Simply Stellar: Wrapping Up the 2024 Nightscaper Conference

Wow. Just wow.

The Nightscaper Photo Conference was a stellar gathering of like-minded night photographers like never before! Over 225 people converged on Kanab, Utah, for four days of inspiration, camaraderie and photography under the dark skies of the high desert. It was a safe place for new and experienced night photographers to gain more confidence, to borrow some pretty cool gear and to create some epic images.

Gratitude

Thank you to all who attended. We felt such a buzz from your excitement bouncing from track to track, planning your night adventures at the message board, and interacting with all the other speakers, sponsors and attendees.

Thank you to all 26 speakers for sharing your night visions. We had such a variety of topics that took us on a journey across the universe, from making photos in our backyard to epic locations all over the world, and successfully capturing and understanding the endless cosmos that surround us. Technical classes helped us level up our processing, social media, phone, video and color theory applications.

And a huge shout out to our 27 sponsors who made our vendor hall so bustling, loaned gear for attendees to try out and led free night walks! They also offered over 50 giveaways that attendees could win on our popular Wheel of Stars!

First-time vendors Canon, Nikon, Sigma and Sony brought their latest cameras and lenses, and loaned out gear for attendees to test their performance under the night sky conditions. ZWO brought telescopes, trackers and all the deep space astro tech to assist attendees in reaching for the stars. They also worked with Stellar Vista Observatory to throw the absolute best star party weโ€™ve ever attended!

For the second straight year Bay Photo Lab created the coolest conference badge ever. Printed on aluminum, attendees were posting their badges and announcing their arrival to Nightscaper on social media throughout the week. Beautiful Bay Photo 40x80 Xpozer prints helped provide streamlined signage that helped direct people around the Kanab Center.

BenQ and Calibrite offered a color calibration experience, and attendees could plug into 99 percent Adobe RGB BenQ SW monitors as well as calibrate their laptops as they prepared their images for print.

Canon and Red River collaborated in the popular free 18x24 print that every attendee took advantage of, including us at National Parks at Night! We think that Red Riverโ€™s Polar White Metallic paper perfectly displays our night images.

Shimoda was incredibly popular sizing up peopleโ€™s gear and outfitting them with one of their incredibly comfortable bags.

Speaking of sizing up: B&H Photo, Benro and Novoflex showcased a forest of tripods for people to try out and see which one fit their needs the best. B&H was probably the busiest booth, as they loaned out Luxli LED lights for Low-level Landscape Lighting out in the field at night. 

Clarence from Spencerโ€™s Camera inspired us to shoot sharper and cleaner in his class on how to get the most from astro-modified cameras. Nomatic displayed their latest bags, from compact slings to large backpacks that could easily fit all your astro needs. ProGrade showcased their full line of professional cards and readers from SD to CFExpress type A & B.

Recap

The four-day conference schedule (September 26 to 29) included two tracks and over 35 classes for nightscapers to choose from. Determining which class to sit in on was a challenge at times, but knowing that all the sessions were being recorded for streaming replays allowed us not to suffer too much from the fear of missing out.

Half of the attendees were new to the Nightscaper Conference. It was so amazing to see the night community come together and share so much information, images and stories in the hallways between sessions, over the many meals we shared and of course in between selfies with speakers!

New this year was our popular Shoot for the Stars Message Board that helped attendees organize multiple nights shoots to nearby Bryce Canyon, Zion and the Toadstools, and even to more unknown dark skies in the Grand Staircase-Escalante region.

The end of the first day featured the popular โ€œTales of the Night,โ€ where the audience had their images projected on the big screen while they took the mic and shared their story behind the shot. This made everyone feel right at home under the same night skies we have all experienced.

After the first nightโ€™s welcome dinner, a truly magical experience commenced. The Kanab Center turned off all their lights and we walked out back to the epic star party that ZWO and Stellar Vista had set up. Attendees could peer into the universe with over half a dozen ZWO Seestar S50 smart telescopes aimed at constellations and nebulae. With one, we could capture and transfer images of the Veil Nebula straight to our phones!

Other telescopes provided an incredible viewing experience as they brought planets, stars and constellations closer to us. Some attendees brought their own telescopes or rigs, and experts helped calibrate and get on track for seizing the stars.

Earlier this year we lost one of the brightest stars in the night photography world, Alyn Wallace. Alyn was scheduled to speak at the conference this year. We were all heartbroken about this unexpected loss to our universe. We dedicated a morning session to honoring Alyn and his work, and shared a moment of silence.

Alynโ€™s impact on the night photography community was undeniable. We know he is smiling down on us, especially when we find ourselves under those dark night skies.

The Nightscaper Morning Add-On Sessions were incredibly popular and allowed for small classroom educational experiences on topics such as processing and time-lapse techniques, pano stitching in PTGui, social media tune-ups, portfolio reviews and Photopills one-on-ones. 

What really stepped up the overall experience was the organized night shoots from Canon, Nikon, Sony and Spencerโ€™s to Bryce Canyon, Cliff Dwellers, Coral Pink Sand Dunes and South Kanab, respectively. Everyone had the opportunity to explore the night skies with speakers and their fellow attendees.

The Nightscaper Conference is much more than learning about astronomy and night photography. Itโ€™s also about getting to know each other, sharing our stories, and going out and safely exploring the night skies. We were reminded that we are not alone in the universeโ€”we are night-minded and have a common passion. The overall theme was that while some of us might be new to this and others might be more experienced, we know that together we are going to seize the night!

Until Next Time!

Whether or not you attended the Nightscaper Conference this year, we are all connected. There is a comfort knowing we are not the only ones who have a passion for staying up all hours of the night. We invite you to join the conversation either in the comments below or by tagging #nightscaperconference socially when you share your images and stories.

If you are interested in watching any of the sessions from Nightscaper 2024, you can still purchase a Replays Ticket here. The replays will be ready to watch within the next week or two, and theyโ€™ll be available for streaming for one year after the conference ended.

Lastly, save the dateโ€”our next Nightscaper Photo Conference family reunion will be May 14-17, 2026. 

Stay tuned to this blog for more!

Gabriel Biderman is a partner and workshop leader with National Parks at Night. He is a Brooklyn-based fine art and travel photographer, and author of Night Photography: From Snapshots to Great Shots (Peachpit, 2014). During the daytime hours you'll often find Gabe at one of many photo events around the world working for B&H Photoโ€™s road marketing team. See his portfolio and workshop lineup at www.ruinism.com.

UPCOMING WORKSHOPS FROM NATIONAL PARKS AT NIGHT

Another Year, Another Journey: Announcing Our 10th Season of Workshops

Wow.

Itโ€™s hard to believe that we have been leading photography workshops and tours under the stars for 10 years. It seems like only yesterday that we were sharing our first workshops with you in Acadia, Arches, Crater Lake, Death Valley and Zion.

A decade under dark skies, moonlit landscapes, urban nights, far off lands and celestial events.

Thank you.

Thank you for helping us reach this major milestone.

Ten years for an education business with a very humble beginning and big dreams that each year come true, thanks to you. In return, we pride ourselves on the experiences that we can offer to you in this ever-growing astro-tourism world.

New Workshops

In celebrating Season 10, we are offering 25 workshops. We are returning to some of our โ€œGreatest Hitsโ€โ€”the Eastern Sierra and Bodie ghost town, Sloss Furnaces, Sleepy Hollow, historic Charleston, and the urban decay of Rust & Ruinsim. Keep giving us feedback on your favorite places weโ€™ve gone together, and weโ€™ll make sure to return.

We are also finally checking off a few locations we havenโ€™t been to before but that have been highly requested: the otherworldly landscapes of the Bisti Badlands and classic western landscapes of Monument Valley. Keep sharing where you want to go with us and weโ€™ll do our best to take you there!

Charleston. ยฉ Tim Cooper.

Lofoten Islands. ยฉ Matt Hill.

Many of us have experienced the solar maximum auroras that have been stretching as far south as Texas. While it is difficult for us to plan a workshop in the continental U.S. with a promise of auroras, we are going back to two of our favorite northern light locations that have epic landscapes to mingle with the frequent dancing green lights: Lofoten Islands and the north coast of Iceland.

Are you hooked on eclipses like we are? We have two options for you to take in the eclipse of 2026: glamp in Hornstrandir Nature Reserve in the remote northwest corner of Iceland, or chase totality, lighthouses and coastline through northern Spain.

Want to add more snowy scenes to your portfolio? We are offering two domestic workshops dedicated to capturing those winter vibes, whether it be the snow-peaked mountains, waterfalls and valleys of Yosemite, or chasing the biggest meteor shower of the year through the epic landscapes of Monument Valley.

Looking to level up specific photographic skills? Season 10 has us offering four unique workshops dedicated to planning, panos, processing, and black and white in some pretty inspirational places, such as Big Bend, Badlands, Chicago and Savannah.

Big Bend. ยฉ Chris Nicholson.

Haleakala. ยฉ Lance Keimig.

Then there is the thing we love the best, having you stamp your passport to new national parks. This year we will be taking the windy roads to the peak and coastline of Haleakala, the classic landscapes of Grand Teton, the unheralded dark skies and fall foliage of Guadalupe Mountains, the snow-globed Yosemite and the park our alumni voted on revisiting, North Cascades.

We look forward to sharing, celebrating and seizing so many more nights with you soon!

A Few Notes

Before we get into the specifics of the workshops, weโ€™d like to share a few ideas.

How are Some Already Sold Out?

As a special thank you to those who attend our workshops, who sign up for our waitlist and who subscribe to our email list, every year we announce our itinerary to those three groups before โ€œgoing public.โ€

This year, as usual, our community has committed very strongly to many of the workshops. (Our gratitude is infinite.) Because of that, 13 of our new workshops and tours sold out during the past week. Additionally, three tours were announced last year and sold out some time ago.

Still, as of press time, 11 of our Season 10 workshops and tours have seats left, so itโ€™s easy to join us in amazing places such as Charleston, Iceland, Haleakala and more!

If you really want to go to one of those other places with us โ€ฆ

We Canโ€™t say it Enough: Use the Waitlist

Openings happen for almost every workshop, and those spots always get offered to the waitlist first. If you see something you really want to attend and there are no tickets now, we urge you to sign up for the waitlist today.

Iceland North Coast. ยฉ Chris Nicholson.

Seize the Night in Season 10

As we get ready to commence our ninth fall, weโ€™re looking forward to a winter break from travel, followed by an epic Season 10 full of adventures and stars.

Where will you be joining us? Wherever the destination, we look forward to seizing the night with you soon.

Gabriel Biderman is a partner and workshop leader with National Parks at Night. He is a Brooklyn-based fine art and travel photographer, and author of Night Photography: From Snapshots to Great Shots (Peachpit, 2014). During the daytime hours you'll often find Gabe at one of many photo events around the world working for B&H Photoโ€™s road marketing team. See his portfolio and workshop lineup at www.ruinism.com.

UPCOMING WORKSHOPS FROM NATIONAL PARKS AT NIGHT

Eleven Eclipses: Following Our Friends in the Path of Totality

Here we are. After waiting for it to come for years, the week of the Great North American Eclipse is now over.

Four of the five of us at National Parks at Night enjoyed the few minutes of darkness. I was with my daughter Maggie on an eclipse-chasing road trip to eastern Kentucky. Lance was with his wife Katherine in their backyard in Vermont. Matt and Gabe were leading our workshop in Arkansasโ€™ Hot Springs National Park.

In the days that followed, we looked around social media and saw so many wonderful and creative images made during that 4 minutes of magic, set in so many inspiring places along the path of totality. And we noticed that many of those photographs were made by former attendees of our workshops and conferences. Reallyโ€”the work weโ€™ve seen has blown us away.

So we decided that instead of celebrating our own eclipse images, we want to celebrate theirs.

Below youโ€™ve find eclipse photographs and eclipse stories from 11 of the amazing night photographers weโ€™ve had the pleasure of working alongside over the past decade. We hope you enjoy their art.

Of course, these arenโ€™t all the photographs created by our alums, nor by the uncountable number of night photographers around the globe. So many images are still showing up on social media, and we applaud them all.

If we missed you in the celebration below, please add your photo and your story to the comments section, or on our social media. Weโ€™d love to see what you did!


Charles Barker

cbarkerphoto.com โ€ข Instagram

Nikon Z 9 with a Nikon Z 100-400mm f/4.5-5.6 lens at 400mm. Composite of exposures from 1/800, f/8, ISO 800 (phases) to 1/60, f/22, ISO 800 (totality).

I went to Cuyahoga National Park in Ohio. I approached this without full awareness of just how special this experience would be. I planned for this event, spent lots of time listening to others describe it, Iโ€™d seen pictures and thought I knew what I was about to see. Yet, as the moment of totality arrived, I was still astonished, startled and in awe. Staring at the dark sphere where the sun should be, I realized Iโ€™d taken the sun for granted my entire life. The collective gasp and applause of other park-goers nearby reminded me that we were all sharing this amazing moment, and it was one none of us would ever forget.

Ed Finn

Instagram

Fujifilm X-T5 with a Fujifilm XF 8-16mm f/2.8 lens at 15 mm. Composite of 35 frames shot at 1/40, f/5.6, ISO 400.

I shot this in Lake Placid, New York. We drove there Friday through a snowstorm, and it snowed all day Saturday as well, with solid thick clouds. We scouted the area for the best shot on Sunday. The eclipse was high in the sky Monday, which made finding an interesting foreground a challenge. At the back of the hotel we were staying in I could frame the shot through some trees, with mountains behind. The area filled with people from the hotel and the neighborhood to see the eclipse, and we were pleased that the snow stopped and the clouds lightened by showtime for the eclipse tailgate parties.

Holly Looney

ourworldinphotos.com

Canon R3 with a Canon RF 100-500mm f/4.5-7.1 lens at 400 mm. Composite images shot at 1/500, f/8, ISO 1600.

I shot this in Ouachita National Forest in Hot Springs, Arkansas, as part of National Parks at Nightโ€™s Hot Springs and the Total Eclipse workshop. I did this composite because I was struck by the number of onlookers who left the area following the end of totality. That was definitely not the end of the eclipse and this is a visual of that fact.

James Embrescia

Sony a1 with a Sony 200-600mm f/5.6-6.3 lens.1/500, f/8, ISO 800, shot at intervals of 1 minute, 20 seconds intervals.

I just took the online black and white workshop with by Tim and Lance, so I wanted to try a black and white picture of the eclipse. I like photos that capture abstract patterns and the motion of natural things, so this was a natural for me. I picked an interval I thought would work based on something I read about speed of motion during an eclipse, and I was lucky.

Jurgen Lobert

Linktree

Sun images: Nikon Z 6II with a Nikon Z 180-600mm f/5.6-6.3 at 600 mm. 1/180, f/8, ISO 100. Foreground: Nikon Z 6II with a Sony 14mm f/1.8 lens at 1/2, f/11, ISO 200.

After planning for Texas because of less chance for clouds, I cancelled my trip on short notice to escape the tornado warnings and rain forecast, and I ended up near Pittsburg, New Hampshire, on a perfectly clear day with a bunch of friends. I decided to stress myself out and operate three cameras, one for closeups, one for landscape and another for a 360-degree view with a circular fisheye to capture that awesome moment with darkness above and sunset all around.

Klaus-Peter Statz

Instagram

Totality: Nikon D780 with Nikon 200-500mm f/5.6 lens at 400mm. 1/160, f/8, ISO 400. Foreground: Sony RX100V at 24mm (built-in lens). 1/30, f/1.8, ISO 500.

After shooting the 2017 eclipse (also during a National Parks at Night workshop, in Idaho) and missing most of the spectacle as I was busy operating two cameras, I vowed that this time I would shoot only the corona and would spend the remaining time watching the eclipse with my own eyes. When totality happened I had my Nikon shoot bracketed close-up exposures, triggered with a remote release. Watching the eclipse I was so impressed by what I saw that I spontaneously snapped a few frames with my trusted Sony point-and-shoot, one of which serves as the foreground for this composite. The sun/moon at totality is one of the frames shot with the Nikon at 400mm. The two together are the perfect representation of what I saw and experienced.

Lawrence Lee

Instagram

Pentax K-1 Mark II with a Pentax 150-450mm f/4.5-5.6 lens at 410mm. 1/2500, f/8, ISO 800.

This was my first total solar eclipse experience and it was truly amazing. Shot in Lake Placid, New York, at the Olympic Ski Jumping Complex. We had spent the weekend scouting locations and chose this spot for its easily identifiable ski jumping towers. I shot the eclipse with two cameras using the 150-450mm telephoto lens and a 15-30mm lens.

Patricia Blake

Instagram

Sun images: Canon 5D Mark IV with a 200mm lens. 1/800, f/6.3, ISO 1600 during totality, plus bracketed exposures with a NiSi Solar Filter Pro Nano UV/IR Cut ND during the other phases. Foreground: Canon 60D with a 14mm fisheye lens. 1/6, f/8, ISO 1600.

The 2024 eclipse happened to go right over my hometown in New Castle, Indiana. I just knew that I wanted to get a shot of the eclipse phases over a historic Indiana barn. This beautiful barn was built in 1860 and happens to be owned by an astrophysicist who was thrilled to have a night sky nerd like me ask if I could sit in his empty cornfield during the eclipse. I made some wonderful new friends and truly enjoyed photographing. Getting muddy in a cornfield was absolutely worth it!

Shari Hunt

sharihuntphotography.com โ€ข Instagram

Sony a7R III with a Sigma 150-600mm f/5-6.3 lens. 1/250, f/6.3, ISO 100.

I was initially going to chase clear skies, but decided the day before the eclipse to stay in Dallas. With heavy low clouds most of the morning (even just an hour before totality), I thought it would be a total bust. However, I met fellow National Parks at Night alum Beth Kochur at our nearby lake and set up, with fingers crossed. Everything turned out perfect just in time and the eclipse was insane. Now I understand the addiction (kinda like night photography).

Sudhir Mehta

Instagram

Sony a7R III with Sony 100-400mm f/4.5-5.6 lens at 400mm. Composite of totality pictures shot at shutter speeds ranging from 1/200 to 2 seconds, f/11, ISO 200.

I shot the eclipse while on the National Parks at Night workshop to Hot Springs National Park. This was shot in Charlton, near Hot Springs, Arkansas.

Terry Kahler

tkahler.com โ€ข Instagram

Sony a7 IV with a Sony 200-600mm f/5.6-6.3 lens. 1/160, f/6.3, ISO 800.

I shot in Austin, Texas. I wasnโ€™t too excited about this event as photographing the solar eclipse is not part of my bucket list. As a result, I was not prepared. My camera gear sat on the shelf as it has for months. At about 1:13 p.m. local time, even though we had very cloudy skies and I had only minutes to prepare, I decided that I should get myself in gear and prepare to photograph the event just in case conditions improved. So I got up from my desk and retrieved my camera gear only to note that the batteries were depleted. However, I found one battery with a 47 percent charge. I inserted the battery in the camera, mounted my lens and headed out to photograph this astronomical event. Right place, right time.

Your Turn

Did you shoot the eclipse too? Weโ€™d love to see your images! Share in the comments below, or on our Facebook page, or on Instagram (tag us @nationalparksatnight #nationalparksatnight #seizethenight). Be sure to tell a story tooโ€”the technical aspects, the challenge overcome, or a tale of the experience.

Chris Nicholson is a partner and director of content with National Parks at Night, and author of Photographing National Parks (Sidelight Books, 2015) and Photographing Lighthouses (Sidelight Books, 2024). Learn more about national parks as photography destinations, subscribe to Chris' free e-newsletter, and more at www.PhotographingNationalParks.com.

UPCOMING WORKSHOPS FROM NATIONAL PARKS AT NIGHT

From Beginning to End, How to Expose a Solar Eclipse

Itโ€™s almost here! The Great North American Eclipse happens only two days from now, on April 8, 2024.

Much of Americaโ€”especially the camera-owning folkโ€”has been waiting for this day since being dazzled in 2017 by the last total eclipse to span the continent. The hype is real, and the reason is good.

To help folks get ready, last week we published a brand new e-book, There Goes the Sun: A Guide to Photographing a Solar Eclipse. Below is an excerpt from that book.

The book covers pretty much everything youโ€™d want to know about photographing an eclipse, from gear to scouting, from shooting to editing, and more. The excerpt below is from the chapter on shooting. We hope it gives you an edge toward getting some great images on Monday.


THE SUNโ€™S MOVEMENT

The sun moves its own diameter every 2 minutes. Setting a shooting interval for every 2 minutes will make sure that you capture many phases of the eclipse without any overlap. Gabe stacked the accompanying eclipse photo with a frame shot every 3 minutes, which gave enough separation between each shot.

Note that without a tracker to keep the sun in the middle of the frame during all the phases of the eclipse, you will need to readjust your frame every 10 minutes with a 300mm lens or every 5 minutes with a 600mm lens.

Eclipse composite. ยฉ 2017 Gabriel Biderman. Nikon D750 with a Nikon 14-24mm f/2.8 lens. 13 images stacked in Photoshop.

CAMERA SETTINGS

Settings are very subjective. Just like any day or twilight shot, you can be creative with adjusting your exposure for a desired effect that emphasizes movement, clarity or depth.

Also note that the exposure can vary depending upon your filter strength, clouds in the sky and how high the sun is (eclipses that happen low to the horizon will need to cut through more atmospheric haze, which reduces luminosity).

Your exposure will change as the eclipse progresses, and further on in weโ€™ll detail what you can expect, in chronological order.

We suggest reading through it a few times to get comfortable with how the light, and therefore your settings, will change over the course of a few hours.

A good starting point for exposing for the sun, with a solar filter on the lens, with clear skies, is:

1/500, f/8, ISO 800

Why these settings? These are safe settings that will play to the strength of most cameras and lenses for excellent image quality. Letโ€™s explain why:

Aperture

An aperture of f/8 is the sweet spot for most lenses and will not cause extreme diffraction or flare. If you are using a telephoto lens, stopping down to f/11 would also work and be more in the sweet spot.

Shutter Speed

The general rule for handheld telephoto photography is to use a shutter speed thatโ€™s the reciprocal of your focal length. For example, for a 500mm lens the shutter speed would be at least as fast as 1/500. Theoretically this prevents the image from getting soft due to camera movement caused by heavy gear.

That said, we recommend that you use a tripod and turn off VR/IS/OIS for the eclipse. This will make any relatively fast shutter speed effective. Weโ€™ve shot totality at as low as 2 seconds as part of exposure brackets to get even more detail in the corona. However, during the partial phases the sun will be brighter and we can play to the safer shutter speeds between 1/125 and 1/1000 to the best sharpness. Even at fast shutter speeds, with long lenses, try to trigger your camera with your built-in or external intervalometerโ€”this will help prevent any camera shake.

ISO

This is probably the most subjective choice. How comfortable are you shooting with your camera at ISO 800, 1600, 3200 or 6400? If there are ISOs you want to stay away from, you can probably pull that off. This will be easy during the partial phases, as the bright sun will easily allow for ISOs of 100 to 800.

However, once the eclipse is 90 percent full, things start to get dark. During totality the brightness will be equivalent to the beginning of nautical twilight. There will be a need to let in more light, and ISO is usually the best setting to push up.

Note that the higher the ISO, the more noise will be prevalent in the image. However, we find that modern cameras (2020 and beyond) can easily handle ISOs up to 6400. Plus, these days there are plenty of ways to reduce noise with post-processing.

TELEPHOTO SHOT

Gabe Biderman set up for a telephoto shot of the 2023 annular eclipse.

A telephoto shot will be taking up most of your attention.

Focal length and tracking are the key components to photographing the eclipse with a telephoto lens.

Another important aspect is to practice, practice, practice prior to the eclipse. Most likely a telephoto rig will be less familiar than what you use on a daily/weekly basis. Get used to tracking the transit as well as pointing the camera and lens high in the sky.

Does your camera have a swivel-out screen? That will make aiming high at the sun a lot easier.

If you donโ€™t use a tracker, you will need to continually recompose, or the sun will move out of your frame in mere minutes. If do use a tracker, keep an eye on it and make sure it doesnโ€™t flip and fall over. Definitely practice this in the months/weeks leading up to the eclipse.

Base Exposure

In terms of exposure with a telephoto, you have your base of 1/500, f/8, ISO 800 for shooting the sun prior to and through the beginning of the partial eclipse. We strongly advise bracketing to nail an exposure. Time will be scarceโ€”you donโ€™t want to waste any fumbling with third-stop adjustments. And memory is cheap, so bracket and fire away, then find your best exposures in post.

To do this, set your bracketing to three frames with one-stop increments. You can continue to use this three-stop bracket through 90 percent of the partial eclipse as the exposure wonโ€™t change much, unless clouds come in.

Alternatively, if youโ€™re comfortable that you have the perfect exposure, you can just take that one shot every 2 to 3 minutes.

How do you know if your telephoto exposure is correct?

Figure 1.

A good exposure for a partial eclipse is one that doesnโ€™t have extreme blooming around the sun and that keeps the sun spots sharp. Check your histogram. Figure 1 was for an image shot with a Lee solar filter. Note that the histogram is pushed 90 percent to the right, but the highlights are not clipping. Shadows, of course, are being clipped due to the black sky surrounding the sun. The exposure settings were 1/250, f/8, ISO 800.

Losing Light

Once the eclipse gets to 90 percent total, youโ€™ll need to adjust your exposure. Anticipate that. You should really pay attention once the sun is half hidden. Begin to monitor your exposures even more frequently. Check the histogramโ€”is anything overexposed? Is there blooming around the sun? The black around the sun should be solid black, because we are basing the exposure solely on the sun. We want it bright, but not overexposed.

Once the sun starts to look like a crescent, you might have to open up one stop (either raise your ISO or lower your shutter speed). By the time the eclipse is at 90 percent and closing in on totality, you might need to adjust your exposure by opening up an additional one to two stops. Monitor your histogram and continue to bracket three frames at one-stop increments.

Diamonds in the Sky

Right before totality, the first diamond ring phenomenon appears: a sharp burst of light around the edge of the moon that signals the last gasp of sunlight before totality begins (Figure 2). The first diamond ring is difficult to photograph because it lasts for approximately 10 seconds and you need to juggle a few things. First you need to remove your solar filter (perhaps remove it a few seconds early, anticipating when it will happen), then you need to adjust your exposure to the light without the solar filter on (which will be an additional two to three stops you need to let in).

Donโ€™t sweat it. The diamond ring also happens at the end of totality, so youโ€™ll get another chance. And itโ€™s much easier to nail the second one.

Figure 2. Diamond ring phenomenon. ยฉ 2017 Gabriel Biderman. Fujufilm X-T2 with a 300mm lens. 1/15, f/22, ISO 800.

Totality

A good starting point for totality is:

1/60, f/8, ISO 1600

However this is just a launching off point. We advise bracketing seven frames with one-stop increments. If you are in burst mode, you can knock these off pretty quickly.

Bracketing generally is applied to your shutter speed, so set your ISO and aperture to something you are comfortable with and that also allows the bracket to not go deep into long shutter speeds (in the seconds).

That being said, we have seen plenty of creative shots during totality that use either HDR or composite blending to incorporate shutter speeds up to 20 seconds. These overexposed shots will really show off how far the corona extends. If you bracket, you can retain some of the brighter highlights and then blend it all together in post.

Post-Totality

If you had set a timer to the beginning of the eclipse, then youโ€™ll be one step ahead in preparing for the second diamond ring effect. Stop down your aperture to f/16 for the diamond ring, as that will amplify the sunburst coming off the moon. Youโ€™ll have about 10 to 15 seconds to bracket and nail the diamond ring before too much of the sun is revealed and starts to just blob out.

Thatโ€™s when it is time to put the solar filter back on and adjust your exposure to a crescent sun. Set your interval for every 2 minutes and adjust your exposure as the sun gets brighter and brighter. Soon youโ€™ll be around the previously recommended exposures of 1/500, f/8, ISO 800, and you can just continue to bracket three frames for every interval. Continue to do this for the rest of the partial phases.

Figure 3.

If you do this youโ€™ll set yourself up to accomplish:

  • capturing any single phase of the eclipse

  • capturing multiple phases of the eclipse that can be composited together creatively (Figure 3)

  • an HDR of your bracketed images to bring out more detail and dynamic range

  • a time-lapse of the eclipse (if you shot even more intervalsโ€”this is recommended more for people with trackers that will keep the sun steady in the middle of the frame)


Are You Ready for the Eclipse?

Eclipse photography is a ton of fun, but you need to be prepared. In addition to the details about planning exposures, our e-book also covers:

  • gear critical for eclipse photography

  • safety guidelines

  • finding where the sun will be

  • how to use the light of the eclipsed sun

  • processing eclipse photos, including blending and compositing

  • how to become an eclipse chaser

  • and more!

To get your copy of There Goes the Sun, click below:

Wrapping Up

When youโ€™re done shooting the eclipse, weโ€™d love to see your images! Share in the comments below, or on our Facebook page, or on Instagram (tag us @nationalparksatnight #nationalparksatnight #seizethenight). Be sure to tell a story tooโ€”the technical aspects, the challenge overcome, or a tale of the experience.

Chris Nicholson is a partner and director of content with National Parks at Night, and author of Photographing National Parks (Sidelight Books, 2015) and Photographing Lighthouses (Sidelight Books, 2024). Learn more about national parks as photography destinations, subscribe to Chris' free e-newsletter, and more at www.PhotographingNationalParks.com.

UPCOMING WORKSHOPS FROM NATIONAL PARKS AT NIGHT

Black Hole Sun: Get Ready to Shoot the 2024 Eclipse with Our New E-Book

It certainly seems like we are living in a golden age of eclipses.

When we started National Parks at Night in 2015, we were in the middle of a rare tetrad of blood red lunar eclipses. We experienced the 2017 total solar eclipse in a variety of ways, with Gabe and Matt leading hands-on experiences in Idaho and Oregon, respectively, and me sitting on a blanket with my daughter in South Carolina.

Then in 2023 we seized our first ring of fire eclipse with a group trip to Capitol Reef National Park, and with another group learning PhotoPills at the edge of the eclipse path in Joshua Tree National Park.

Then we prepared for the next big one: the Great North American Eclipse of 2024. Itโ€™s happening this coming Monday, April 8.

To help get you prepared, weโ€™re excited to announce our brand new e-book, There Goes the Sun: A Guide to Photographing a Solar Eclipse.

Whatโ€™s in the Book

The book comprises 66 pages and is chock full of everything youโ€™d want to know about shooting an eclipse. Including:

  • a history of eclipses

  • a list and explanations of the gear required

  • notes on eye and gear safety

  • results on testing different solar filters and their affect on color

  • detailed instructions on scouting, shooting and processing

  • a gear guide for all sorts of products to help in the cause

  • and more!

Sample Pages

Sample Tips

Here are three tidbits on eclipse photography that you can find in the book:

  1. โ€œIf you manually follow the eclipse with a long lens, itโ€™s a good plan to allow room for the sun to travel across your frame for some time and then readjust your framing when it nears the edge. This does, however, require attention to your camera throughout all the phases you will be photographing.โ€

  2. โ€œThe sun moves its own diameter every 2 minutes. Setting a shooting interval for every 2 minutes will make sure that you capture many phases of the eclipse without any overlap.โ€

  3. โ€œFor everything except totality images, you can probably edit one to taste and then synchronize that image with the rest. But for your frames close to or during totality, which you shot at different exposures, youโ€™ll need to edit them separately to get them to match.โ€

Get Your Copy Today

Whether youโ€™re new to photographing eclipses and need to know where to start, or whether youโ€™ve done this before and want to level up, we have you as covered as a black-hole sun!

Get your copy of There Goes the Sun for $9.99 today by clicking below:

Then, when youโ€™re done shooting the eclipse, weโ€™d love to see your images! Share in the comments below, or on our Facebook page, or on Instagram (tag us @nationalparksatnight #nationalparksatnight #seizethenight). Be sure to tell a story tooโ€”the technical aspects, the challenge overcome, or a tale of the experience.

Chris Nicholson is a partner and director of content with National Parks at Night, and author of Photographing National Parks (Sidelight Books, 2015) and Photographing Lighthouses (Sidelight Books, 2024). Learn more about national parks as photography destinations, subscribe to Chris' free e-newsletter, and more at www.PhotographingNationalParks.com.

UPCOMING WORKSHOPS FROM NATIONAL PARKS AT NIGHT