Night Photography Blog — National Parks at Night

Gabriel Biderman

Oh, the Places We’ll Go—15 Destinations for Epic Night Adventures in 2019

It’s hard to believe that we are entering our fourth year of leading night workshops to beautiful and spectacular places. But here we are, announcing our adventures for the next year.

We threw our dream darts all over the globe, from the mysterious giant stone Moai statues of Easter Island to the sand dunes of Morocco. In between, volcanoes, canyons, towers, ghost towns, lighthouses and great, smoky mountains will be our subjects under the stars.

We will also offer a trio of National Parks at Night firsts:

  • our first backcountry camping adventure
  • our first urban night workshop
  • our first dedicated post-processing course

Oh, and did we mention we are going to Cuba and will tour the country in the very cars we love to photograph there?

So come dream with us and dedicate some time to leveling up your night visions!

Note: Several workshops have already sold out, as we announce them to our alumni and email list first. However, if that workshop truly speaks to you, be sure to sign up for the waitlist! There is no fee to do that, and we’ve had many waitlisters become happy alumni!

A Trio of Trip Types

We offer three styles of learning experiences: our Passport Series and Adventure Series, and our brand new skills development workshops.

Passport Series

At Passport Series workshops, we take you to a national park and teach you how to interpret the night sky against a variety of landscapes and lighting elements. We often have these cherished locations to ourselves and offer classroom time as well as hands-on education.

Adventure Series

At Adventure Series workshops, we take you to other fascinating natural wonders that may be on or near national and/or protected lands in in the U.S. or beyond! These workshops may have a little less “classroom” time and a bit more field time as we are constantly exploring beautiful places during the day and night.

Skills Development

In 2019 we’re introducing the skills development workshops, designed to kick up your processing power in Lightroom and Photoshop! We will guide you to get your photographs organized and looking better than ever before. It’s time to take it to the next level. Five nights and six days of skills improvement, plus a little shooting at night and then applying what you learned to those RAW files during the day.

The Amazing Destinations

You can click on any of the links below to learn a lot more about all the workshop locations. For a quick read about what each experience will entail, read on …

Dates Location Series
January 20-25 Post-Processing Intensive in the Catskills Skills
Feb 19-March 1 Easter Island Adventure
March 20-29 Morocco Adventure
April 11-16 Valley of Fire & Nelson Ghost Town Adventure
April 21-26 Great Smoky Mountains National Park Passport
May 19-24 Outer Banks & Cape Hatteras National Seashore Adventure
June 9-14 Bryce Canyon National Park Passport
June 16-21 Grand Canyon National Park South Rim Passport
July 8-12 Devils Tower National Monument Adventure
August 5-10 Shi Shi Beach Backcountry Adventure
August 18-22 Lassen Volcanic National Park Passport
October 2-6 Cape Cod and the Province Lands Adventure
October 13-18 Big Bend National Park Passport
November 3-8 Golden Gate NRA & San Francisco Adventure
December 7-15 Cuba Adventure
 

Passport Series

Great Smoky Mountains National Park

Join us for the gently moon-kissed cliffs, mountains, coves, riversides, preserved cabins and churches of this historically pivotal national park. From the rolling valley of Cades Cove to the peak of Clingman’s Dome, we’ll explore the mercurial and mystifying skies of Great Smoky Mountains National Park.

Dates: April 21-26, 2019
More Information: Great Smoky Mountains National Park

Bryce Canyon National Park

In the surreal and vast expanses of the Utah landscape, we will spend a magical week exploring the otherworldly hoodoos of Bryce Canyon National Park. The crimson, orange and yellow rock spires make the perfect foreground for our night photography.

Dates: June 9-14, 2019
More Information: Bryce Canyon National Park

Grand Canyon National Park South Rim

It’s one of the greatest natural spectacles in the world. Join us in our first year of exploring the many layers of the Grand Canyon. Our focus during the 100-year anniversary of the park will be the popular South Rim. Known for its spectacular sunrises and sunsets, this workshop will emphasize many ways we can interpret the rim—from long exposures to panoramic and time-lapse techniques. We will also prove that the Grand Canyon is much more than a “rim shot.” We will seek the many traces of humankind that can be found along the canyon: Native American ruins, historical buildings and woman-made structures.

Dates: June 16-21, 2019
More Information: Grand Canyon National Park South Rim

Lassen Volcanic National Park

Lassen Volcanic National Park is home to steaming fumaroles, meadows freckled with wildflowers, clear mountain lakes and all four different types of volcanos. Jagged peaks tell the story of its eruptive past while hot water continues to shape the land. Lassen Volcanic National Park offers opportunities to explore and photograph a majestic landscape that is distinctly a part of the American West.

Dates: August 18-22, 2019
More Information: Lassen Volcanic National Park

Big Bend National Park

Big Bend National Park is pretty raw country. It’s also pretty. Especially in the right light, and double especially at night. All the rock formations, all the canyons, all the mountains and valleys and dirt roads and ruins—all sit under some of the quietest and darkest night skies of North America. The landscape is at once harsh and beautiful, at once hard and delicate, at once tough and mesmerizing. And we’ll be there to capture it all under the October stars of Texas.

Dates: October 13-18, 2019
More Information: Big Bend National Park

Adventure Series

Easter Island

Few places on earth are as mysterious or compelling as Easter Island. The giant stone figures known as Moai oversee this remote island 2,200 miles off of the coast of Chile. Most of Rapa Nui, as it’s known to the locals, is a national park. Not only is it hard to get to here, but it is notoriously difficult to access the park at night. In February of 2019, National Parks at Night will be taking 10 lucky people to do just that.

Dates: February 19-March 1, 2019
More Information: Easter Island

Morocco

Morocco is a land of large bustling cities, tranquil seaside towns and remote mountain villages. Our photo tour avoids the major cities in favor of smaller, quiet places away from most of the tourists and tourist traps. The port city of Essaouira, the kasbah at Ait BenHaddou and glamping in the Sahara desert will be the highlights of our adventure.

Dates: March 20-29, 2019
More Information: Morocco

Valley of Fire & Nelson Ghost Town

Join us for the broad, red mountains, valleys and arches within Valley of Fire State Park and the abandoned wonderland of the Nelson ghost town. We’ll explore having fun with light and stars in these desert jewels of the American southwest.

Dates: April 11-16, 2019
More Information: Valley of Fire & Nelson Ghost Town

Outer Banks & Cape Hatteras National Seashore

The Outer Banks—what a name, and what a place! Home to tasty crab cakes, the honored ground of first flight, pristine national seashore and perhaps the most iconic lighthouse in the United States. And at night, when you look up, oh my! You take in the stars and the Milky Way in that incredible Atlantic darkness while the ocean breezes tousle your hair and bring salt to your lips. And beneath it all, a camera and a tripod, capturing the majesty of what this special place offers.

Dates: May 19-24, 2019
More Information: Outer Banks & Cape Hatteras National Seashore

Devils Tower National Monument

Join us to explore the strange stone mountain of America’s first national monument. Revered by Native Americans in folklore, shrouded in mystery, we’ll explore the mercurial skies of Devils Tower.

Dates: July 8-12, 2019
More Information: Devils Tower National Monument

Shi Shi Beach Backcountry

Shi Shi Beach is a remote photographer’s paradise, reachable by six miles of round-trip hiking, plus a little more to reach nearby Point of the Arches. We will hike first to Second Beach for a warm-up night of camping and photography, then to Shi Shi for a two-night, three-day, adventure among the stars and the starfish, the sand and the sea stacks. We will photograph ebbing and flowing ocean waters, tidal pools, Pacific sunsets, and of course the Milky Way and the beautiful Olympic night skies.

Dates: August 5-10, 2019
More Information: Shi Shi Beach Backcountry

Cape Cod and the Province Lands

Cape Cod’s Province Lands comprise a captivating collection of simple scenic wonders. Ponds. Beaches. Sandy dunes. Pine forests. Lighthouses. Old dune shacks. Cranberry bogs. Atlantic waves cascading onto the coast. These old shores hold countless treasures for the night photographer. We’ll explore them all, and more of what Cape Cod offers, during one of the peak of the region’s finest season: a New England autumn.

Dates: October 2-6, 2019
More Information: Cape Cod and the Province Lands

Golden Gate National Recreation Area & San Francisco

Like a beacon at the end of the world, San Francisco’s diverse land and skyscape will guide our exploration into our first urban workshop. We will focus our lenses on the winding streets and bright city lights, but also explore the coastline, bunkers, bridges and ruins that intersect the beautiful Bay Area. We will challenge you to re-interpret the city with a multitude of long exposure and processing techniques that will leave you with a unique and fresh view of The City by the Bay.

Dates: November 3-8, 2019
More Information: Golden Gate National Recreation Area & San Francisco

Cuba

On this photography and cultural tour you’ll experience the best of Cuban culture on an island with photo opportunities everywhere you look. In Havana we’ll explore life in the streets both day and night, plus the vibrant art and music scenes, architecture, people and cuisine. We’ll road-trip to Las Terrazas and Viñales Valley (a UNESCO World Heritage Site) to photograph Cuba’s magical landscapes. This boutique tour will give you access to Cuban experiences you’d never be able to create on your own. All you’ll need is an adventurous spirit and flexible mindset (it’s Cuba!).

Dates: December 7-15, 2019
More Information: Cuba

Skills Development

Post-Processing Intensive in the Catskills

You’ve spent a lot of time building your camera skills and honing your photographic vision. Now it’s time to take it to the next level. Post-processing has become an integral part of nearly every discipline of photography. Just as the black and white photographers of the 20th century were able to creatively interpret their work in the darkroom, we can now use modern technology to enhance our photos, and even to create images that were impossible only a few short years ago.

Dates:  January 20-25, 2019
More Information: Post-Processing Intensive in the Catskills

But Wait, There’s More!

Don’t see the perfect fit for your schedule or location? In the coming months we will announce our 2019 Ambassador Series destinations with our partners at Atlas Obscura, Rocky Mountain School of Photography, and a brand new partner whose name we’re not yet mentioning. (Hint: It’s big.)

Also, remember to always monitor our Speaking Engagements page. We give lectures and photo walks in the New York City area and all over the country. And if you want us to come directly to your camera club or meet-up group, feel free to contact us. (Click here to see what we can offer.)

We also offer one-on-one tutoring in-person or via videoconference that can help you build your portfolio, organize your images or give you targeted, individualized education to elevate your photography skills.

Finally, we’d like to express a deep thanks to all our alumni—the 300 fine photographers who have accompanied us over the past 2.5 years to wonderful night photography locations such as Acadia, Biscayne, Capitol Reef, Dry Tortugas, Death Valley, Redwood, Zion, Great Sand Dunes, Cape Cod, Centennial Valley and more. We appreciate you so very much.

Do you want to see their work? Check out this playlist of all the workshop slideshows. Want to see some of their accomplishments? Check out our Alumni Spotlight.

Seize the Night

2019 will have 365 nights. Which will you be spending with us? Sign up today to #seizethenight!

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 Photo’s road marketing team. See his portfolio and workshop lineup at www.ruinism.com.

UPCOMING WORKSHOPS FROM NATIONAL PARKS AT NIGHT

Tips for Packing for a Night Photography Trip

A common question we get at National Parks at Night is, “What should I bring on one of your photo adventures?” It’s a question that applies to any trip where the purpose is night photography.

Trips like this require specific gear that you might not normally take on a regular photo excursion or vacation. The ultimate goal is not to overpack and burden yourself with extraneous stuff. My goal is to pack in a way where I end up using everything I brought, and I take notes on things that could have enhanced the experience.

The Packing List

These travel notes have turned into a Workshop Packing List that I can review each time I’m getting ready for the next adventure. This is invaluable, because it keeps me on track and not packing for hours and days sifting through all my gear! Feel free to download my list below and customize it to fit your needs.

This list covers about 90 percent of what I need to bring, but I also suggest doing research on the locations and thinking of anything specific you’ll need that will help enhance or interpret that location better. Definitely check the weather predictions—for both days and nights—so you can be prepared and comfortable for what’s heading your way.

Know Your Gear/Vision

I always advise bringing gear you are familiar with on workshops. When you order or rent new gear, try to have it arrive at least a few days before you leave and set aside time to get to know it. The last thing you want is to be fumbling around in the dark with unfamiliar equipment.

If you’re looking to build a kit, our recommended gear page is a good starting point. But everyone sees the world differently, so gear is a very personal choice. Study the way you see, and really understand the tools that are helping create your masterpieces.

LR 20mm.jpg

You can easily do that in Lightroom. Look at your favorite 4- to 5-star photos in the Library module and then scroll down the right hand side to the Metadata section. What lens did you use? If it was a zoom lens, what focal length? If a lot of your images were shot with a 14-24mm lens set at 20mm (as in the above screen shot), then perhaps you should consider investing in a 20mm prime lens. Often the prime lens will have a faster aperture than the zoom, which can help us collect more light for the dark skies we are visiting. Plus, that’s how you are seeing the world, so embrace it! (For more about this, see my 2016 blog post “Finding Your Focal Length: Use Metadata to Divulge Your Tendencies.”)

Insurance

I highly recommend investing in photography or travel insurance that will cover your expensive gear at home and on the road. Home owner/renter’s insurance often doesn’t cover your photo gear, especially if you are making money with it. Travel insurance isn’t that expensive, but I travel so much that photography insurance covers my gear 365 days of the year.

One thing that any insurance company will ask you to do is list all your gear with serial numbers. This is a good practice anyway, and I have this document accessible to me on the road just in case.

Which Bag is Best?

When I first started working at B&H Photo in 2001, I worked in the bag and tripod department. Obviously it was my job to find the best match for the customers’ needs, but what happened was that I became convinced that so many of their solutions could also be mine. Much to the chagrin of my wife, one of our rooms quickly filled up with 20 bags in the first three months! I didn’t know which one was best for me, so I had to try them all!

I can’t recommend that strategy for others. But I can pass along the valuable lesson I learned: It is, in fact, good to have a variety of bags that can offer multiple carrying experiences.

Understand what your body is capable of carrying and which styles of bag you prefer. Bringing a roller bag of gear is great on your back but not conducive to moving around on the trails at parks or on the cobblestone streets of Europe. For me, a compromise is best: I do bring a lot of photo gear on most trips, and for me a roller and a backpack is the best way to carry it all.

Roller

For a roller, my hardy, well-traveled companion is The Large case by Away Travel. It’s guaranteed for life, and large enough to carry pretty much anything I need to pack, from tripods to clothing. I generally use this case for any trip of five days or more. For shorter trips, I use a smaller roller by Travelpro.

Backpack

For a non-roller option, the Peak Design Everyday Backpack suits my needs perfectly. The 30L model fits up to a 15-inch laptop, plus a tablet and most of my cameras and lenses. It is super comfortable and the innovative divider system keeps me organized.

However, I always like to also bring a smaller bag on my trips. When I get on-site and go out for a shoot, I don’t need or want to carry all my gear all the time. When Peak Design released their Everyday Sling bag, I found my perfect daily companion.

The Sling is my go-to work bag, which fits lunch, an iPad and a little camera. When I went to the Galapagos Islands, I was able to fit any non-vertical-grip DSLR camera with a 150-600mm style lens! You can fit a whole mirrorless system in the bag as well. Don’t believe me? Check out the video I did with that bag in Galapagos:

Does It Fit?

Bags are definitely a personal choice, and, like with a good pair of shoes, we often don’t know how a bag “fits” us until we try it on. Some things to look for are:

  • Does it safely protect your gear?
  • Is it comfortable to carry or wear?
  • Does it fit your style?

B&H has a 30-day return policy that really can help you take the time to figure it out which of their 500-plus bags fits you best.

Just as important as bags are cable organizers and pouches. Tenba’s Cable Duo 4 helps me keep the variety of cables, cords, remotes, and other little bits and bobs organized inside my bag. Another option is the Duo 8 if you travel with lots of cables and cords!

Tenba Cable Duo 4 (above) and Duo 8

I always have two to six flashlights in the field at night. Instead of putting them all in my pockets, I use the Peak Design Field Pouch matched with their Leash Camera Strap, which gives me easy access to not only my assortment of lights, but also filters, Allen wrenches and Arca-Swiss plates.

Check-in vs. Carry-on

Traveling as a photographer isn’t easy. If you don’t have TSA Pre or Clear status, most U.S. airports want you to take all of your large electronics out of your bag—sometimes even all your cameras! That could mean needing to arrive to the airport even earlier. Be familiar with the restrictions, which definitely vary from country to country.

Also, pay attention to what sizes and weights your airline allows. Camera gear adds significant weight to our bags, and going over the limits could incur some serious fees. Plus, smaller planes can’t fit rollers. I’ve found that my Everyday Backpack fits on even the smaller airplanes, albeit sometimes only under the seat.

All I need for a night photography trip in two bags: My Peak Design backpack (top) containing my cameras and lenses comes on the plane as a carry-on, and my roller with everything else gets checked into the plane’'s belly.

I try to carry on all my important and expensive gear, and I check in my cloths, tripods, liquids, cables, etc. in my roller.

The main thing to remember is that we always need to carry on lithium batteries, no matter how small or big. These cannot be checked in. And they need to be either in a device, or stowed in a way so that the ends can’t come into contact with each other (wrapping them with a rubber band will suffice, though more techie options are available).

Final Thoughts and 3 Things We Can’t Live Without

That covers a lot about one half of packing, but the other half—the gear itself—is a whole other monster. I could explain my strategy here in even more words, but instead I decided I’d show you. So we created the following video, which breaks down all the gear I typically bring on a night photography workshop or trip. It goes into more detail about the gear and why each piece is important to me

Hopefully this will help you game-plan even better for your next adventure! Remember to take notes in the field and on your trip so that you can keep track of the gear that you brought and didn’t use, or that you left home and missed having. Creating your own checklist will make your gear, vision and packing experience a whole lot better!

Finally, not everything we travel with is a camera or lens. We all have ancillary items that might not help us take a picture, but they do help make our trip better. Here are three such items from each of the five of us:

For more information about the gear in Gabe’s bag and packing list:

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 Photo’s road marketing team. See his portfolio and workshop lineup at www.ruinism.com.

UPCOMING WORKSHOPS FROM NATIONAL PARKS AT NIGHT

How I Got the Shot: Lake McDonald in Glacier National Park

Star Circles Over Lake McDonald. © 2015 Gabriel Biderman.

I’m fortunate to visit the Treasure State, Montana, at least once per year. But unfortunately it took me too many years to finally visit the Crown Jewel of Montana, Glacier National Park. There might not be as many glaciers as when the Great Northern Railway cut its path west over 100 years ago, but the three ranges of the Rocky Mountains still carve out some incredibly impressive views.

In 2015, before I saddled up on my motorcycle to ride out to Going to the Sun Road, I synced up with my good friend and fellow NPAN instructor Tim Cooper, who has been leading workshops in Glacier for more than 10 years. In fact, we are very excited to have him lead our first night ventures in Glacier in August and September.

I had only a couple of days to spend in the park, and Tim shared some of his favorite locations, which made the scouting so much easier.  Tim suggested we spend the night at Lake McDonald (below), as it has one of the iconic views in the park.

Scouting photo of Lake McDonald in Glacier National Park.

Scouting photo of Lake McDonald in Glacier National Park.

The Location

Lake McDonald is definitely a popular spot, and it sits about 11 miles into the park on Going to the Sun Road. There are many cabins and campsites that let you take in all of this majestic beauty.

As I walked along the southern shore where most of the boat and kayak rentals are based, it became more and more obvious what kind of picture I needed to make. An epic location requires some epically long star trails! When we aim our camera to the northern skies we can create those jaw droppingly long circular star trails. In order to do this effectively, you need to dedicate at least 1.5 to 2 hours to shooting. So charge up your batteries and I’ll share with you how I got the shot!

Lake McDonald, my shoot location, is nestled along Going to the Sun Road on the west side of the park.

Lake McDonald, my shoot location, is nestled along Going to the Sun Road on the west side of the park.

The Conditions

The night I took this shot was June 6, 2015. The sun set at 8:35 p.m., but because we were at a higher latitude at the beginning of summer, the twilights lasted almost three hours. I guess I was lucky to actually get a night sky at all! The moon was a waning gibbous of 76 percent, but wouldn’t rise over the horizon until 11:44 p.m., meaning it wouldn’t rise above the mountains until at least an hour later.

Soon after the sky grew dark, I walked out onto the long dock to start shooting. As we entered astronomical twilight, which was to last over an hour, I was amazed to see the clarity of the northern tail of the Milky Way. I was joined by an astro-enthusiast who had his iPad out and was using a star map guide to identify all the celestial bodies that were shining brightly and surrounding us from all sides. It was so dark that the stars were easily reflecting in the calm waters of Lake MacDonald.

The Gear

The equipment I had with me presented a challenge for star-point photography. My lens was a superwide 10-24mm f/4 on the Fujifilm X-T1. The wide was good, as it let me get to a shutter speed of 30 seconds without stars starting to trail. However, we typically like “faster” lenses of f/2.8 or wider to let in more light and keep our ISOs somewhat manageable.

I had to work with what I had and shoot at ISO 6400 for 30 seconds at f/4. That resulted in definitely a noisy image, but I embraced the grain by converting this “bonus” shot (below) into black and white, and I’m very happy with it.

My first photo of the night, of the Milky Way floating over Lake McDonald and the distant mountain ranges. Fujifilm X-T1, 10-24mm f/4 lens. 30 seconds, f/4, ISO 6400.

The Shoot

I like nights that give you both complete darkness and moonlight to work with. This enables you to come away with a variety of night images as you explore the many different lights of night.

One thing I love about moonlight is how much color it brings into the night. Dark black skies can be difficult to work with, but a lick of moonlight brings a little blue to the sky.

I felt it was wise to move off the dock and onto more stable ground, to shoot from the terra firma along the beach. The moon was rising, and after taking a few test shots to finesse the composition, it was important for me to confirm that the North Star was still in the shot. It can be difficult to make out the exact placement of the North Star in an image, so before committing to a long exposure, I take a 2-minute shot so I can see how the stars are rotating (Figure 1). That confirms the placement of Polaris in the frame.

Figure 1. Test shot to confirm that Polaris is in the desired spot in the composition.

Figure 1. Test shot to confirm that Polaris is in the desired spot in the composition.

After I confirmed focus and composition, I settled on an exposure of 2 minutes, f/4, ISO 3200. I chose this setting because I was looking for the optimal image quality for star stacking and had noticed that the Fujifilm cameras quickly get color noise after 2 minutes of exposure at temperatures of 60 degrees or more. Also, Fujifilm caps their longest exposure in Bulb mode at 60 minutes, and I definitely wanted to blow past that!

I couldn’t have done such a long cumulative exposure without the help of the Tether Tools Case Relay. Typically mirrorless cameras can last about 1 to 1.5 hours of straight shooting on a fully charged battery. Tether Tools lets you plug one of their dummy batteries into your camera’s battery compartment and then link it to the Case Relay and a 10,000mAh USB battery to give you a much longer charge. (Check out the video we made that shows this in action.)

With the Case Relay hooked up, I set my Vello intervelometer to 2 minutes with a 1-second break between shots. I then lay back on the sand and enjoyed the show! I think I might have taken a little catnap during this shot, as the camera kept clicking for 1 hour and 24 minutes!

The Post-Production

I was very excited to see this shot. At that time it was my longest star trail to date. (My current mark is 6 hours ☺.)

The star stack was fairly easy to put together using Lightroom and Photoshop. In the Lightroom Library module I flagged all the “images to get stacked” (Figure 2) with a red color label (number 6 on your keyboard).

Figure 2.

This makes it easy to differentiate between my test shots and the images that have only a 1-second break in between. Once I had them marked, I selected them all and then clicked Photo > Edit In > Open as Layers in Photoshop (Figure 3).

Figure 3.

Depending on how many images you have and how powerful your computer is, this can take just a few minutes or enough time to brew and drink some coffee. Once the images loaded in Photoshop as layers, I selected them all. Then from the Blend Mode drop-down menu I chose Lighten (Figure 4).

Figure 4.

This blend mode lets the brightest part of each layer reveal itself in the final image. This connected all the bright star trails, as well as the car trails in the background (Figure 5).

Figure 5.

I saved the file, and Photoshop sent it back to Lightroom, where I did some basic touch-up to finalize the image (Figure 6).

Figure 6. Final image. 41 stacked frames, each shot at 2 minutes, f/4, ISO 3200.

Typically when you expose a night sky for this long, you are bound to get airplane or satellite light trails as well, but Glacier must be a very special place to have such a limited amount of “sky traffic.” I didn’t see any in my photo.

Final Thoughts

This is one of my favorite shots, still to this day. It heightens the majesty of Glacier National Park. I love how the moonlight reveals the Livingston and Lewis mountains ranges in the distance but also creates a mirror reflection. When I saw the cars come down Going to the Sun Road during my exposure I thought I’d have to remove them in post, but they slice through the shadow and its reflection perfectly. Oh, and who doesn’t like reflections of star trails? Yes, please!

This shot reconfirms the pristine beauty of our national parks at night. And aside from the gentleman with the iPad, I had Lake McDonald to myself that night!

Note: When we announced our 2018 night workshop at Glacier National Park, it was one of the first to sell out. We recently added a second week and we still have a few spots left. If you want to create images like this, come join us at the Crown Jewel of the Continent!

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 Photo’s road marketing team. See his portfolio and workshop lineup at www.ruinism.com.

UPCOMING WORKSHOPS FROM NATIONAL PARKS AT NIGHT

Shooting for the Moon: How to Photograph Earth's Little Cousin

Humankind has been fascinated with the moon since the birth of photography. One of the first things that was attempted during the daguerreotype days was to try to record the moon in all its detail. John Williams Draper was the first to successfully mount a camera box onto a handmade telescope and track a full moon for 20 minutes using a heliosat.

Oldest surviving image of the moon. John Williams Draper, 1840.

That print from 1840 has unfortunately sustained extensive damage and now looks like a bubbly surreal etching. But this effort kick-started astrophotography, and we have many remaining images of our satellite from that early era. The first detailed images are credited to John Adams Whipple, who starting in 1849made daguerreotypes of the moon using the telescope at the Harvard College Observatory in Cambridge, Massachusetts. Other early successes include an image by Henry Draper (John’s son), shot from Hastings-on-Hudson, New York, in 1863.

"View of the Moon,” by John Adams Whipple, 1852.

“Photo of the Moon,” by Henry Draper, 1863.

Modern Moon Photography

Photographically speaking, the moon is closer than ever before, so how can we improve our moon shots before we start colonizing?

The three things to consider when shooting the moon are:

  1. the phase (as it relates to brightness)
  2. cycle (angle)
  3. elevation (how high is the moon in the sky?)

Also remember that moonlight is actually sunlight reflecting off a gray surface—so it’s pretty bright. Most of the time the tricky part is that the moon is brighter than the rest of the scene. For this blog post, we will focus on shooting the moon while it is full and most luminous.

Exposure

The Looney 11 Rule continues to be a great starting point for figuring out the correct exposure for a craterlicious moon. The rule is:

For astronomical pictures of the moon’s surface, set your aperture to f/11 and match the shutter speed to your ISO.

For example: 1/125, f/11, ISO 100.

However, please remember—and I can’t stress this enough—that the formula above does not always give you an exact correct exposure, but rather a starting point. Use the formula to get an exposure that will likely be close, and then adjust to precision using your histogram as a guide.

Gear

One challenge to consider is that ideally you need a long lens to focus in and get close to the moon. How many of you have taken pictures of a little while circle in the sky? Minimally, I’d use a lens that can get to 300mm, but the closer the better!

We were very fortunate at our “Blue Supermoon” workshop in Biscayne National Park in January, as Nikon sent us their majestic telescope of a lens, the 800mm f/5.6. This is currently Nikon’s longest lens. The 800mm generally attracts the high-end market of wildlife and sports photographers, but for shooting the moon, nothing else of this quality gets you closer. The lens comes with a matched 1.25X teleconverter that, when mounted, makes this a 1000mm lens!

We still didn’t think that was close enough, so we attached the lens to Nikon’s top APS-C camera, the D500. The crop sensor on the D500 turned our 1000mm lens into a 1500mm! Talk about extreme close-up!

The moon photographed at a focal length of 100mm.

… 300mm.

… 1200mm.

… 1500mm.

The challenge we encountered with the 1500mm-equivalent lens is that it was very big and heavy. We mounted it to a Wimberley Gimbal head on a Gitzo mountaineer tripod. This allowed us more precise control so that we could easily track the moon, as the magnification caused it to be out of the frame in just about a minute. Even mounted on this rig the lens would easily shake in the breeze, so later in the evening we added a second tripod (a Gitzo 3543) under the lens hood for two-point contact and stability.

Henry Draper’s setup in 1863 versus ours in 2018.

Freezing the Action

Which brings me to the next factor when photographing the moon: If you are shooting handheld or with a large lens (400mm or longer), then your shutter speed should match your focal length. We found the shutter speed of 1/1000 to be acceptable for our setup, which (per the Looney 11 Rule) meant we had to boost our ISO to 1000.

Craterlicious moon, Biscayne National Park. Nikon D500 with a Nikkor 800mm f/5.6. 1/1000, f/11, ISO 1000.

Find a Foreground

If you want to level up your moon game, the next challenge is finding a foreground for the moon to intersect or play against. This will give more context and tell a better story about your lunar experience.

In order to do this you’ll need to do some planning. The best tool to help with this is the PhotoPills app. You can go into the Planner mode, drop your pin anywhere in the world and see where and when the sun and moon will rise and set in that exact location on any day of the year.

When I was scouting to shoot a supermoon in late 2016 (below), using PhotoPills I could see the time and path of where the moon would rise. I was interested in having it intersect with an icon of New York City. So I dropped my pin at various positions until I found the best pier at South Street Seaport to see the moon rise through the Brooklyn, Manhattan and Williamsburg bridges.

I needed a 3-minute window for the supermoon to shine through the clouds and bridges, a juxtaposition of time and place that required some serious planning with the PhotoPills app. Nikon D750 with a Tamron 150-600mm f/5-6.3 lens set to 370mm. 1/2, f/11, ISO 400.

In the PhotoPills Planner mode we can see the color code of the table—light blue means moonrise, which was going to happen at 5:14 p.m. that evening (November 11). I set the pin to where I would stand and the light blue line showed the path (azimuth) of the moon from that point. (See Figure 1, below.)

Figure 1.

Figure 2.

You can use the touchscreen on your phone or tablet to move the bottom time bar back and forth to see how the path of the moon (or sun) will change throughout the day. (Figure 2.)

Shoot During Twilight

Shooting the full moon is usually most effective the day before it’s 100 percent full. That’s when the moon will be rising just before sunset, allowing you to shoot it approximately 30 minutes prior to sunset and into civil twilight. This gives you more time to photograph the moon in better and more balanced light. (For more about working at this time of day, see Tim’s excellent blog post “Out of the Blue: The Importance of Twilight to the Night Photographer.”)

The next full moon we will encounter will be next Saturday, March 31 (which, incidentally, will be our second blue moon of the year). According to PhotoPills, at my home in New York City that day the moon will rise at 7:38 p.m. and the sun will set at 7:20 p.m. Civil twilight will be from 7:20 p.m. to 7:48 p.m. This would give us only 10 minutes to shoot the moon during ideal light, all during civil twilight.

However, the day before (Friday, March 30), the moon will rise at 6:31 p.m., the sun will set at 7:19 p.m. and civil twilight will end at 7:46 p.m. This will give us over an hour of shooting the moon—during golden hour, sunset and then blue hour. The moon will also be higher in the sky, providing more opportunities to play it against any interesting foregrounds.

This image was taken during  golden hour, providing the opportunity for a rich and balanced exposure. Sony RX100 set at 92mm. 1/60, f/10, ISO 125.

I was able to just eke out this shot of the full moon and get some detail in the buildings during nautical twilight. Fuji X-Pro1 with a Fuji 55-200mm f/3.5-4.8 lens set at 200mm. 1/250, f/8, ISO 400.

Wrapping Up

We hope these tips have inspired you to incorporate the craterlicious moon more into your night work! We’d love to see what you do. As you photograph the full moon March 30 and other months, please post your images in the comments section.

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 Photo’s road marketing team. See his portfolio and workshop lineup at www.ruinism.com.

UPCOMING WORKSHOPS FROM NATIONAL PARKS AT NIGHT

Meteors and Eclipses and Comets, Oh My!—The Celestial Events of 2018

A happy new year to all of our readers! 2017 was pretty amazing for all of us at National Parks at Night. We led workshops at nine different locations in the United States and Iceland. We witnessed auroras, the total solar eclipse, meteor showers, and billions and billions of stars.

2018 is looking just as exciting. We are kicking the new year off with a blue supermoon in Biscayne National Park, celebrating both the Biscayne and Redwood National Park 50th anniversary with a group show that will feature our students’ work at both parks in October, and will be offering 12 workshops including stops in Scotland, South Iceland and all along the Blue Ridge Parkway, to name a few. (Three workshops are sold out, but if you are interested in those, sign up for the wait list, as anything can happen!)

We hope that you join us for an adventure sometime soon. Whether you’re coming with us or heading out on your own, there are as many reasons to photograph at night as there are stars in the sky. Shooting any night can be, and often is, spectacular, but there are also some special dates to get outdoors with your camera, as there are scores of notable celestial events to photograph in 2018.

You already know about many of these if you own a copy of our 2018 calendar, “Shots in the Dark,” where they’re marked conveniently for you! As for any specific times mentioned, we gleaned that information by using our favorite photo-planning app, PhotoPills. The approximate times in the list below are based on the U.S. Eastern time zone—so if you live elsewhere, we recommend double-checking the times in the planner section of PhotoPills.

It also goes without saying that most of these celestial events are best viewed in dark sky locations—of which our National Park system has plenty! If you live in an area with high levels of light pollution and want to find darker skies, we recommend checking out Dark Site Finder.

With no further ado, here’s the list of great night sky happenings to focus your wide apertures on in 2018! (The first two of these have already passed, but we’re including them for the sake of being comprehensive.)

January 2: Full Moon/Supermoon

Supermoon through 3 Bridges. Nikon D750 and Tamron 150-600mm f/5-6.3 lens. 1/2 second, f/11, ISO 400. © Gabriel Biderman.

We immediately led off the year with a full moon—and a supermoon, no less! A supermoon occurs when the full moon coincides with the moon’s closest approach to Earth. The moon is super because it appears closer and brighter than normal. Your best bet for photographing it is during moonrise the day before (in this case, January 1) so that you can have better balanced exposure with the twilight foreground. Find and interesting foreground like I did in capturing the moon rising between the Brooklyn, Manhattan and Willaimsburgh bridges in New York City (above). (Rest assured, these tips will become useful again at the end of the month.)

January 3-4: Quadrantids Meteor Shower

There was no rest for the night photographer, as right after the full blue moon kicked off, the first meteor shower of the year hit! (Stay tuned for an article on how to photograph and process meteor showers, coming later this year.) The peak of the shower has passed, but you may be able to spot some sky streaks this weekend. (It’s good to note throughout this article that, just like with fall foliage, the peak times are the best for shooting meteor showers, but they’re not the only times. You should be able to find streaks in the sky for several nights before and after peak.)

Quadrantids is an above-average meteor shower with up to 40 meteors per hour at its peak, which lasts from the evening of January 3 into the early morning of the 4th. The field of meteoroids was produced by the now-extinct comet 2003 EH1, which was discovered in, you guessed it, 2003. The meteors appear to radiate from the constellation Bootes.

Best Viewed: after midnight

Moon Phase: waning gibbous 95% that will be up all night

Worth Shooting? This is a tough one. The full moon will make all but the brightest meteors invisible. If you are in a warm, dark sky location—why not? But in the north, we might sit this one out.

January 31: Full Moon, Supermoon, Blue Moon and Total Lunar Eclipse

Full Moon over Hudson. Nikon D700 and Zeiss 21mm f/2.8 lens. 2 minutes, f/11, ISO 200. © Gabriel Biderman.

OK, lots going on this night. We will be leading a workshop in Biscayne National Park (still a couple of spots left!), which will be a perfect location to view the supermoon rising over the forever horizon. We may even explore some reflecting moon trails as we explore this water world of a park.

A total lunar eclipse happens when Earth blocks the sun’s light from directly hitting the full moon. During this time, the moon is in Earth’s shadow—no direct sunlight reflects off the lunar surface. However, the 0.12-albedo surface does catch some scattered light, which causes the moon to still be visible with a slight reddish hue. This is sometimes called the “blood moon.”

The total lunar eclipse will not be viewable in Biscayne, but will be in many other national parks and wild spaces in large parts of the world. If you live in western North America, eastern Asia, Russia, Australia or around the Pacific Rim, you’ll be in the path of totality.

February 15: Partial Solar Eclipse

Taking a bite out of the Great American Solar Eclipse. Fujifilm XT-2 and 100-400mm f/4.5-5.6 lens. 1/250, f/8, ISO 800. © Gabriel Biderman.

If you live in Chile, Argentina or are planning a trip to Antarctica, this would be a fun day to be outside with a camera. This will not rival the total eclipse we saw in the U.S. last year; instead it will look like a bite is taken out of the sun when viewed with solar glasses and filters. But it’s absolutely still worth shooting. (For advice about gear, techniques and safety when photographing an eclipse, see our free e-guide, “Here Comes the Sun.”)

March 20: Vernal Equinox (Northern Hemisphere), Autumnal Equinox (Southern Hemisphere)

Winter is over and there will be equal parts of day and night … with the days slowly getting longer, boohoo!

March 31: Full Moon, Blue Moon

Full Moon through the Auroras, Iceland. Sony A7s and Zeiss 21mm f/2.8 lens. 15 seconds, f/8, ISO 25,600. © Gabriel Biderman.

Our second blue moon in the first three months of the year. This is unique, as is the interesting fact that 2018 features no full moon in February.

April 16: First New Moon of the Milky Way season

You’ll need to stay up late. Depending on where you are, the return of the Milky Way’s core to the night sky is reason to celebrate! It should break the horizon around 1:30 a.m. and hang around for three hours before the morning twilight erases the stars.

April 22-23: Lyrids Meteor Shower

Lyrids is an average shower that can have about 20 meteors per hour at its peak on the evening of April 22 and the early morning of the 23rd. The shower is produced by dust particles left behind by comet C/1861 G1 Thatcher, which was discovered in 1861. The meteors appear to radiate from the constellation Lyra.

Best Viewed: after midnight

Moon Phase: first quarter 50% that will set at 1:46 a.m.

Worth Shooting? Yes! With the half moon setting after midnight, the Lyrids could definitely put on a good show.

May 6-7: Eta Aquarids Meteor Shower

Eta Aquarids is an above-average shower that can have up to 30 meteors per hour in the Northern Hemisphere, and up to 60 per hour in the Southern Hemisphere! Its peak is on the evening of May 6 into the early morning of the 7th. It is produced by the dust particles left behind by the famous Halley’s Comet, which has been recorded since ancient times. The meteors appear to radiate from the constellation Aquarius.

Best Viewed: from 10 p.m. to 2 a.m.

Moon Phase: waning gibbous 59% that will rise at 1:41 a.m.

Worth Shooting? Yes. With no moon to begin the night, you should be able to see the start of the show during clears skies. After 1:30 a.m., only the brightest of the meteors will be visible.

May 15: New Moon

The Ruins of Hovenweep. Hasselblad X1D and 30mm f/3.5 lens. Blend of foreground at 6 minutes, f/4, ISO 800 and sky at 23 seconds, f/4, ISO 6400. © Gabriel Biderman.

Welcome the Milky Way galactic core someplace dark, as it rises around 11 p.m.!

June 13: New Moon

Milky Way Arching over Centennial Valley, Montana. Nikon D750 and 14-24mm f/2.8 lens. Five-image panorama at 30 seconds, f/4, ISO 6400. © Gabriel Biderman.

Even better Milky Way core, as it will be up around 9:15 p.m.—during nautical twilight in most of the U.S. Prime time of the year for the Milky Way arching shots!

June 21: Summer Solstice

Shortest night of the year. Boo!

July 13: New Moon, Partial Solar Eclipse (way south)

Under Sipapu, Natural Bridges National Monument. Nikon D750 and 14-24mm f/2.8 lens. 20 seconds, f/2.8, ISO 6400. © Gabriel Biderman.

The Milky Way will be high in the sky during twilight. Perfect for straight-through-the-sky Milky Way shots. (To learn more about the difference between this type of Milky Way photo and arching panos, see our “Five Questions” blog post from last July.)

Also on this day is a partial solar eclipse for our friends in southern Australia and Antarctica.

July 27: Total Lunar Eclipse

Higher Rolling with the Blood Moon, Vegas 2014. Sony A7r and Nikon 70-200mm f/2.8 lens. 4 seconds, f/11, ISO 800. © Gabriel Biderman.

Visible throughout most of Europe, Africa, western and central Asia, the Indian Ocean, and Western Australia. (Visit the NASA website for more information.)

July 28-29: Delta Aqaurids Meteor Shower

This is an average shower, with 20 meteors per hour during its peak from the evening of July 28 through the early morning of the 29th. These meteors are produced from the debris left behind by the comets Marsden and Kracht, and they appear to radiate from the constellation Aquarius.

Best Viewed: after midnight

Moon Phase: waning gibbous 99% (essentially, a full moon) and will be up all night

Worth Shooting? Probably not. The full moon will obscure all but the brightest of meteors. (Though you can be sure we’ll be on the lookout during our Blue Ridge Parkway workshop.)

August 11: New Moon, Partial Solar Eclipse

The August Core over Centennial Valley, Montana. Nikon D750 and 14-24mm f/2.8 lens. 20 seconds, f/2.8, ISO 6400. © Gabriel Biderman.

During this new moon, the Milky Way will appear high in the sky immediately as darkness falls.

This partial solar eclipse will be seen in parts of northeast Canada, Greenland, extreme northern Europe, and northern and eastern Asia. Best viewing will be in northern Russia with 68 percent of the sun blocked.

August 12: Perseids Meteor Shower

Great Sand Dunes National Park, Colorado. Nikon D750 and 15mm Zeiss Distagon f/2.8 lens. 234 images at 22 seconds, f/2.8, ISO 6400, plus a single exposure at 382 seconds, ISO 2000 for the landscape after moonrise. © 2017 Matt Hill.

One of the best meteor showers of the year, with 60 per hour during its peak on August 12 into the early morning of the 13th. These meteors are produced from the comet Swift-Tuttle, and they appear to radiate from the constellation Perseus.

Best Viewed: from darkness to morning

Moon Phase: waxing crescent 3%, but will have set by nightfall

Worth Shooting? Yes, yes, yes! This is our personal favorite meteor shower. Lots of meteors, new moon and comfortable temperatures. So fingers crossed for clear skies, and fire away!

September 9: New Moon

The Milky Way core will be visible for only the first three hours of darkness (will set around 11:30 p.m.).

September 23: Autumnal Equinox (Northern Hemisphere), Vernal Equinox (Southern Hemisphere)

Equal parts day and night (the moon and sun will be rising and setting around the same time)which could create some beautiful twilight photos.

Also, in the Northern Hemisphere, the nights start to get longer—woohoo!

October 8: Draconids Meteor Shower

Draconids is a minor meteor shower which averages 10 meteors per hour during the peak of early evening on October 8. The meteors are produced by comet 21P Giacobini-Zinner, which was discovered in 1900. They appear to radiate from the constellation Draco.

Best Viewed: early evening, from 8 p.m. to midnight

Moon Phase: new moon 0.4%, and will not be visible at night

Worth Shooting? Yes. Even though it is a minor meteor show, no moon means that you’ll see even the faintest meteors in a dark sky location.

October 9: New Moon

Milky Way core will be visible for 1 1/2 hours after astronomical twilight.

October 21-22: Orionids Meteor Shower

Orionids is an average shower that has about 20 meteors per hour at its peak from late on October 21 until early morning on the 22nd. The meteors are produced from the dust left behind by the prolific Halley’s Comet. They appear to radiate from the constellation Orion.

Best Viewed: after midnight

Moon Phase: waxing gibbous 91%—essentially full and will be up most of the night

Worth Shooting? Yes. Even though the full moon will block the fainter meteors, the Orionids produce very bright streaks that should be visible throughout the night.

November 5-6: Taurids Meteor Shower

Taurids is a minor meteor shower that averages five to 10 per hour, and peaks on the evening of the November 5 into the morning of the 6th. They are produced by Asteroid TG10 and comet 2P Encke, and appear to radiate from the constellation Taurus.

Best Viewed: after midnight

Moon Phase: no moon—the thin crescent will set about the same time as sunset

Worth Shooting? I wouldn’t make plans around it, but if you happen to be in a dark location with clear skies, be on the lookout.

November 7: New Moon

Milky Way core will be visible for approximately the first hour of darkness.

November 17-18: Leonids Meteor Shower

Average meteor shower—15 per hour during peak from the evening of November 17 until early morning on the 18th. Produced by the comet Temple-Tuttle, which was discovered in 1865. The meteors appear to radiate from the constellation Leo.

Best Viewed: early morning (before twilight) of November 18

Moon Phase: waxing gibbous 72%, setting at 1:36 a.m.

Worth Shooting? Yes, for the night owl. Factor in the bright moon not setting until 1:36 a.m. on the 18th, but you’ll have between then and 5:30 a.m. to shoot the meteors. (These might add an interesting night-sky component during our black-and-white workshop in Sloss Furnaces National Historic Landmark that week.)

December 7: New Moon

No Core in the Haystack, Oregon 2016. Nikon D750 and 14-24mm f/2.8 lens. 30 seconds, f/2.8, ISO 3200. © Gabriel Biderman.

Milky Way core will not be visible during the night in the Northern Hemisphere.

December 12-16: Comet 46P/Wirtanen

It looks like we will witness the 10th closest comet in modern times! It should be viewable to the naked eye on December 12 as it reaches perihelion—its closest approach to the sun. Look toward the bull constellation, Taurus, that night.

On December 16, the comet will make its closest approach to Earth, soaring by only 7.1 million miles away, and will be visible to the naked eye. Look toward the Pleiades and Hyades star clusters.

For more information, see this breakdown from the University of Maryland.

December 13-14: Geminids Meteor Shower

This is probably the best meteor shower for photography, with an average of 120 multicolored meteors during peak from the evening of December 13 until early morning on the 14th. The roaming meteoroids were produced by Asteroid 3200 Phaethon, which was discovered in 1982, and the meteors appear to radiate from the constellation Gemini.

Best Viewed: after midnight

Moon Phase: waxing crescent 36%, and sets around 10:30 p.m.

Worth Shooting? If you can find someplace not too cold and have clear skies—YES, YES, YES!

December 21: Winter Solstice

Longest night of the year!!!

Warning—Northern Hemisphere nights start to get shorter after this.

December 21-22: Ursids Meteor Shower

Ursids is a minor meteor shower—with an average of five to 10 per hour from the evening of the December 21 until the early morning of the 22nd. Produced by the comet Tuttle (discovered in 1790), the meteors appear to radiate from the constellation Ursa Minor.

Best Viewed: after midnight with your fingers crossed

Moon Phase: waxing gibbous 99%, and sets just before sunrise

Worth Shooting? Probably not—with the full moon up the entire night, likely cold temperatures and not many bright meteors, I’d sit this one out.

Wrapping Up

Phew! That about sums up the top celestial events to photograph in 2018. I hope this inspires you to seize the night in the upcoming year!

As you do, remember that we love to see your night images! Feel free to share them on our Facebook page, or to tag us in Instagram. We always love looking, we will always respond, and we are eager to share in more and more conversations about night photography.

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 Photo’s road marketing team. See his portfolio and workshop lineup at www.ruinism.com.

UPCOMING WORKSHOPS FROM NATIONAL PARKS AT NIGHT