Returning to Nature, Returning to the World: Where We’re Ready to Go

It’s official. We at National Parks at Night have broken all previous records of days without travel.

The current situation does remind me a bit of being on the road with a photography group. As challenging as staying at home or in one place can be, one positive personal experience for me is that each night, to honor the first responders and essential workers of New York City, my wife Nancy and I cheer and clap with our neighborhood in Brooklyn at 7 p.m.

These few minutes have been perfectly timed with the sun setting to the west, so I’ve seen more sunsets than in any other two months of my life. Meeting new neighbors and feeling the warmth and beautiful light have added to the incredibly uplifting moments. That all reminds me of the many moments and shared adventures we have on our workshops, and that kicks my wanderlust into high gear!

While we have been focusing on cleaning our catalog clutter and re-editing images from past adventures, all of us at NPAN have also been dreaming about where we want to go next when all the travel restrictions are lifted. More than ever we are craving large green spaces to roam as well as magical dark skies to envelope ourselves in.

We love turning dreams into reality. So to inspire you to envision where you’d like to go next, we created this video that features some of the amazing places in the world we have explored.

In that same spirit, below all five of us share a place that we’re dreaming about, a place we are looking forward to exploring in the near futureβ€”hopefully with you!


North Cascades National Park

by Chris Nicholson

North Cascades National Park. Β© 2016 Chris Nicholson. Nikon D810 with a Nikon 28-70mm f/2.8 lens. 10 seconds, f/2.8, ISO 3200.

I miss mountains. Pretty, snow-capped mountains. Especially ones reflecting in glassy alpine ponds.

I miss waking on foggy mornings and walking through grass damp with dew. I miss days warm enough for T-shirts followed by nights cold enough for coats. I miss thin, clean air, and how easy breathing is. I miss remote, quiet meadows centered among softly rustling forests, and I miss the trickling sounds of delicate cascades and the thunder of tall waterfalls.

I miss how rock feels beneath my trail shoes: thousands of feet of rock that don’t budge even a smidge under my step as I climb to reach heights to see over the endless miles of valleys and lakes below.

I miss Washington state’s North Cascades, and the national park that bears their name. The beauty there is at once still and dynamic, at once present and ancient, at once silent and alive. The mountains rise around in all directions. Layers and layers of peaks and ridges that recede toward the horizon. And above that horizon at night, the glorious Milky Way that floats among a million stars.

I’m feeling one with John Muir. Those mountains are calling, and I can barely wait to go.

All the Islands of Scotland

by Lance Keimig

Sligachan, Isle of Skye, Scotland. Β© 2017 Lance Keimig. Nikon D750 with a Tamron 15-30mm f/2.8 lens. 1/200, f/11, ISO 100.

I’ve always had a thing for islands. Perhaps it’s because I’m a sucker for all things romantic––and what’s more romantic than a mist-shrouded shoreline, crashing waves and quiet fishing villages? Maybe it’s because I’m a bit of a rebel and an island has clear boundaries to push up against, be they geographical or cultural. Regardless, if you give me a map, my fingers will quickly find the coastline, searching for those offshore land masses just out of reach.

I had the good fortune of spending the month of August 1995 in Scotland. I was there for the glorious cacophony colloquially known as β€œThe Fringe,” one of two concurrent arts festivals that take over the city of Edinburgh every summer. After almost three weeks in the city, I signed up for a jump-on/jump-off mini-bus tour and found myself making a loop around the country with extended stops on the Isle of Skye and Orkney. One is a very traditional and conservative island off the west coast, and the other an archipelago of islands off the north coast that is steeped in history yet is very modern and cosmopolitan. Two worlds equally fascinating and distinctly different.

That was a life-changing journey for me, and it marked the beginning of my career as a professional photographer. Three years later, I began teaching night photography workshops in San Francisco, and five years after I led my first photo tour to Scotland––to Skye and Orkney.

The rest is history, but I have a long way to go to visit All the Islands of Scotland. I doubt that NPAN will offer a trip to each of them, but you can know that I am scouting them all and will be planning trips to the very best to share with you in the coming years.

South Island

by Tim Cooper

South Island, New Zealand. Β© 2017 Susan Magnano. Canon 5D Mark IV with a Canon 17-40mm f/4 lens. 30 seconds, f/2.8, ISO 6400.

Where do I want to explore in the near future? New Zealand’s South Island. I find the landscape there to be simply awe-inspiring.

In many ways it’s like North America in miniature. Starting in the east you have gentle coastlines that rise up into low country, and then farming plains like our eastern and central United States. Then the plains rise up to the Southern Alps, which easily rival our Rocky Mountains. On the western downslope, glaciers flow into rain forests much the way they do in Alaska and British Columbia. All of this on an island that you can cross in less than a day.

Similar as it may be, everything is just a little different. A little more green. A little more remote. Even the trees have a mystical quality about them. From the fjords in the south to the parks of the north, you’ll find magnificent and rocky coastlines, tree ferns twice the height of a human, mountains that rise straight up and spill glaciers into magical forests. It truly is a landscape lover’s paradise.

My first trip to South Island was nearly 20 years ago when on assignment for a magazine. While the magazine work came off fine, my efforts at personal photography failed miserably. I had taken an extra nine days to shoot for myself using my Wisner 4x5 camera loaded with a new type of holder for preloaded sheets of film. I shot nearly 100 sheets during my time there. Upon returning home I found that every sheet was blank. The new system had not been working properly and I didn’t know because I had never tested it before leaving! Ughhh. Talk about heartbreak. I must return!

Theodore Roosevelt National Park

by Matt Hill

Theodore Roosevelt National Park. Β© 2019 Matt Hill. Nikon Z 6 with an Irix 15mm f/2.4 Firefly lens, light painted with Luxli Cello and a Coast HP7R. 2 minutes, f/5.6, ISO 500.

If I could go anywhere, I’d really like it to be someplace that has lots of things I enjoy. This park in North Dakota checks off lots of those boxes. And it was a total surprise to visit. Chris and I drove there last summer after learning that the elevator had broken at Wind Cave National Park. And boy, was the detour worth it. 

Roosevelt’s South Unit features a wondrous, windy river (the Little Missouri) with excellent lookouts, plus herds of bison and wandering wild horses. Outnumbering them all are the prairie dogsβ€”watch your step or you’ll turn an ankle in their holes. Not to mention the badlands landscapes and the petrified forests.

Drive toward Polaris, and the North Unit has more wildlife, plus the cannonball concretions and even more views of another section of the Little Missouri.

Easily drivable, this less-known park is an ideal place to spend some quality time in nature and with stunning night skies. 

Easter Island

by Gabriel Biderman

Rapa Nui National Park, Easter Island. Β© 2019 Tim Cooper. Fujifilm X-T2. A series of stacked images shot at 2 minutes, f/4, ISO 400.

When Nancy asked me 14 years ago where I wanted to go for our honeymoon, I didn’t skip a beat and said: β€œEaster Island.” As luck would have it, the enigma that is Easter Island had also been at the top of her bucket list since seventh grade. But then we did the research and realized Easter Island is a challenge to get to. It is 2,200 miles away from Chile and in the middle of the Pacific Ocean. Remote is the understatement. So unfortunately the time and financial commitments didn’t make sense (however we had one heck of a honeymoon driving across the U.S. and visiting 14 baseball stadiums).

That was 2006. I can’t remember the first time I became aware of the mysteries of the moai, but I always loved ancient history, mythology and photographing sacred places. When Lance suggested our first Easter Island workshop that we offered in 2019, I quickly raised my hand to assist. But again, timing was not on my side. The workshop was a huge success and we decided to keep running more trips there as long as people are interested in going. And I’m going next! Even though our second Easter Island workshop isn’t until January, I have already starting thinking ahead and packing accordingly.

Most of Rapa Nui, as it’s known to the locals, is a national park. We have worked very closely with the park and local guides to get rare access to the moai at night. Most trips to Easter Island are a brief 2 to 3 days, but I’m looking forward to fully immersing ourselves on our 8-day adventure. I’ll be loading up infrared film for our day hikes and for photographing the moai under the Milky Way.

They say the third time is a charm, and Nancy already said she is coming on what she is calling part two of our honeymoon. If you can’t join us next year, stay tunedβ€”2022 isn’t that far away!

Wrapping Up

So, that’s where we’re dreaming of going when we can travel again. Where are you dreaming of going? Share in the comments section, or on our Facebook page!

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.

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A Better Intervalometer: The Phottix Aion

Most night photographers struggle with the most basic requirement to make long exposures: an intervalometer. I believe I’ve found the solution: the Phottix Aion.

What is an intervalometer?

The object of my study (some call it an obsession) is a tool called an intervalometer, which is essentially an external cable release on steroids.

Example of a simple external shutter release.

A standard external cable release is simply a switch. Press the button, the shutter opens. Let go, it closes. Sometimes it has a lock that can hold that button down.

What an external cable release cannot do is execute timed intervals between exposures. This, along with programming shutter speeds, is necessary for goals such as star-trail stacking and time-lapses. For whatever the purpose, an intervalometer can make multiple programmed exposures.

Note: Some cameras now include this as a firmware feature. Hooray for progress! If yours does, then you may not need an external intervalometer. But before deciding, test it out. Many internal intervalometers can be confounding to configure, and most can’t overcome the camera’s native maximum shutter speed, which for most cameras is way too short for long exposures.

The Problems I Have With Intervalometers

So why do I care about this hard-to-pronounce camera accessory? It affects me when it does not work as expected. And it affects all our workshop attendees in the same manner. And it affects all night photographers in general. Here is a list of common issues:

The Cable Connection Breaks

This applies only to wired intervalometers, which is what most people own. Where the camera cable meets the body of the intervalometer, there is a β€œstress relief” molded into the cable. Despite that, all the rigors this connection goes throughβ€”bending back and forth during normal use, living all wrapped up in a backpack or bag, hanging off a camera or tripodβ€”will eventually break the solder inside.

Then when we are inevitably someplace remote and interesting, suddenly the intervalometer stops firing the camera, and we start trying to hold the cable at just the right angle to reseal the connection and make it work. Which is does … sometimes.

Vello dedicated wired Shutterboss for Nikon DC2 connection.

The Cable Connection is For Only One Camera

Again, this applies only to wired intervalometers. You are locked into the cable that works with your camera. Which is goodβ€”unless you switch systems, upgrade to a new model or rent a different body.

I understand this makes it easier for manufacturers to sell to people looking for something specific, to not waste resources and to give people only what they need. But not all manufacturers make it easy to order a replacement cable or a different cable.

The Backlight Lasts Only 10 Seconds

This is exactly one second less than it takes to make an adjustment. Just kidding. But seriously, the light should last longer. Ten seconds is hardly ever long enough to adjust a programmed setting, and never long enough to create one.

The Status Indicator Light Ruins Photographs

The little red light blinks to tell you an exposure or sequence is running, which is a nice gesture. But if the cable twists forward to where your lens is pointing, you can ruin your image and others’ around you. Yes, that little LED can shed enough light to be picked up on a long exposure.

There Can be Too Many Modes

This is particularly true of wireless intervalometers. Many that I’ve used default to a mode that has nothing to do with night photography. Right?! How dare they pander to daytime photography. Geesh.

Joking aside, you may have to cycle through modes to get to the classic β€œintervalometer mode” we require for night photography. Every … time … you … turn … it … on.

I do not Want to Use My Phone

There are some very interesting exposure controllers out there that require your phone’s computing power to perform programmed exposures or sequences. I have tried many, and none are for me. I want to be β€œpresent” during my night photography experience, I want to preserve my night vision, and I want to save my phone battery.

The Phottix Aion transmitter (left) and receiver.

So What is the Best Option?

After much testing and firsthand experience with many, many manufacturers’ intervalometersβ€”both in my own photography and by playing with what people bring to workshopsβ€”I affirm that the Phottix Aion is the best intervalometer you can buy. Here’s what I love about it:

You Can Set Exposure Durations in Tenths of Seconds

This matters when you are using the NPF Ruleο»Ώ to determine star-point exposures, which can be very precise. Let’s say your NPF exposure is 11.72 seconds. With a standard intervalometer, you would have to round down to 11 seconds. Seven-tenths of a second doesn’t sound like much, but in this case it’s nearly 10 percent of the exposure. With the Aion, you can open the shutter for 11.7 seconds.

NPF exposures (seen here in PhotoPills) are almost always precise into the tenths (and hundredths) of seconds.

It Comes with all The cables for Nikon, Canon and Sony

Well, not all the cables, but if you have a camera that uses one of these connections, you are covered:

  • Canon 2.5mm sub-mini

  • Canon 3-pin

  • Nikon 10-pin

  • Nikon DC-2

  • Sony Multi-Terminal

(Sorry, Fuji, Pentax and Olympus owners.)

The Aion connectors.

It Remembers Its Mode

If you turn the Aion off and on, it will return to the last mode you used. Yay for efficiency and time management!

The Crosspad Buttons are Separated

One of the most frustrating things to watch is when someone new to night photography is trying to make an adjustment to the exposure or interval settings on a traditional intervalometer. A big part of the issue is that due to the control button’s one-piece construction, the difference between side-to-side and top-to-bottom adjustments is so minute that photographers easily change to the next setting instead of changing the value. Heck, it happens to me too. And I hate it.

The Aion fixed thatβ€”thank you! It features four separate buttons for up, down, right and left.

Most intervalometers have one main β€œarrows” button to press multiple directions; the Aion has the improved feature of four different arrow buttons, so you always know what direction you’re pressing.

You Can Use it Wirelessly or Wired

This is not a new feature to wireless intervalometers. But I still enjoy it.

Here are some examples of when it’s ideal to have a wireless trigger that is also an intervalometer:

Group shots that you’re in. (I’m sitting in the middle. Hi!)

Creative portraits that require many tries to execute.

Light painting far from the camera with short exposures.

The Countdown Time Shows Quantity of Exposures Remaining

This is not very important, but is good to understand. The Vello Shutterboss shows the exposure number you are currently on. The Phottix Aion shows how many remain. I prefer the latter. It lets me know not how much work is done, but rather how much work is left to go.

You Can Disconnect the Pieces

The issue with stressing the connection by continually wrapping up the cable and eventually breaking it is completely avoided. How? With the Aion, you can disconnect the cable when stowing the units. That alone will guarantee many more nights of photographing under the stars.

The cable plug pulls out, eliminating the biggest stress point of traditional intervalometers.

Selfies are Easier

Since you have a wireless transmitter with on-screen countdowns, making self-portraits under the stars, or including yourself as a human element in the scene, is easy. Doing so wirelessly is also safer than running back and forth to and from the camera in darkness.

Half-Press for Focus

The large button is for normal β€œBulb” exposures: Press and hold to open the shutter then release to close it. But the button also has a two-stage functionality similar to the shutter release on your camera. You can half-press the button to autofocus. Combined with the wireless capability, you could focus on yourself in the scene!

What Could be Better

As much as I love the Aion, I’d love to see a few improvements in the next model. A few things I can nitpick:

  1. It doesn’t include batteries. Four AAAs are inexpensive and easy to source. Not all wireless receivers use standard batteries.

  2. The Mode button is where the backlight button is on other intervalometers. I am still re-training my fingers to find the backlight button without having to look for it, or to return to the β€œdelay” or top-most mode.

  3. The crosspad buttons are smaller than traditional intervalometers. And the keys are slick and rounded. (But the separated buttons are still better than the single crosspad button of other intervalometers.)

Video

If you’re more of a watch-what-I-mean kind of person, please enjoy this video comparison:

(And don’t forget to subscribe to our YouTube channel!)

Wrapping Up

The Phottix Aion is a big improvement over our previous intervalometer of choice, the Vello Shutterboss II.

Yes, the Aion costs nearly twice as much (actually on par with the Vello Wireless Shutterboss). So you can choose to carry two wired Shutterboss units for the same money, or one Aion that is likely to be more reliable.

Sadly, this is not the perfect solution. That still does not exist. I am not saying this to throw shade on any manufacturers. Night photography, despite its popularity, is still a niche. And perhaps the opportunity to make the right tool is too small for many manufacturers.

(If you are a manufacturer reading this post and want to collaborate with NPAN to make the ideal intervalometer, we are ready. In fact, we have begun the long-term process of defining the ideal solution. Ping us to start the conversation.)

For all of you night photographers out there, we hope this helps you make better star-point stacks, star trails, time-lapses, portraits, and whatever genius and creative ideas you realize with your cameras.

Let us know what you think in the comments or on our Facebook page, especially if you own or an Aion.

Matt Hill is a partner and workshop leader with National Parks at Night. See more about his photography, art, workshops and writing at MattHillArt.com. Follow Matt on Twitter Instagram Facebook.

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Five Questions: Moonrises, Laowas, Acadia National Park and More

For every person who asks a question, a good hundred more probably had the same question and didn’t ask. So we like to share the questions we get and the answers we give.

This installment of our β€œFive Questions” series features inquiries about moonrises, Laowa lenses, the Nikon D780, night panoramas and Acadia National Park.

If you have any questions you would like to throw our way, please contact us anytime. Questions could be about gear, national parks and other photo locations, post-processing techniques, field etiquette, or anything else related to night photography. #SeizeTheNight!


1: Rad Moon Rising

Supermoon over Death Valley National Park. Nikon D500 with a Nikon 80-200mm f/2.8 lens at 200mm. 1/200, f/8, ISO 800. Β© 2016 Lance Keimig.

Q: Last year when driving home I passed a small lake that had a huge red/pink full moon rising over it. I tried to find out when this may happen again. Unfortunately I did not see how to get an easy answer to when there would be another full moon rising while the sun is setting, so I reverted to tedious data lookup. How can I plan this easier? And when will the moon still have a pinkish glowβ€”when it beats the sun in rising, or when the sun beats it in setting? β€” A.B.

A: The full moon always rises near sunset, never at sunrise. The full moon does, however, set at sunrise. (The opposite, for both cases, is true of the new moon.) Either way is a good way to shoot the moon near the horizon during soft light.

The exact times vary quite a bitβ€”by up to as much as an hour, depending on the exact timing of the full moon. In some months, the best timing may be one day before or after the full moon. The moon rises about 45 to 55 minutes later each day during its 28-day cycle, but the sunset time varies by only a minute or two. 

You can use PhotoPills or a website like TimeandDate.com to find out the date of the full moon each month, and then check the sunset and sunrise times within a couple of days of the full moon.

The β€œbest” time for moon photography depends on the effect you are looking for, and the landscape where you are photographing. If you want a warm glow on the landscape, look for a moonrise that’s just before sunset. But I generally prefer a moonrise about 10 to 15 minutes after sunset, when the exposure balances nicely between the moon and the soft light on the land. By about 20 minutes after sunset, the exposure difference between the moon and the landscape is too great to capture in a single image.

The color in the moon is completely dependent on atmospheric conditions––the amount of dust, moisture or pollution in the air. The more particulates, the more color. When the moon is just rising, you are viewing it through hundreds of miles of atmosphere. When it is high in the sky, you are viewing it through a single layer of atmosphere, which is why it is almost always white. β€” Lance

2: Learning About Laowa

Q: I have the Nikon Z 6 and am looking for a wide-angle lens that I can use for night photography. I saw this lens on the B&H Photo website: Venus Optics Laowa 15mm f/2 FE Zero-D for Nikon Z. What do you know about this lens/company? Quality? Performance? Any info? β€” Terry K.

A: Summary: It’s a yes.

Why? Four reasons.

  1. It’s an incredibly small, light, fast and sharp lens.

  2. At f/2.8, the coma almost disappears, and at f/4 it’s totally gone. To see a technical test I did, download and open these files in Photoshop and zoom to 100 percent. The star-field boxes are 100 percent crops. The gray zoom boxes are exaggerated zooms at 800-plus percent to show the actual shapes of stars. (Note: These are totally unedited photos. The chromatic aberrations can be easily removed, but I chose not to remove them for what were just test images.)

  3. The metal lens hood is reversible.

  4. It beat my Zeiss Distagon (gasp!) in regard to coma. Wow. And I have an extra stop of light when I need it. And it’s half the size.

So, yeah, the Laowa is fab.

There is one major downside, however, which may or may not matter to you: It does not have electronic contacts. So you will not have the metadata in Lightroom that identifies the lens or which aperture was used for the photographs. β€” Matt

3: Switching from Canon to D780

Q: My Canon 6D has been pushed to its limits and I’m seeing too much ISO noise, so I’m looking into changing over to Nikon. Have you used the D780? β€” J.M.

A: The short answer: I’ll definitely be buying one. The image quality seems similar to or better than the Nikon Z 6, which is noticeably better than the D750 I’ve been using for several years. The D780 image quality at 12,800 is outstanding, and is definitely usable at 25,600. The camera also has extended shutter speeds down to 15 minutes.

They moved a couple of buttons around––which shouldn’t be an issue for you coming over from Canon. Other than that, it feels very comfortable and familiar for a Nikon user. I also like that they stuck with two SD card slots and didn’t go for the expensive XQD, or worse, one XQD and one SD slot.

For the long answer, see our recent blog post β€œBest of Both Worldsβ€”The Nikon D780 Combines the Advantages of the D750 and Z 6.”

My suggestion is: Yes, jump on it! It may just be the last camera you’ll buy. β€” Lance

4: Night-Pano Follow-Ups

Bear Lake, Rocky Mountain National Park. Nikon D750 with a Sigma 35mm f/1.4 Art lens. Sixteen stitched frames shot at 10 seconds, f/2.2, ISO 6400. Β© 2018 Matt Hill.

Q: After reading your blog post on how to plan and shoot a panorama, I have a few questions:

  1. I have an Acratech GP-ss ball head, which can be mounted upside down and used as a leveling base. So I presume I wouldn’t need a separate leveling baseβ€”or would you recommend having one anyway?

  2. I want to rotate my setup exactly 30 degrees between each frame. How could I do that without turning on my headlamp?

  3. I’ve seen some photographers use a Nodal Ninja Advanced Rotator. It has different settings with click stops to confirm you’ve reached a pre-set degree. I believe it could be of help as I wouldn’t have to engage my red light. Are you familiar with these rotators? β€” Roger R.

A: I’m so happy to see you’re inspired to get out and shoot some night panos! My answers:

  1. I am a fan of having a separate leveling base (and I have the Acratech). It honestly doesn’t add much to the operating size and weight, and it benefits all my setups (not just panos). Leveling is simply faster with a leveling base than by adjusting tripod legs. That said, I have not attempted using the GP-ss inverted, but that’s a curious and wonderful thing it’s capable of doing!

  2. You may consider getting some glow-in-the-dark model airplane paint and making 30-degree ticks on your pano base, as well as making reference points (two, three or four) on the top part. Come to think of it, I may do that myself!

  3. I know two people I really trust who have used rotators, including Gabe. They require setup and calibration. But having those clicks is very helpful for confidence and maintaining your night vision.

    There are other options for indexing rotators that have detentsβ€”be sure to examine the intervals you can choose:

Keep in mind that all this gear is great to have for leveling up control over the process of shooting a pano at night, but it’s not required. The most important thing is the proper planning and technique that we covered in the original post. Have fun with your panos! β€” Matt

5: Acadia Aspirations

Eagle Lake, Acadia National Park. Nikon D3s with a 28-70mm f/2.8 lens, light-painted with moonlight and a Coast HP7R warmed with a 1/2 CTO gel. 20 seconds, f/8, ISO 3200. Β© 2017 Chris Nicholson.

Q: My husband and I are planning on going to Acadia. We’ve never been to Maine before. We started looking for places to go and stay mainly for night photography with ocean, rivers or lakes with views in or around the park. The area is huge! Was hoping you could give some suggestions on specific areas to stay and go. β€” Eileen M.

A: You could drive in pretty much any random direction, and you’ll be fine. 😊

Acadia is actually a pretty small park, relatively. But there’s a lot of diversity there for photography.

Anywhere along the Ocean Road will be great for coastal/ocean scenes, and if you’re up for a 20- to 30-minute walk, then I highly recommend Great Head at sunrise. Good spots more accessible from the car include Boulder Beach, Monument Cove and the cliffs in between; Sand Beach; and anywhere along the road between Sand Beach and where the road goes back into the forest.

For lakes, Jordan Pond and Eagle Lake are my favorites. And again, if you’re up for a hike, then I suggest taking the Jordan Pond loop trail all the way around (know that there is a short section that requires going over rocks). In that same area of the park, I recommend hiking up South Bubble for the views over Jordan Pond and the coast, then to Bubble Rock, then from there up to North Bubble, then along the ridge toward a beautiful granite overlook of Eagle Lake.

From late spring to early autumn, you can shoot the Milky Way over Eagle Lake from the main parking lot at the north end.

Also, if you want a quieter experience, check out the Schoodic Peninsula, which is the only part of the park that’s on the mainland. It’s about a 45-minute drive from Mount Desert Island. It has beautiful coastal scenery along almost the whole loop drive. At low tide you can walk out to Little Moose Island, which is beautiful as well. If there’s a storm while you’re in the area, the point of Schoodic Penninsula is where you want to be the next day to shoot the waves crashing on the rocks, in the last couple of hours of the tide coming in. (Just don’t get too close to the treacherous water.)

For more information, I can recommend two excellent photography guides: Photographing Acadia National Park: The Essential Guide to When, Where, and How and The Photographer’s Guide to Acadia, both written by photographer friends of mine, Colleen Miniuk-Sperry and Mike Hudson, respectively. You could also check out my book, Photographing National Parks, for some more general ideas on Acadia and for tips about scouting your shoot.

As for places to stay: Bar Harbor is the center of activity, and has restaurants, coffee shops, etc. It can also be β€œbustling” when a cruise ship is anchored. If you’d like a quieter experience, consider Southwest Harbor on the west side of the island (known locally as β€œthe quiet side”).

Finally, it’s good to know that due to the current public health situation, Maine has instituted a temporary 14-day quarantine for visitors from out of state. The order is expected to expire sometime between July 1 and August 31, depending on the outcome of some pending regulatory decisions. You’ll want to confirm the status before traveling. β€” Chris

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

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Best of Both Worldsβ€”The Nikon D780 Combines the Advantages of the D750 and Z 6

A little over 2 years ago, I did some extensive testing of the Nikon D5, D750, D810 and the then-newly released D850. The comparison was to determine which was the best camera for night photography. I concluded that the answer depended on your needs and budget––I recommended the D750 as a great camera at an extraordinary value, the D850 for those who make large prints on a regular basis, and the D5 for sports and wildlife photographers who also shoot at night and who have a healthy budget.

Then, in September 2019, Gabe wrote a post exclaiming hands-down that β€œthe Nikon Z 6 is the best camera for night photography.” I’ve had a few opportunities to use the Z 6 at night since then, and it’s an awesome camera for sure.

Then I recently had the chance to work with the newly released Nikon D780, courtesy of B&H Photo. It’s widely reported that the Z 6 and D780 share the same sensor, and the comparative images I’ve shot indeed look very similar. But there is one subtle difference that makes the image quality of the D780 ever so slightly better than that of the Z 6, especially for night photography in extreme low light. More on that later.

This rundown of the D780 is not intended to be a general review for everyone considering a new camera, but is rather tailored to the needs of the night photographer. If you are a wedding, wildlife or sports photographer, or someone who shoots a lot of video, then my review may be of limited usefulness to you. In this article, I’ll evaluate the camera based on image quality at high ISOs in extreme low-light situations, for long exposures, and also in mixed artificial low-light situations typically found in urban areas at night. I’ll also be discussing the various features and functions as they relate to night photography in general.

Rattle Dragon meets its match. Nikon D780 with an Irix 15mm f/2.4 lens. 1.3 seconds, f/4, ISO 6400. This image has been processed in Photoshop for effect.

Key Features

The camera features a 24.5-megapixel FX-Format BSI CMOS sensor and EXPEED 6 Processor, which is reported to be the same sensor as that of the Z 6––with one slight modification.

Similar to its predecessor, the D780 features a tilting screen. The 3.2-inch, 2.36m-dot LCD is also a touch screen that functions well for intuitive control over playback and menu navigation, as well as touch control over autofocus and shutter functions. It would be nice if the screen had an articulating arm; as it is, the tilt screen is of limited usefulness in the vertical orientation, but is great for working from high and especially low angles in the horizontal orientation.

The D780 sports dual SD memory card slots like the D750, rather than the single XQD slot of the Z-system cameras. The former supports both overflow recording and simultaneous recording on both cards for peace of mind. It also accommodates the UHS-II standard, enabling fast write speeds for video and multi-shot sequences.

When used with the D780, the EN-EL15b lithium-ion battery is rated for an impressive 2,260 shots per charge without live view enabled, or 360 with live view. The battery can be charged via USB-C. For comparison, I recently got 554 25-second exposures out of a relatively new battery in the D750 (with live view and playback disabled) when shooting the Lyrid meteor shower.

The camera has variable aspect ratios of 1x1, 3x2 and 16x9, an in-camera monochrome mode, meter capabilities down to -3 EV, and shutter speeds down to 900 seconds (or 15 minutes).

Long Exposure

Yes, you read that right. Hallelujah! We finally have a Nikon DSLR with onboard shutter speeds that go beyond 30 seconds. There is a menu setting to enable extended shutter speeds, but once you turn it on, it’s a sticky setting, unlike Canon’s awkward Bulb Timer mode on the 5D Mark IV that requires going to the menu every time you use it.

We night photographers would have preferred even longer shutter speeds, but the D780 does have the Time mode, which, unlike the D750, does not automatically shut off at 1,694 seconds. Camera manufacturers have long been reticent to have programmed long-exposure times out of fear of long-exposure noise.

The primary implication of the extended shutter speeds is the elimination of the need for an external intervalometer in many situations. The extended shutter speeds combined with the internal intervalometer (or the easier-to-use but more limited self timer) allow for shooting stack sequences up to 2 hours, 15 minutes with the self-timer and virtually any length with the internal intervalometer.

I’ve been using the Time setting on the D750 and D850 and timing exposures either with my phone, or more often just by feel, because I never liked dealing with the fiddly and fragile intervalometers. For many night photographers, the onboard long shutter speed is a game-changing feature, even if it is only a convenience and has no effect on image quality.

Echo Canyon Road, Death Valley National Park. An example of the range of tones in a black and white image shot under moonlight. Conversion in Lightroom, Adobe Monochrome profile, with no additional software. Nikon D780 with an Irix 15mm f/2.4 lens. 1 minute, f/5.6, ISO 400.

Autofocus

One of the things that has improved the most over the D750 is autofocus performance in both the viewfinder with a 51-point autofocus system, and also a hybrid system for live-view focusing. The hybrid system is adopted from the Z-series cameras, and switches between phase-detection and contrast-detection autofocus based on conditions. It covers approximately 90 percent of the frame with 273 focus points, making it easy for the camera to focus on subjects at the edges.

There is a low-light autofocus mode that extends autofocus capabilities down to -6 EV. The viewfinder autofocus system is accurate down to -3 EV. Under ideal conditions, this should allow for autofocus with live view in light as low as a quarter moon, and with the viewfinder under the light of a full moon. But autofocus on the Milky Way core is a long ways off still, as it is about -10 or -11 EV.

Velociraptor, Borrego Springs, California. Nikon D780 with a Tamron 15-30mm f/2.8 lens at 22mm. 1 minute, f/5.6, ISO 500. A collaborative light-painted image made during a recent workshop under cloudy moonlit skies.

Live View

The live view interface is derived from the Z 6. It’s mostly familiar for Nikon DSLR shooters, but requires a little getting used to. The good news is that live view image quality in low light is much improved, and focusing on stars, or on dark foreground subjects with a flashlight, is much easier than with older Nikons.

I did find that I got the best live view image in low light conditions using the video mode set to the slowest possible shutter speed, just like with the D750. This is a workaroundβ€”not an ideal field workflowβ€”as you must remember to turn off the live view before taking the picture, or the RAW file will be cropped to the 16:9 aspect ratio. Still, it is a big and welcome improvement.

780 tilt with photo for social.jpg

Customization

A customizable 12-position menu can be accessed by pushing the i button on the back of the D780 or tapping the i icon in live view. The i menu is an easily accessible place to store settings that you change frequently. The camera allows users to customize different i menus for shooting stills through the optical viewfinder, for shooting stills in live view and for shooting video.

The D780 offers two customizable buttons on the front of the camera that can be set to any one of a long list of functions; you can view them all here. Additionally, the AF-On and AE-L/AF-L buttons can be customized, and the bracket button on the front of the camera can also be customized to shoot multi-exposure images or HDRs.

Build Quality

Comfortable in the hand and familiar to any Nikon user, the D780 offers a solidly built camera with full weather sealing in a relatively lightweight body. On first glance, it looks very much like the D750, but is just a little smaller with a few button changes. For a full-frame DSLR as capable as the D780, it’s compact and ergonomic. It’s basically a D750/Z 6 hybrid.

A Few Random Features

The live view activation button has been moved up to the right of the viewfinder, and the video record button is on the top deck, next to the newly located ISO button.

These changes require some adaptation, but the new position of the ISO button will be familiar to users of the newer Nikon cameras. It is a better and more logical position than on the D750, which has it second from the bottom on the button stack to the left of the rear LCD. Testing the D780, I inadvertently activated video recording several times while reaching for the ISO, but my fingers learned relatively quickly which button was which.

780 top.jpg

I know that I said I wouldn’t talk about video in this review, but quickly: Video shooting is much improved, and the D780 can shoot UHD 4K at up to 30 frames per second, or HD at up to 120 frames per second.

Moreover, there is now the option to create time-lapses from images shot with the Interval Timer Shooting mode instead of the Time-Lapse Movie option of the D850, which means you can keep the RAW files and still produce an in-camera time-lapse on the go. The D780 also has the same focus stacking mode as the D850.

The D780 is compatible with most Nikon F-mount lenses, including AI-S and all Nikon AF models.

On the negative side, there is no option for a battery grip, and the pop-up flash of the D750 is absent from its descendant. I suspect some people will miss these features, but they are relatively minor issues for a night photographer. Also, the intervalometer connects with the same fussy DC2 port. It’s difficult to identify the correct orientation of the plug, especially in the dark. Fortunately, it’s necessary only for timed exposures longer than 15 minutes.

Wish List

Although the D780 has most of the features that I would want on my dream camera, there are a few things would make it the hands-down ideal for a night photographer:

  • Extended shutter speeds down another couple of stops to 1 hour. I’m grateful for the extension to 15 minutes, but why stop there?

  • Image quality at ISO 25,600 comparable to what we get at 6400 on the D750/Z 6/D780. Those extra 2 stops would provide the much-needed wiggle room that astro-landscape photographers often need with our exposure variables. NPF Rule, anyone?

  • An easier way to access the brightest possible live view image in low-light situations. The live view interface of the D780 is the same as the Z 6 and much cleaner and easier to use than that of the D750. However, a workaround is still required to get the best possible live view image at night.

  • The flip lever to close the optical viewfinder (which prevents light from entering the back of the camera during long exposures) that’s found on the D810, D850 and D4-D6.

  • The D500, D850 and D5-D6 have backlit buttons for ease of use in the dark. Their absence on the D780 is a distinction from the top-of-the-line models that cost considerably more.

Fern and Waterfall, Portland, Oregon. A daylight image showing the dynamic range and color depth of the D780 sensor. Nikon D780 with a Nikon 24-120mm f/4G lens at 120 mm. 1/50, f/8, ISO 100.

A couple of features from other manufacturers that would be amazing to see developed for Nikon:

  • Many Canon cameras have the ability to hold images in the buffer and process Long Exposure Noise Reduction while you keep shooting new images. They also have an auto-LENR feature that applies noise reduction as needed and that doesn’t necessarily double the exposure length. I’d like both these features in a Nikon body. Imagine being able to use LENR for all your shots without having to wait for it!

  • The Astrotracer feature of the Pentax K1 for getting around the longest usable shutter speed limitation in astro-landscape photography is based on in-camera image stabilization. It’s not likely ever to appear on a Nikon camera, but it sure would be sweet to have.

Image Quality

What surprised me when I began comparing images from the D750, Z 6 and D780 was not how good the D780’s image quality is, but how well the 6-year-old D750’s images stood up to the newer cameras. That’s not to say that the D780 is in any way a disappointment––to the contrary, the overall image quality is among the best of any 24-megapixel camera that I’ve used.

In the limited testing I was able to do, any difference in image quality at ISO 6400 and 12,800 was negligible. There may be slightly less noise in the shadows on the newer cameras up to ISO 12,800. It was only at ISO 25,600 where the D780 and Z 6 were noticeably better. At ISO 25,600 on the D750, colors begin to bleed outside of detail boundaries and the image really starts to fall apart.

This begins to happen in a similar way at ISO 51,200 with the D780 and Z 6. The newer cameras essentially add one stop of usable ISO, but most photographers will probably still not want to shoot higher than 6400 or possibly 12,800 for nighttime landscape imaging. (There are pixel-peeping opportunities at the end of this post.)

Inyo Mine, Death Valley National Park. Examples of the D780’s high ISO capabilities. The RAW files can be downloaded for evaluation purposes (see the link at the end of this post). Nikon D780 with a Tamron 15-30mm f/2.8 at 20mm. From left to right: 6 seconds, f/4, ISO 12,800; 3 seconds, f/4, ISO 25,600; 1.6 seconds, f/4, ISO 51,200.

I did get to shoot in a contrasty mixed-light urban environment, and was impressed with the ability to pull detail out of deep shadows while preserving highlights, but wasn’t able to do side-by-side comparison testing of different cameras in that environment. DXO Mark rates the sensor on the Z 6 (and the D780 by extrapolation) at 14.3 stops at base ISO compared to 14.5 stops for the D750. This minor difference of one-third of a stop probably cannot be appreciated in real-world situations as opposed to in the testing lab. More importantly, the new sensor tests at a full stop more (9.3) dynamic range at ISO 6400, which is the standard setting for astro-landscape photography.

The Kenworth of my Dreams, Portland, Oregon. The D780 is remarkably well-suited to urban night photography. Highlight and shadow detail is preserved and color rendering is gorgeous. Nikon D780 with a Nikon 28mm f/3.5 PC lens. 30 seconds, f/11, ISO 100.

Despite having the D780 for a while, I didn’t have the chance to photograph with it under starlight conditions––mostly due to lunar phase timing while I had it in California and an extended period of overcast skies here in Vermont. I have used the Z 6 for astro-landscape photography, and it produces some of the best Milky Way images I’ve ever seen. Assuming that the D780 has the same sensor as the Z 6, albeit with a few tweaks in how the images are processed, then both are class-leading for astro-landscape imaging.

ISO Invariance

Like the D750 and D850, the D780 sensor is ISO-invariant, meaning that you can underexpose by several stops to preserve highlights and bring up the shadows in post-processing without majorly compromising overall image quality. This is likely due to the dual-gain sensor that has been featured in many of the best-performing cameras released in the last few years.

The pixels in dual-gain sensors have two readout modes, the first at native and modestly increased ISOs for maximum dynamic range, and another for lower noise at higher ISOs at the expense of dynamic range. The D850 high-ISO readout mode kicks in at ISO 1600. I have not been able to determine when it switches over in the Z 6 and D780, but it’s probably similar to the D850.

The Orange Chair, Portland, Oregon. An example illustrating the ISO invariance of the D780 sensor. Intentional underexposure by 3 stops preserves the highlight detail in the windows. Nikon D780 with a Nikon 28mm f/3.5 PC lens. 20 seconds, f/11, ISO …

The Orange Chair, Portland, Oregon. An example illustrating the ISO invariance of the D780 sensor. Intentional underexposure by 3 stops preserves the highlight detail in the windows. Nikon D780 with a Nikon 28mm f/3.5 PC lens. 20 seconds, f/11, ISO 100.

Lightroom basic settings for β€œThe Orange Chair” photograph. Deep shadow detail recovered with only minimal added noise in post-processing. The RAW file adjustments on the image show an increase of +3.00 on the Exposure slider.

A Final Note on Image Quality

At the beginning of this article I mentioned a slight image quality improvement over the Z 6, and this has to do with the on-sensor phase-detection autofocus system. This is an advantageous feature, because it allows for phase-detection autofocus during live view. However, some of the pixel sites on the sensor are utilized for autofocus, which can cause a subtle banding effect in very deep shadowsβ€”especially when the exposure is raised in post-processing.

The D750 does not have this on-sensor system, and thus does not have this issue. The D780 does feature on-sensor phase-detection autofocus (the first Nikon DSLR to do so), but the banding issue has been resolved.

Conclusion

With so many great cameras to choose from, night photographers are not lacking for options. These days the debate is often about whether or not to make the switch from DSLR to mirrorless.

The D780 offers the best of both worlds in the form of a hybrid of the D750 and Z 6. The D780 has the phase-detection autofocus, the 4K video and the live view features of the Z 6 in a solid, compact DSLR body with a backside illuminated dual-gain sensor with great image quality at native, high and extreme ISOs. And don’t forget about the extended shutter speeds down to 15 minutes that virtually eliminate the need for an external intervalometer.

It’s not the perfect camera for night photography––we’re still waiting for that one, and likely always will beβ€”but the D780 comes very close.

Many photographers have made the switch to mirrorless for the reduction in size and weight, and others have resisted the change because they are not ready to sacrifice their FX lenses or don’t want to deal with an adapter to use them. Personally, I prefer the user experience of the DSLR, and don’t feel that the modest decrease in size and weight of switching to mirrorless is worth the trade-offs. When I reviewed the D850 2 years ago, I concluded that upgrading from a D750 to D850 wasn’t worth it for me, as the primary benefit was increased resolution that I didn’t need and backlit buttons that were convenient but not worth the added cost or extra weight in my bag.

Now with the introduction of the D780, it’s once again time to consider an upgrade. I’m buying one.


which night photographers is the D780 for?

D750 owners

As one of Nikon’s most successful cameras ever, the D750 is hard to beat, though it is getting a little long in the tooth, having been released in 2014. With the D780, there’s a modest gain in image quality, especially at higher ISOs. However, most of the improvements have more to do with an updated user experience than better image quality. If you love your D750, but it has seen better days, or you are simply ready for an upgrade, you will not be disappointed with the D780.

Older Nikon full-frame camera owners

If you’ve been holding on to that D600, D610, D800 or even the D810, it’s time to upgrade. For D810 owners who need the higher resolution for huge prints, the D850 is probably a better choice for you.

Canon Shooters

Specifically, those who are dissatisfied with high ISO image quality, or struggle to use live view for focusing in the dark with their 5D Mark IV. Canon’s live view used to be one reason for a night photographer to choose Canon over Nikon. That changed with the inability to get a bright enough image for live view focusing with the 5D Mark IV and the greatly improved low-light live view performance in the Nikon Z 6, Z 7 and D780. The D780 has superior high ISO image quality for astro-landscape photography and wider dynamic range for urban night photography than any Canon camera.

APS-C Camera Owners

Yes, you. It’s time. It’s true that recent crop-sensor cameras do a much better job at high ISO than the older ones, but they cannot compare to the image quality of a modern full-frame sensor. For those on a budget, the D750 is still an outstanding value at $1,500. The $1,800 Z 6 is also a great optionβ€”it just depends on your preference for mirrorless or a DSLR. If you can afford it, get the D780. It’s worth the extra cost.

Z 6 Converts Who Love Their New Camera, but Miss Their DSLR

I know of at least one person who bought a Z 6 but switched to a D780 for this very reason. If I had bought a Z 6, I’d probably be in this category too.


Pixel Study: High ISOs

ISO 6400

ISO 12,800

ISO 25,600

Nikon D780 with an Irix 15mm f/2.4 lens. 1/4, f/5, ISO 51,200.

I shot the same image on the same night with the same lens and settings to test image quality at high ISOs between the D750, D780 and Z 6. The images were made under clear, moonlit skies, and the subject was illuminated with a Luxli Viola on a light stand. The lighting was unchanged during the testing, except that the moon rose higher into the sky, which altered the shadows.

I tested each camera at ISO 6400, ISO 12,800 and ISO 25,600. There is very little difference between the three cameras at ISO 6400 and ISO 12,800, but the D750 image starts to deteriorate at ISO 25,600.

I also tested the D780 at ISO 51,200. At this extreme ISO, the image from the D780 deteriorates in the same way as the D750 does at ISO 25,600. The colors start to bleed outside of contrast edges. Color noise is still easily managed by Lightroom’s default correction, and there is no sign of background pattern noise. Luminance noise is significant.


Download Test Images

So you can make your own evaluations, we are providing a selection of images made during the testing I did for this article at npan.co/D780testimages. They are mostly DNG files with embedded metadata. Feel free to download the files and manipulate them for evaluative purposes.

Warning: It might take awhile to download these, and we recommend not doing so with a mobile device using a cellular data connection. The files total nearly half a gigabyte.

(All images are Β© 2020 Lance Keimig, and may not be printed or republished without express written consent of the author.)


Your Thoughts

Have you had a chance to shoot with the Nikon D780 yet? We’d love to hear your impressions and see your night images! Please leave your thoughts and photos in the comments below, or on our Facebook page.

Lance Keimig is a partner and workshop leader with National Parks at Night. He has been photographing at night for 30 years, and is the author of Night Photography and Light Painting: Finding Your Way in the Dark (Focal Press, 2015). Learn more about his images and workshops at www.thenightskye.com.

UPCOMING WORKSHOPS FROM NATIONAL PARKS AT NIGHT

Great Balls of Fire, Part 3: How to Process a Meteor Shower Radiant

Welcome to Part 3 of our journey through the how-to of photographing meteor showers:ο»Ώ

  1. β€œUsing PhotoPills to Scout Meteor Showers,” by Chris Nicholson

  2. β€œHow to Photograph a Meteor Shower,” by Matt Hill

  3. β€œHow to Process a Meteor Shower Radiant,” by Matt Hill

All of this, plus a guide to gear and a guide to shoot locations, is contained in our brand new PDF e-guide, Great Balls of Fire: A Guide to Photographing Meteor Showers. To download the whole e-guide, click here:


So … You’re creating a meteor shower photograph. You’ve scouted in PhotoPills. You’ve shot the showerο»Ώ. Now you have hundreds of images. How do we make that cool composite where all the meteors appear to come from a particular origin in the sky?

Find Your Background

Start by editing one image. It should be the best image. This will be the β€œbase” sky that all the meteors get stacked onto later.

Identify the frame that has the most aesthetically pleasing sky. In my example from Great Sand Dunes National Park, the Milky Way is arcing through the composition. Since there were clouds in all the images, I chose the one that I believed has the best-looking clouds and with the Milky Way leading to the upper right corner of the frame (Figure 1). I marked this image in Lightroom with a Pick flag and a Green color label to make it easy to find later.

Figure 1. I like these clouds the best.

Perform your edits to taste. I made my edits to accentuate the galaxy gliding across the sky. But then consider backing those off those edits a bit to de-accentuate the sky. In other words, make the sky darker than you normally would, because you will be masking in meteors, and they need to β€œpop.”

Sync your Develop settings across all the dark-sky images in your meteor series (Figure 2). If you shot into moonrise or sunrise, process those separately for the foreground (ignoring the sky, which you will eventually mask out).

Figure 2.

Don’t forget to spot/clone out any planes or satellites from your main image (but don’t worry about any of the other imagesβ€”that would be a waste of time).

Identifying Sky Objects

Here’s a cheat sheet on how to identify the four primary β€œstreak” objects you’ll find in your night sky images. If you want to dive even deeper into this, see my blog post β€œHow to tell the Difference Between Planes, Satellites and Meteors.”

Plane trails are straight or curved (or both), are usually accompanied by dots (from the wingtip lights) at regular intervals, and they traverse many frames.

Iridium satellite flares usually taper in/out like a meteor, but traverse more than one frame because they move slower than a meteor. Also, they may not have any notable color. These are becoming considerably less frequent.

A satellite or the International Space Station creates a straight, very thin line that traverses many frames. No color/tint.

A meteor appears in only one frame (unless you’re unlucky for it to happen during an interval between frames, which would create a gap in its trail). It can be many different colors or gradientsβ€”yellow, red, green, blue. Also will vary greatly in size and intensity.

Find Your Meteors

You could export all the images as layers in Photoshop, but imagine how much that would choke your computer. I have over 300 images from that shoot. It’s easier to export and work with only the ones with meteors. So first spend some time in Lightroom to identify every image that has an actual meteor in it. Some tips:

  • Zoom in and around each frame.

  • Toggle back and forth between pairs of images while looking for differences. You will eventually train your eyes to see the meteors.

  • Make a few passes through the whole series. Do your first pass with the zoom at β€œto fit screen” to find the dramatic, obvious meteors. Then do a few more subsequent passes at the β€œfill” zoom setting on different areas of the sky.

Finding all those meteors is time-consumingβ€”possibly the most time-consuming part of this post-processing project. And it’s taxing on your eyes. But persevere! The end is in sight.

As I found mine, I used a Yellow color label (number 7 on the keyboard, Figure 3) to mark each one. I found only 23 frames with meteors out of 325 images. Yesβ€”only 7 percent of my frames captured meteors. And I was running an exposure sequence for over two hours. Lesson: Maximize your chances; keep that sequence going as long as you can.

Figure 3. My meteor images, yellow-coded.

Also note that each meteor shower has a different potential yield for meteors per hour. (This is part of the info that PhotoPills provides.) This may vary by location, and will certainly vary by the amount of moonlight in the sky. And even if you’re supposed to be witnessing massive activity, your camera angle may not capture what does end up being visible, despite your best scouting efforts. So stay positive, be smart and work with what you get.

Find Your Foreground

You may have shot several options to use as your foregroundβ€”some long exposures at a low ISO, some with light painting, some with moonlight, etc. Look through and pick your favorite. I knew pretty much exactly what I was going to use, because I love my first photo from when the moon rose over the Sangre de Cristo Mountains.

Let’s prep the foreground image to make it easier to blend with the other frames.

For my sky image, I had deliberately crushed the blacks and shadows with a gradient mask and range mask to make the ground as dark as possible (Figure 4, left). Why? Because it would be easier to use a selection tool later in Photoshop.

For my foreground image, I did the opposite: I pushed up the whites and highlights in a gradient mask and range mask, and I carefully edited the edge so as not to blur the ground/sky transition (Figure 4, right). I also imagined what this should look like and made the ground edit believableβ€”not too bright, not too warm.

Figure 4. Crushed blacks in the foreground (left) and crushed highlights in the sky (right), to make masking them out easier in Photoshop later.

Stacking Your Assets

Use the Attribute filter in Lightroom to find all the Yellow-coded photos (or whatever attribute you chose). To do that, press Command-F (Mac) or Control-F (PC), then select Attribute and click on the Yellow rectangle. Select all the Yellow images in Grid view. Cancel out of the filter by clicking None at the top, then also select the edited versions of your background sky image and your foreground/landscape image.

With all those frames selected, from the Lightroom menu choose Edit > Open as Layers in Photoshop (Figure 5).

Figure 5.

Less Ideal, But Less Computer-Stressing Method

If your computer can handle the task, load the images into Photoshop using the method I described above. It will result in the highest-quality final image, albeit one that’s huge (in this case, a 7 GB PSB file). But if you have an older computer or not a lot of scratch-disk space, you may want to instead export all these frames as JPGs (full-resolution) and then load those files into Photoshop layers using Adobe Bridge. You could also use a Photoshop script to load the JPGs as layers. In Photoshop, choose File > Scripts > Load Files into Stack.

Both of those options will stress the computer less, but because JPGs are lossy, this option will be less flexible to edit later.

Editing Your Layers

Time to plug in that Wacom tablet if you have one! Although, a mouse is fine. I actually found it very easy to use a mouse for this with click/shift-click straight-line painting.

Power user tips:

  • Save every 10 minutes. Just do it. Losing detailed work will make you cry.

  • This will be huge file. Probably bigger than 2 GB, which is the size limit for a PSD. Therefore, you will want to save as a PSB, which is Photoshop’s native large-file format. If you want to be able to see your PSB in Lightroom, make sure you’ve updated your Creative Cloud software since February 2020.

  • Give your eyes a rest. Look out the window now and then.

  • Organize your layers. Make a layer group (essentially a folder for layers) to hold all the meteor images, and name it β€œMeteors.” Name your sky layer β€œSky” and your foreground layer β€œGround.” This will eliminate future confusion.

  • Lock your Sky and Ground layers to avoid accidental edits. (Press Control-/, or click the β€œLock all” icon above the layers.)

Masking

For each meteor layer, the only image data you want is the meteor itself. Why don’t you want the rest of the sky? Because the stars will be in a different place than in your Sky layer. The sky has only one Vega, etc., and we want to keep it that way. So on each meteor layer, we need to mask out everything except that streak of light.

Here are your steps (for tool locations, see Figure 6):

  1. Turn off your Sky and Ground layers.

  2. Turn off all the meteor layers except the one you are working on.

  3. Click the Add Layer Mask button at the bottom of the Layers panel.

  4. Press D to reset the foreground color to black and the background color to white.

  5. Press B to enable the Brush tool.

  6. Press the bracket keys to change the size of the brush to just a tad wider than the widest part of the meteor streak. [ makes the brush smaller and ] makes the brush bigger.

  7. Click on the thumbnail for the layer mask (not on the thumbnail for the image layer).

  8. Zoom in so the meteor’s path fills your screen.

  9. Now paint out the meteor on the mask. I know it’s counterintuitive. Trust me. (You can use the shift-click trick since meteors burn in a straight line: Click once at one end of the meteor streak, then hold Shift on your keyboard and click once at the end of the streak. )

  10. Use the brush sizing and feathering to finesse your masking.

  11. When you think you have successfully painted out the meteor, invert the layer mask by pressing Command-I (Mac) or Control-I (PC), or from the menu select Image > Adjustments > Invert. I prefer the keyboard shortcut because I use it to flip back and forth to finesse the masking. Try itβ€”most likely you’ll see how convenient it is, too.

  12. Look around the whole layerβ€”there may be more than one meteor in each.

  13. Optional: Make laser-beam noises when you find another meteor. I did. It’s fun.

Figure 6.

Rinse and repeat! Go back to step 2 and do this for every meteor layer you have in the Photoshop document (Figure 7).

Figure 7. All the meteors I found, masked in.

Making the Radiant

It’s magic time!

Alignment

The radiant of the meteor shower is always in motion, as seen from our perspective on earth. Keep this in mind. When you composed, you knew if it was in the frame or not and made good decisions about placement.

In my example, the Perseids were easy since they are so close to Polaris that they do not appear to move much. The Geminids, however, are so far up in the sky you’re not likely to have land and sky in the same composition, even with a 14mm lens. So they will come into your frame from the edge and point to a place not in clear view. And alignment will not be exact.

You’ll see this happen in our next steps:

  1. Select all the layers by pressing Command-Option-A (Mac) or Control-Alt-A (PC), or shift-click the first and last layer.

  2. On any layer with the Eyeball turned on, Control-click (Mac) or right-click (PC) on the eyeball, then select Show/Hide all other layers.

  3. Near the top of the Layers panel, change the Blend Mode to Lighten. You’ll now see the brightest elements of every layer blended togetherβ€”the stars, the lit foreground and the meteor streaks.

And see? It’s likely that not all your meteors are pointing to the same place.

Note: Any meteor that does not line up with the origin (in this case, the constellation Perseus) is called a β€œsporadic” (Figure 8). Don’t let those meteors make you think you did anything wrong. They happen. (More on Sporadic meteors here.)

Figure 8. A sporadic.

Because everything in the universe is in motion, to adjust for this perception error, our layers also need to be β€œput into motion.”  Specifically, we have to rotate each meteor layer, ideally around a visual anchor in the Sky layer. Lucky for me, Polaris is in my scene. Easy peasy. (If Polaris isn’t in your frame, you’ll just need to do a little more work by eye to line up the rotation correctly.)

If the Radiant is in Your Frame

The most surefire way to get all the meteors pointing toward the radiant is if you actually have the radiant in your composition. (See Figure 9 for tool locations.)

  1. Invert the layer mask.

  2. Set the layer to 50 percent opacity.

  3. Enter the Free Transform mode (Edit > Free Transform or Command/Control-T).

  4. Move the center point of the Transform bounding box to just inside Polaris (north)

  5. Rotate the layer. You can do this by clicking and dragging outside the corner of the Transform box. But you can control things easier this way: Locate the Rotate box at the top of the screen, and click into it. Now press the up/down-arrow keys until the star points align.

  6. When aligned, press Enter twice to lock in the rotation angle as well as your Transform adjustment.

  7. Set the layer opacity back to 100 percent.

  8. Invert the layer mask again.

  9. Repeat for each meteor layer.

Figure 9.

If that’s a bit too tedious for you, there are two faster (if less precise) ways to accomplish the same task:

  1. Use Free Transform when zoomed to fit to screen, move the center point roughly into position without zooming all the way in, and rotate each layer using your eyeballs.

  2. Evaluate if you want to do this at all. My first gut reaction without rotating the layers was, β€œThis looks great!” I turned off all the sporadic meteors and called it a day. But then I went back and did things β€œright” for the sake of perfecting the image for this blog post.

If the Radiant is not in Your Frame

Simply rotate and align each layer until all of the meteors appear to be originating from the same point. Sometimes I put a piece of tape on the wall behind the monitor and eyeball the lines so they all line up with that point. Reminds me of art school and learning about vanishing points.

Dealing with Sporadics

The sporadics might be bothering you. After all, you went through all this work to create an image where scores of meteors are pointing toward the same point in space, just to have a few rogues that point wherever they want (Figure 10).

Figure 10: Sporadic meteors circled in red. Note they do not point toward Perseus. I removed them.

You have a few options:

  • If you only want a β€œclean” radiant, turn off the layers with the sporadics.

  • If you don’t care, leave them on.

  • Free transform and rotate/move the sporadics so they look as if they came from the radiant.

It’s your choice. But my choice is not to pretend they all were radiant meteors if they were not. I chose to turn those layers off.

Along the same lines, you may choose to move some meteors that cross over or are too near to each other. It’s your fiction … or not. I chose to rotate each layer to honor the origin of the radiant.

Mask in the Ground and Sky

Your base images (which should be the lowest layers in your Photoshop file) for the sky and ground need to be masked over the meteor stack. Here’s how I did mine:

Photoshop is getting very good at auto-detecting with the Quick Selection tool (W). I set Point Sample to a tolerance of 2, and checked Anti-Alias and Contiguous. Then I clicked and dragged on the sky/ground (both of which we crushed in Lightroom earlier to make the unwanted pixels similar, specifically to ease the masking process now).

Figure 11.

When I had the selection I wanted (Figure 11), I added a layer mask and inverted it. Voila! Sky and Ground perfection (Figure 12).

Figure 12. The Sky and Ground layers blended, minus the stacked meteors.

After all this work (and pausing to save many times!), you have a Photoshop document with lots of layers, and it might look something like this:

Figure 13. Final image. Great Sand Dunes National Park, Colorado. Nikon D750 with a Zeiss Distagon 15mm f/2.8 lens. 17 images at 22 seconds, f/2.8, ISO 6400, plus a single foreground exposure at 382 seconds, ISO 2000.

Your final steps are to:

  1. Save it once more (Command/Control-S).

  2. Flatten the layers by choosing Layer > Flatten Image from the menu.

  3. From the Menu choose File > Save As and then choose Photoshop from the Format menu to save this file as a PSD. This process should automatically save the file and return it to Lightroom. If the PSD does not appear back in Lightroom, do the following: Navigate to the Library Module. Right-click on the folder containing the meteor images, and choose Synchronize. When prompted, choose to import the new image into Lightroom.

  4. Discard the giant layered PSD/PSB when you are totally comfortable that you are done editing it. I suggest giving it at least a week. (If you have giant hard drives and don’t care about gigabytes, feel free to skip this step.)

Wrapping Up

At this point, do whatever you do to celebrate. It’s a major accomplishmentβ€”to plan, to shoot and to edit a meteor shower radiant. Good on ya.

And pleaseβ€”please, please, pleaseβ€”if you go through all of this work, share what you’ve done. We’d love to see it. Post in the comments below or on our Facebook page.

Now be sure to download the e-book, Great Balls of Fire: A Guide to Photographing Meteor Showers, which includes all three blog posts, plus a gear guide and a location guide!

Matt Hill is a partner and workshop leader with National Parks at Night. See more about his photography, art, workshops and writing at MattHillArt.com. Follow Matt on Twitter Instagram Facebook.

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