera settings vary depending on the type of star photography. Exposure time is determined by the focal length of your lens. High ISO values are often needed to balance out limited exposure time.

Specialized equipment like intervalometers and tracking heads help photographers extend the exposure time.

If you loved taking star photos and want to learn more, try our Milky Way Mastery course!!