Posted on June 23, 2019
Several people in this month’s New Zealand workshop had stated pretty emphatically that the Milky Way was a prime reason for attending—one guy even said his wife had told him not to come home without a Milky Way picture (we think she was joking). So no pressure. I reassured everyone in the orientation that I had multiple Milky Way shoots planned, but as the workshop’s nights ticked off, each Milky Way plan was doused—first by clouds, later by moonlight. And with the moon brightening and closer in the sky to the Milky Way each night, the we’d about run out of time.
I’d known all along that a waxing moon meant that our best Milky Way chances would come in the first half of the workshop. And I’d decided long before the workshop started that our final night would be especially problematic for the Milky Way not just because of the moon, but because of our location. But desperate times call for desperate measures, so with just a couple of days to go, I decided to recheck my calculations for about the millionth time (maybe a slight exaggeration, but you get the point). The two nights in Twizel were out of the question—the moon would be pretty much in the Milky Way. But our last night, in Queenstown…. Hmmm, maybe, just maybe, we’d have a 30-45 minute window between sunset and moonrise when the sky might be dark enough for the Milky Way to shine.
But the moon wasn’t the only obstacle. The forecast called for “high clouds,” a frustratingly vague forecast. And even if the sky darkened enough and the clouds cleared, we were in Queenstown, where I’d long ago decided that city lights and the orientation of Lake Wakatipu made finding Milky Way vantage point with a dark enough sky (no light pollution) and a nice enough foreground (lake and mountains) impossible. The moonlight and clouds risk were irrelevant if I couldn’t find a Milky Way location. But I had to give it a shot. Zooming in on the map, my eyes landed on one small tiny of lakeshore with enough of a twist that might work, though I’d never photographed there or even considered its Milky Way potential. But that was enough for me to circle the date and location and tell the group that we were going to give the Milky Way one more shot. All that was left to do was monitor the forecast and wait.
Wanting to be certain (and to avoid hunting blindly in the dark), on the way to our final sunset shoot I asked the driver to swing by my potential spot. I was relieved to confirm that the angle was good, and that there was an open, easily accessible stretch of beach. Yay. Down the road at our sunset location I just watched the clouds and hoped. The sky seemed clear enough there, but looked a little less promising back in the direction of my Milky Way location.
Arriving in twilight I hopped out of the van and checked the twilight sky—In addition to the promised high clouds, an accumulation of thicker clouds sat on the horizon more or less where the brightest part of the galactic center would be. And there were indeed a few high clouds, but Jupiter’s appearance was a relief because I knew Jupiter was on the leading edge of the Milky Way that night. Waiting for darkness, I prepared the group and just tried to stay positive. Every few minutes I’d return to my camera and fire a test frame to see if the sky was dark enough and look for any hint of moonlight.
You can’t imagine my excitement the first time my LCD displayed the faint glow of the Milky Way angling above 6000 foot Cecil Peak—we were in business. As the sky darkened, the Milky Way unfurled overhead in all its Southern Hemisphere glory, flanked by Jupiter and thousands of other stars in completely unfamiliar arrangements.
I started with my dedicated night photography setup, my Sony a7SII body and Sony 24 f/1.4 GM lens, trying a variety of horizontal and vertical compositions. After about 15 minutes I switched to my Sony 16-35 f/2.8 GM, sacrificing two stops of light for a wider field of view (more Milky Way). I liked the extra sky and stuck with that lens for the rest of the shoot.
After about 30 minutes of happy shooting we started to detect a brightening that signaled the moon’s approach behind The Remarkables (my hands-down favorite mountain range name). But rather than being a show stopper, the moonlight added a diaphanous sheen to the previously dark clouds and we kept going. As we wound down, the entire group was giddy with excitement, and I was giddy with relief. Just as we were started to pack up, I detected the faint reflection of Cecil Peak on the lake’s surface and adjusted my composition to include it.
To say that this night exceeded my expectations would be an understatement. In fact, my expectations almost dashed the entire shoot. It was a good a reminder not to get too locked in to preconceived notions. Had I stuck with my original belief that our final night in Queenstown wouldn’t work, I’d never have found a great Milky Way location—and one of the best shoots of an already great workshop would never have happened.
Click an image for a closer look and to view a slide show.
Posted on May 19, 2019
In the Beginning
I grew up in a camping family. My dad was a minister, so pricey airline/hotel/restaurant vacations were out of the question for the five of us, as of course were weekend camping trips. But for as far back as I can remember, each summer my family went camping somewhere. Usually it was a week or two in Yosemite, Sequoia/Kings Canyon, the California coast, or some other relatively close scenic destination, but every few years we’d hook up the tent trailer, pile into the station wagon, and take a road trip.
The one constant in this numbing succession of summer campsites was the dark sky far from city lights, and the vast sprinkle of stars that mesmerized me. I soon learned that stargazing is the one thing a child can do for as long as he wants after bedtime without getting in trouble. I enjoyed playing connect-the-dots with the stars, identifying named constellations, or making up my own. It turned out all this scanning was a great way to catch shooting stars, and soon my goal was to stay awake until one flashed across my vision. And satellites were still something of a novelty back then, so another camping bedtime exercise was to slowly scan the sky looking for a “star” that moved; when I found one, I’d track it across the until it disappeared behind the horizon—or my eyelids.
At some point I became aware of a hazy band of light stretching across my night sky. On the darkest nights, when my vantage point faced the right direction, the widest and brightest part of this band reminded me of sugar spilled on pooled ink. But the Milky Way wasn’t as dramatic some of the other stuff in my night skies, so the childhood Me was oblivious to its inherent coolness for many years.
On these nightly scans I was more interested in the apparent randomness in the patterns overhead—the consistency of certain stellar arrangements, while a few bright “stars” would be in different positions each night relative to these recognizable patterns. Someone explained to me the difference between stars and planets, that stars were far and planets were close, and that was good enough for me. For a while.
Then, when I was about ten, my best friend and I did a science project on comets, which ignited a sudden and intense interest in all things astronomical. I was gifted a second-hand telescope by a friend of my dad, which we’d set up in my best friend’s front yard on summer nights. Through the telescope the stars remained (boring) points of light, no matter how much I magnified them, but the planets became fascinating disks, each with its own personality. I learned that Venus and Mercury were actually crescents of varying size, just like a mini moon. After searching in vain for the canals on Mars, I was thrilled to (barely) see Saturn’s rings, and to watch the nightly dance of the four pin-prick Galilean moons.
All this stargazing helped me develop a rudimentary understanding of celestial relationships, the vastness of space, the sun’s dominant role in our solar system, and its utter insignificance in the Universe. And the more I learned about astronomy, the more fascinating our home galaxy became. Rather than just passively observing it, the Milky Way became a catalyst for pondering the mysteries of the Universe and my favorite night sky feature.
Then came college, marriage, family, jobs, cameras (lots of cameras) until I found myself at the bottom of the Grand Canyon on this moonless night in May. It was the second night of my annual Grand Canyon Raft Trip for Photographers, a highlight in a year full of highlights, and my first opportunity each year to reconnect with my favorite celestial feature. After night one hadn’t worked out, I told myself that we still had four more chances, but at bedtime on night two I was a little more pessimistic.
The prescription for a successful Milky Way photograph includes a clear view of the southern sky with a nice foreground. There’s no shortage of foreground in the Grand Canyon, but southern sky views are not quite so plentiful. The first night had been spectacularly clear, but our otherwise spectacular campsite was on an east/west trending section of river (I try to select each campsite for its astrophotography potential, but the sites can’t be reserved, and sometime there are other factors to consider), which placed the rising galactic core behind a towering canyon wall. On our second day we’d scored prime real estate on a north/south section of river a few miles upstream from Desert View, but now thin clouds threatened to spoil the show.
In May the Milky Way doesn’t usually crest the canyon walls until 2:00 or 3:00 a.m. (depending on the location), but as we prepared for bed that second day, only a handful of stars smoldered in the gauzy veil above. But with six hours for conditions to improve, I prepared anyway, identifying my foreground, setting up my tripod next to my cot, and mounting my Sony a7SII body and Sony 24mm f/1.4 lens with ISO, f-stop, and shutter speed set.
Waking a little before 3:00, I instantly saw far more stars than had been visible at bedtime. But more importantly, there was the Milky Way, directly overhead. I sat up and peered toward the river—the soft glow of several LCD screens told me others were already shooting, so I grabbed my tripod and stumbled down to the river’s edge in the dark (to avoid illuminating the others’ scene). It’s quite amazing how well you can see by the light of the Milky Way once your eyes adjust.
After a few frames I saw that a few thin clouds remained, creating interesting patterns against the starry background. By about 4 a.m., an hour-and-a-half before sunrise, loss of contrast in my images that wasn’t visible to my eyes told me the approaching sun was already starting to brighten the sky. I photographed for about an hour that morning, then managed to catch another 45 minutes of contented sleep before the guides’ coffee call got me up for good.
I continue updating my Photo Tips articles—here’s my just-updated Milky Way article,
with all you need to know to locate and photograph our home galaxy
Look heavenward on a moonless (Northern Hemisphere) summer night far from city light. The first thing to strike you is the shear volume of stars, but as your eyes adjust, your gaze is drawn to a luminous band spanning the sky. Ranging from magnificently brilliant to faintly visible, this is the Milky Way, home to our sun and nearly a half trillion other stars of varying age, size, and temperature.
Though every star you’ve ever seen is part of our Milky Way galaxy, stargazers use the Milky Way label more specifically to identify this river of starlight, gas, and dust spanning the night sky. As you feast your eyes, appreciate that some of the Milky Way’s starlight has traveled 25,000 years to reach your eyes, and light from a star on one edge of the Milky Way would take 100,000 years to reach the other side.
The rest of the sky appears to be filled with far more discrete stars than the region containing the Milky Way, but don’t let this deceive you. Imagine that you’re out in the countryside where the lights of a distant city blend into a homogeneous glow—similarly, the stars in the Milky Way’s luminous band are simply too numerous and distant to resolve individually. On the other hand, the individual pinpoints of starlight that we name and mentally assemble into constellations are just closer, much like the lights of nearby farmhouses. And the dark patches in the Milky Way aren’t empty space—like the trees and mountains that block our view of the city, they’re starlight-blocking interstellar dust and gas, remnants of exploded stars and the stuff of future stars.
Just as it’s impossible to know what your house looks like by peering out a window, it’s impossible to know what the Milky Way looks like by simply looking up on a dark night. Fortunate for us, really smart people have been able to infer from painstaking observation, measurement, reconstruction, and comparison with other galaxies that our Milky Way is flat (much wider than it is tall) and spiral shaped, like a glowing pinwheel, with two major arms and several minor arms spiraling out from its center. Our solar system is in one of the Milky Way’s minor arms, a little past midway between the center and outer edge.
Sadly, artificial light and atmospheric pollution have erased the view of the Milky Way for nearly a third of the world’s population, and eighty percent of Americans. Worse still, even though some part of the Milky Way is overhead on every clear night, many people have never seen it.
Advances in digital technology have spurred a night photography renaissance that has enabled the Milky Way challenged to enjoy images of its splendor from the comfort of their recliner, but there’s nothing quite like viewing it in person. With just a little knowledge and effort, you too can enjoy the Milky Way firsthand; add the right equipment and a little more knowledge, and you’ll be able to photograph it as well.
Understanding that our Solar System is inside the Milky Way’s disk makes it easier to understand why we can see some portion of the Milky Way on any night (assuming the sky is dark enough). In fact, from our perspective, the plane of the Milky Way forms a complete ring around Earth (but of course we can only see half the sky at any given time), with its brightness varying depending on whether we’re looking toward our galaxy’s dense center or sparse outer region.
Though the plane of the Milky Way stretches all the way across our sky, when photographers talk about photographing the Milky Way, they usually mean the galactic core—the Milky Way’s center and most densely packed, brightest region. Unfortunately, our night sky doesn’t always face the galactic core, and there are many months when this bright region is not visible at all.
To understand the Milky Way’s visibility in our night sky, it helps to remember that Earth both rotates on its axis (a day), and revolves around the sun (a year). When the side of the planet we’re on rotates away from the sun each day, the night sky we see is determined by our position on our annual trip around the sun—when Earth is between the sun and the galactic core, we’re in position to see the most brilliant part of the Milky Way; in the months when the sun is between earth and the galactic core, the bright part of the Milky Way can’t be seen.
Put in terrestrial terms, imagine you’re at the neighborhood playground, riding a merry-go-round beneath a towering oak tree. You face outward, with your back to the merry-go-round’s center post. As the merry-go-round spins, your view changes—about half of the time you’d rotate to face the oak’s trunk, and about half the time your back is to the tree. Our solar system is like that merry-go-round: the center post is the sun, the Milky Way is the tree, and in the year it takes our celestial merry-go-round to make a complete circle, we’ll face the Milky Way about half the time.
Just like every other celestial object outside our solar system, the Milky Way’s position in our sky changes with the season and time of night you view it, but it remains constant relative to the other stars and constellations. This means you can find the Milky Way by simply locating any of the constellations in the galactic plane. Here’s an alphabetical list of the constellations* through which the Milky Way passes (with brief notes by a few of the more notable constellations):
If you can find any of these constellations, you’re looking in the direction of some part of the Milky Way (if you can’t see it, your sky isn’t dark enough). But most of us want to see the center of the Milky Way, where it’s brightest, most expansive, and most photogenic. The two most important things to understand about finding the Milky Way’s brilliant center are:
Armed with this knowledge, locating the Milky Way’s core is as simple as opening one of my (too many) star apps to find out where Sagittarius is. Problem solved. Of course it helps to know that the months when the galactic core rises highest and is visible longest are June, July, and August, and to not even consider looking before mid-March, or after mid-October. If you can’t wait until summer and don’t mind missing a little sleep, starting in April, Northern Hemisphere residents with a dark enough sky can catch Sagittarius and the galactic core rising in the southeast shortly before sunrise. After its annual premier in April, the Milky Way’s core rises slightly earlier each night and is eventually well above the horizon by nightfall.
People who enjoy sleep prefer doing their Milky Way hunting in late summer and early autumn, when the galactic core has been above the horizon for most of the daylight hours, but remains high in the southwest sky as soon as the post-sunset sky darkens enough for the stars to appear. The farther into summer and autumn you get, the closer to setting beneath the western horizon the Milky Way will be at sunset, and the less time you’ll have before it disappears.
The Milky Way is dim enough to be easily washed out by light pollution and moonlight, so the darker your sky, the more visible the Milky Way will be. To ensure sufficient darkness, I target moonless hours, from an hour or so after sunset to an hour before sunrise. New moon nights are easiest because the new moon rises and sets (more or less) with the sun and there’s no moon all night. But on any night, if you pick a time before the moon rises, or after it sets, you should be fine. Be aware that the closer the moon is to full, the greater the potential for its glow to leak into the scene from below the horizon.
Getting away from city lights can be surprisingly difficult (and frustrating). Taking a drive out into the countryside near home is better than nothing, and while it may seem dark enough to your eyes, a night exposure in an area that you expect to be dark enough reveals just how insidious light pollution is as soon as you realize all of your images are washed out by an unnatural glow on the horizon. Since the galactic core is in the southern sky in the Northern Hemisphere, you can mitigate urban glow in your Milky Way images by heading south of any nearby population area, putting the glow behind you as you face the Milky Way.
Better than a night drive out to the country, plan a trip to a location with a truly dark sky. For this, those in the less densely populated western US have an advantage. The best resource for finding world-class dark skies anywhere on Earth is the International Dark-Sky Association. More than just a resource, the IDA actively advocates for dark skies, so if the quality of our night skies matters to you, spend some time on their site, get involved, and share their website with others.
Viewing the Milky Way requires nothing more than a clear, dark sky. (Assuming clean, clear skies) the Milky Way’s luminosity is fixed, so our ability to see it is largely a function of the darkness of the surrounding sky—the darker the sky, the better the Milky Way stands out. But because our eyes can only take in a fixed amount of light, there’s a ceiling on our ability to view the Milky Way with the unaided eye.
A camera, on the other hand, can accumulate light for a virtually unlimited duration. This, combined with technological advances that continue increasing the light sensitivity of digital sensors, means that when it comes to photographing the Milky Way, well…, the sky’s the limit. As glorious as it is to view the Milky Way with the unaided eye, a camera will show you detail and color your eyes can’t see.
Knowing when and where to view the Milky Way is a great start, but photographing the Milky Way requires a combination of equipment, skill, and experience that doesn’t just happen overnight (so to speak). But Milky Way photography doesn’t need to break the bank, and it’s not rocket science.
Bottom line, photographing the Milky Way is all about maximizing your ability to collect light: long exposures, fast lenses, high ISO.
In general, the larger your camera’s sensor and photosites (the “pixels” that capture the light), the more efficiently it collects light. Because other technology is involved, there’s not an absolute correlation between sensor and pixel size and light gathering capability, but a small, densely packed sensor almost certainly rules out your smartphone and point-and-shoot cameras for anything more than a fuzzy snap of the Milky Way. At the very least you’ll want a mirrorless or DSLR camera with an APS-C (1.5/1.6 crop) size sensor. Better still is a full frame mirrorless or DSLR camera. (A 4/3 Olympus or Panasonic sensor might work, but as great as these cameras are for some things, high ISO photography isn’t their strength.
Another general rule is that the newer the technology, the better it will perform in low light. Even with their smaller, more densely packed sensors, many of today’s top APS-C bodies outperform in low light full frame bodies that have been out for a few years, so full frame or APS-C, if your camera is relatively new, it will probably do the job.
If you’re shopping for a new camera and think night photography might be in your future, compare your potential cameras’ high ISO capabilities—not their maximum ISO. Read reviews by credible sources like DP Review, Imaging Resource, or DxOMark (among many others) to see how your camera candidates fare in objective tests.
An often overlooked consideration is the camera’s ability to focus in extreme low light. Autofocusing on the stars or landscape will be difficult to impossible, and you’ll not be able to see well enough through a DSLR’s viewfinder to manually focus. Some bodies with a fast lens might autofocus on a bright star or planet, but it’s not something I’d count on (though I expect within a few years before this capability will become more common).
Having photographed for years with Sony and Canon, and working extensively with most other mirrorless and DSLR bodies in my workshops, I have lots of experience with cameras from many manufacturers. In my book, focus peaking makes mirrorless the clear winner for night focusing. Sony’s current mirrorless bodies (a7RII/RIII, a7S/SII) are by far the easiest I’ve ever used for focusing in the dark—what took a minute or more with my Canon, I can do in seconds using focus peaking with my Sony bodies (especially the S bodies). I use the Sony a7SII, but when I don’t want to travel with a body I only use for night photography, the Sony a7RIII does the job too. Of the major DSLR brands, I’ve found Canon’s superior LCD screen (as of 2019) makes it much easier to focus in extreme low light than Nikon. (More on focus later.)
Put simply, to photograph the Milky Way you want fast, wide glass—the faster the better. Fast to capture as much light as possible; wide to take in lots of sky. A faster lens also makes focus and composition easier because the larger aperture gathers more light. How fast? F/2.8 or faster—preferably faster. How wide? At least 28mm, and wider is better still. I do enough night photography that I have a dedicated, night-only lens—my original night lens was a Canon-mount Zeiss 28mm f/2; my current night lens is the Sony 24mm f/1.4.
It goes without saying that at exposure times up to 30 seconds, you’ll need a sturdy tripod and head for Milky Way photography. You don’t need to spend a fortune, but the more you spend, the happier you’ll be in the long run (trust me). Carbon fiber provides the best combination of strength, vibration reduction, and light weight, but a sturdy (albeit heavy) aluminum tripod will do the job.
An extended centerpost is not terribly stable, and a non-extended centerpost limits your ability to spread the tripod’s legs and get low, so I avoid tripods with a centerpost. But if you have a sturdy tripod with a centerpost, don’t run out and purchase a new one—just don’t extend the centerpost when photographing at night.
Read my tips for purchasing a tripod here.
To eliminate the possibility of camera vibration I recommend a remote release; without a remote you’ll risk annoying all within earshot with your camera’s 2-second timer beep. You’ll want a flashlight or headlamp for the walk to and from the car, and your cell phone for light while shooting. And it’s never a bad idea to toss an extra battery in your pocket. And speaking of lights, never, never, NEVER use a red light for night photography (more on this later).
Keep it simple
There are just so many things that can go wrong on a moonless night when there’s not enough light to see camera controls, the contents of your bag, and the tripod leg you’re about to trip over. After doing this for many years, both on my own and helping others in workshops, I’ve decided that simplicity is essential.
Simplicity starts with paring down to the absolute minimum camera gear: a sturdy tripod, one body, one lens, and a remote release (plus an extra battery in my pocket). Everything else stays at home, in the car, or if I’m staying out after a sunset shoot, in my bag.
Upon arrival at my night photography destination, I extract my tripod, camera, lens (don’t forget to remove the polarizer), and remote release. I connect the remote and mount my lens—if it’s a zoom I set the focal length at the lens’s widest—then set my exposure and focus (more on exposure and focus below). If I’m walking to my photo site, I carry the pre-exposed and focused camera on the tripod (I know this makes some people uncomfortable, but if you don’t trust your tripod head enough to hold onto your camera while you’re walking, it’s time for a new head), trying to keep the tripod as upright and stable as possible as I walk.
Flashlights/headlamps are essential for the walk/hike out to to and from my shooting location, but while I’m there and in shoot mode, it’s no flashlights, no exceptions. This is particularly important when I’m with a group. Not only does a flashlight inhibit your night vision, its light leaks into the frame of everyone who’s there. And while red lights may be better for your night vision and are great for telescope view, red light is especially insidious about leaking into everyone’s frame, so if you plan to take pictures, no red light! If you follow my no flashlight rule once the photography begins, you’ll be amazed at how well your eyes adjust. I can operate my camera’s controls in the dark—it’s not hard with a little practice, and well worth the effort to learn. If I ever do need to see my camera to adjust something, or if I need to see to move around, my cell phone screen (not the phone’s flashlight, just its illuminated screen) gives me all the light I need.
A good Milky Way image is distinguished from an ordinary Milky Way image by its foreground. Simply finding a location that’s dark enough to see the Milky Way is difficult enough; finding a dark location that also has a foreground worthy of pairing with the Milky Way usually takes a little planning.
Since the Milky Way’s center is in the southern sky (for Northern Hemisphere observers), I look for remote (away from light pollution) subjects that I can photograph while facing south (or southeast or southwest, depending on the month and time of night). Keep in mind that unless you have a ridiculous light gathering camera (like the Sony a7S or a7S II) and an extremely fast lens (f/2 or faster), your foreground will probably be more dark shape than detail. Water’s inherent reflectivity makes it a good foreground subject as well, especially if the water includes rocks or whitewater.
When I encounter a scene I deem photo worthy, not only do I try to determine its best light and moon rise/set possibilities, I also consider its potential as a Milky Way subject. Can I align it with the southern sky? Are there strong subjects that stand out against the sky? Is there water I can include in my frame?
I’ve found views of the Grand Canyon from the North Rim, the Kilauea Caldera, and the bristlecone pines in California’s White Mountains that work spectacularly. And its hard to beat the dark skies and breathtaking foreground possibilities at the bottom of the Grand Canyon. On the other hand, while Yosemite Valley has lots to love, you don’t see a lot of Milky Way images from Yosemite Valley because not only is there a lot of light pollution, and Yosemite’s towering, east/west trending granite walls give its south views an extremely high horizon that blocks much of the galactic core from the valley floor.
The last few years I’ve started photographing the Milky Way above the spectacular winter scenery of New Zealand’s South Island, where the skies are dark and the Milky Way is higher in the sky than it is in most of North America.
To maximize the amount of Milky Way in my frame, I generally (but not always) start with a vertical orientation that’s at least 2/3 sky. On the other hand, I do make sure to give myself more options with a few horizontal compositions as well. Given the near total darkness required of a Milky Way shoot, it’s often too dark to see well enough to compose that scene. If I can’t see well enough to compose I guess at a composition, take a short test exposure at an extreme (unusable) ISO to enable a relatively fast shutter speed (a few seconds), adjust the composition based on the image in the LCD, and repeat until I’m satisfied.
Needless to say, when it’s dark enough to view the Milky Way, there’s not enough light to autofocus (unless you have a rare camera/lens combo that can autofocus on a bright star and planet), or even to manually focus with confidence. And of all the things that can ruin a Milky Way image (not to mention an entire night), poor focus is number one. Not only is achieving focus difficult, it’s very easy to think you’re focused only to discover later that you just missed.
Because the Milky Way’s focus point is infinity, and you almost certainly won’t have enough light to stop down for more depth of field, your closest foreground subjects should be far enough away to be sharp when you’re wide open and focused at infinity. Before going out to shoot, find a hyperfocal app and plug in the values for your camera and lens at its widest aperture. Even though it’s technically possible to be sharp from half the hyperfocal distance to infinity, the kind of precise focus focusing on the hyperfocal point requires is difficult to impossible in the dark, so my rule of thumb is to make sure my closest subject is no closer than the hyperfocal distance.
For example, I know with my Sony 24mm f/1.4 wide open on my full frame Sony a7SII, the hyperfocal distance is about 50 feet. If I have a subject that’s closer (such as a bristlecone pine), I’ll pre-focus (before dark) on the hyperfocal distance, or shine a bright light on an object at the hyperfocal distance and focus there, but generally I make sure everything is at least 50 feet away. Read more about hyperfocal focus in my Depth of Field article.
By far the number one cause of night focus misses is the idea that you can just dial any lens to infinity; followed closely by the idea that focused at one focal length means focused at all focal lengths. Because when it comes to sharpness, almost isn’t good enough, if you have a zoom lens, don’t even think of trying to dial the focus ring to the end for infinity. And even for most prime lenses, the infinity point is a little short of all the way to the end, and can vary slightly with the temperature and f-stop. Of course if you know your lens well enough to be certain of its infinity point by feel (and are a risk taker), go for it. And that zoom lens that claims to be parfocal? While it’s possible that your zoom will hold focus throughout its entire focal range, regardless of what the manufacturer claims, I wouldn’t bet an entire shoot on it without testing first.
All this means that the only way to ensure night photography sharpness is to focus carefully on something before shooting, refocus every time your focal length changes, and check focus frequently by displaying and magnifying an image on your LCD. To simplify (there’s that word again), when using a zoom lens, I usually set the lens at its widest focal length, focus, verify sharpness, and (once I know I’m focused) never change the focal length again.
While the best way to ensure focus is to set your focal length and focus before it gets dark, sometimes pre-focusing isn’t possible, or for some reason you need to refocus after darkness falls. If I arrive at my destination in the dark, I autofocus on my headlights, a bright flashlight, or a laser 50 feet or more away. And again, never assume you’re sharp by looking at the image that pops up on the LCD when the exposure completes—always magnify your image and check it after you focus.
For more on focusing in the dark, including how to use stars to focus, read my Starlight Photo Tips article.
Exposing a Milky Way image is wonderfully simple once you realize that you don’t have to meter—because you can’t (not enough light). Your goal is simply to capture as many photons as you can without damaging the image with noise, star motion, and lens flaws.
Basically, with today’s technology you can’t give a Milky Way image too much light—you’ll run into image quality problems before you overexpose a Milky Way image. In other words, capturing the amount of light required to overexpose a Milky Way image is only possible if you’ve chosen an ISO and/or shutter speed that significantly compromises the quality of the image with excessive noise and/or star motion.
In a perfect world, I’d take every image at ISO 100 and f/8—the best ISO and f-stop for my camera and lens. But that’s not possible when photographing in near total darkness—a usable Milky Way image requires exposure compromises. What kind of compromises? The key to getting a properly exposed Milky Way image is knowing how far you push your camera’s exposure settings before the light gained isn’t worth the diminished quality. Each exposure variable causes a different problem when pushed too far:
Again: My approach to metering for the Milky Way is to give my scene as much light as I can without pushing the exposure compromises to a point I can’t live with. Where exactly is that point? Not only does that question require a subjective answer that varies with each camera body, lens, and scene, as technology improves, I’m less forgiving of exposure compromises than I once was. For example, when I started photographing the Milky Way with my Canon 1DS Mark III, the Milky Way scenes I could shoot were limited because my fastest wide lens was f/4 and I got too much noise when I pushed my ISO beyond 1600. This forced me compromise by shooting wide open with a 30-second shutter speed to achieve even marginal results. In fact, given these limitations, despite trying to photograph the Milky Way from many locations, when I started the only Milky Way foreground that worked well enough was Kilauea Caldera, because it was its own light source (an erupting volcano).
Today (mid-2019) I photograph the Milky Way with a Sony a7S II and a Sony 24mm f/1.4 lens. I get much cleaner images from my Sony at ISO 6400 than got a ISO 1600 on my Canon 1DSIII, and the night light gathering capability of an f/1.4 lens revelatory. At ISO 6400 (or higher) I can stop down slightly to eliminate lens aberrations (though I don’t seem to need to with the Sony lens), drop my shutter speed to 20 or 15 seconds to reduce star motion 33-50 percent, and still get usable foreground detail by starlight.
I can’t emphasize enough how important it is to know your camera’s and lens’s capabilities in low light, and how for you’re comfortable pushing the ISO and f-stop. For each of the night photography equipment combos I’ve used, I’ve established a general exposure upper threshold, rule-of-thumb compromise points for each exposure setting that I won’t exceed until I’ve reached the compromise threshold of the other exposure settings. For example, with my Sony a7SII/24mm f/1.4 combo, I usually start at ISO 6400, f/1.4, and 20 seconds. Those settings will usually get me enough light for Milky Way color and pretty good foreground detail. But if I want more light (for example, if I’m shooting into the black pit of the Grand Canyon from the canyon rim), my first exposure compromise might be to increase to ISO 12800; if I decide I need even more light, my next compromise is to bump my shutter speed to 30 seconds. Or if I want a wider field of view than 24mm, I’ll put on my Sony 16-35 f/2.8 G lens and increase to ISO 12800 and 30 seconds.
These thresholds are guidelines rather than hard-and-fast rules, and they apply to my preferences only—your results may vary. And though I’m pretty secure with this workflow, for each Milky Way composition I try a variety of exposure combinations before moving to another composition. Not only does this give me a range of options to choose between when I’m at home and reviewing my images on a big monitor, it also gives me more insight into my camera/lens capabilities, allowing me to refine my exposure compromise threshold points.
One other option that I’ve started applying automatically is long exposure noise reduction, which delivers a noticeable reduction in noise for exposures that are several seconds and longer.
It’s time to click that shutter
You’re in position with the right gear, composed, focused, and exposure values set. Before you actually click the shutter, let me remind you of a couple of things you can do to ensure the best results: First, lower that center post. A tripod center post’s inherent instability is magnified during long exposures, not just by wind, but even by nearby footsteps, the press of the shutter button, and slap of the mirror (and sometimes it seems, by ghosts). And speaking of shutter clicks, you should be using a remote cable or two-second timer to eliminate the vibration imparted when your finger presses the shutter button.
When that first Milky Way image pops up on the LCD, it’s pretty exciting. So exciting in fact that sometimes you risk being lulled into a “Wow, this isn’t as hard as I expected” complacency. Even though you think everything’s perfect, don’t forget to review your image sharpness every few frames by displaying and magnifying and image on your LCD. In theory nothing should change unless you changed it, but in practice I’ve noticed an occasional inclination for focus to shift mysteriously between shots. Whether it’s slight temperature changes or an inadvertent nudge of the focus ring as you fumble with controls in the dark, you can file periodically checking your sharpness falls under “an ounce of prevention….” Believe me, this will save a lot of angst later.
And finally, don’t forget to play with different exposure settings for each composition. Not only does this give you more options, it also gives you more insight into your camera/lens combo’s low light capabilities.
The bottom line
Though having top-of-the-line, low-light equipment helps a lot, it’s not essential. If you have a full frame mirrorless or DSLR camera that’s less than five years old, and a lens that’s f/2.8 or faster, you probably have all the equipment you need to get great the Milky Way images. Even with a cropped sensor, or an f/4 lens, you have a good chance of getting usable Milky Way images in the right circumstances. If you’ve never photographed the Milky Way before, don’t expect perfection the first time out. What you can expect is improvement each time you go out as you learn the limitations of your equipment and identify your own exposure compromise thresholds. And success or failure, at the very least you’ll have spent a magnificent night under the stars.
Click an image for a closer look and slide show. Refresh the window to reorder the display.
Posted on April 21, 2019
There are many (many!) beautiful sights in Yosemite, but when most people think about Yosemite, they think about waterfalls and granite. The granite is forever (virtually), but Yosemite’s waterfalls come and go with the season: exploding from the granite walls in spring, most of Yosemite’s waterfalls are bone dry by summer’s end. And some years are better than others—three springs ago, Bridalveil and Yosemite Falls were barely a trickle, too dry to photograph (unprecedented in my lifetime). The next spring the deafening roar of waterfalls was back, echoing throughout Yosemite Valley.
Moonbow, April 18, 2019
I just returned from my annual Yosemite Moonbow and Dogwood photo workshop on Friday night (technically, it was early Saturday morning). The dogwood are just starting to pop, but the waterfalls are going strong, with enough snow in the high Sierra bank to keep them roaring through summer.
My group photographed more waterfall rainbows than I could count, on both Bridalveil and Yosemite Falls, but the highlight was Thursday night’s lunar rainbow (moonbow) shoot on the bridge beneath Lower Yosemite Fall. Nothing compares to the first time seeing a moonbow. A shimmering silver arc, a moonbow is clearly visible to the naked eye—proper exposure in a camera reveals the moonbow’s vivid color.
A “practice” moonlight shoot the previous night helped prepare everyone for the difficulties of photographing in the dark. And while my group came prepared for moonlight photography, the crowds and mist make things difficult even for the seasoned veteran. The crowds weren’t too bad this year, but while lots of water in the fall means a better moonbow, it also means a wetter photographer.
I feared that the thin cloud cover that had delivered a spectacular sunset just as the full moon rose just an hour or so earlier, would douse the moonlight necessary for a moonbow, but that turned out to be a non-factor. One problem was contrails, more than I’ve ever seen. Some chose to leave the sky (or most of the sky) out of their frame; I opted to include the sky, then carefully execute a contrailecotmy in Photoshop.
Because most of my time on the bridge is spent assisting the group, I only got to click a handful of frames. I started on the (drier) paved open area before the bridge, but after working with a workshop participant on the bridge, I decided the view there was worth getting wet.
I went wider with this year’s images than previous years, using my Sony 12-24 G lens on my Sony a7RIII camera. I focused on the moon, then turned around and set up my composition. Concerned about too much water on my front lens element, I bumped my ISO to 1600 to keep my shutter speed at 10 seconds or faster. When I was ready to click, I wiped down the front of my lens with a towel that I lifted just as my shutter clicked.
I just scheduled my 2020 Yosemite Spring photo workshops, April 5-8 and May 4-7. Both are timed for the full moon to maximize our moonbow chances. And of course it’s not all about waterfalls and rainbows—this year’s spring workshops included some spectacular clearing storms, beautiful moonrises, and brilliant poppies. In addition to great photography, you’ll improve your photo skills with daily training and image reviews. You’ll also have lots of fun.
Click an image for a closer look and to view slide show.
Category: Bridalveil Fall, Cathedral Rocks, full moon, Merced River, Merced River Canyon, Moon, Moonbow, Moonlight, Sony 100-400 GM, Sony 12-24 f4 G, Sony 2X teleconverter, Sony a6300, Sony a7R III, Yosemite Tagged: Lower Yosemite Fall, moonbow, moonlight, night photography, Yosemite, Yosemite Falls
Posted on December 30, 2018
I’ve always struggled with the “top-whatever” end-of-year countdown of my favorite images because the choices are so subjective and mood dependent, and so many images are favorites as much for their memories as they are for their aesthetic value. And coming up with a predetermined number is arbitrary, and inevitably requires choices I don’t want to make and will almost certainly regret later. One year I may have only seven or eight images that thrill me; the next year I might have two dozen. This year I chose 27, and I still have some left to process.
So rather than attempt to rate and rank my images at year’s end, I prefer using them as a catalyst for reflection. Each December I go through everything I’ve processed from the waning year (this year I know of several that would certainly qualify as a highlight but they’re as yet unprocessed) think about the circumstances of their capture.
I remember the New Year’s Eve solo drive to Yosemite to photograph the full moon rising behind, followed by a night drive to the other side of the Sierra (a six hour drive in winter) where I hoped to capture the full moon setting behind Mt. Whitney. The Yosemite part of that trip was spectacular, the Mt. Whitney half was a photography flop, but I enjoyed the entire journey.
I remember nearly a month in New Zealand, photographing the South Island’s unmatched beauty in its most beautiful season (hint: brrrrrrr). In New Zealand I hiked on a glacier, photographed the (far superior) Southern Hemisphere version of Milky Way, was chased through a fjord by leaping dolphins, witnessed one of the most vivid crimson sunrises I’ve ever seen, and logged hundreds of quality kilometers with a group of wonderful people.
I remember a solo drive to Yosemite to photograph fresh snow, never a sure thing regardless of the forecast. I approached Yosemite on the evening prior, I felt like a lone spawning salmon fighting up current against the continuous stream of headlights evacuating Yosemite in advance of the storm. I settled into my room in dark and dry Yosemite Valley, and woke to so much snow that I couldn’t find my car. I’m convinced there is nothing, nothing on Earth more beautiful than Yosemite Valley with fresh snow, and with the park mostly vacant and the noise-damping quality of powdery snow, for a few hours I felt like I had heaven all to myself.
I remember chasing lightning on the Grand Canyon’s North Rim, the thrill (and relief) when everyone in both workshop groups captured lightning, and an especially spectacular lightning storm that started in the telephoto distances and chased us to the cars. This year’s Grand Canyon workshops were altered by fires burning in and near the park and I feared that they’d spoil the photography—instead, in addition to all the lightning, we ended up with spectacular red-rubber-ball sunrises and sunsets that allowed genuinely unique images in this heavily photographed destination.
I remember arriving on the Big Island shortly after Kilauea had shut down after 35 years of continuous eruption, and discovering that between the just-concluded Kilauea eruption and the recently depart remnants of Hurricane Lane, I’d lost nearly half of my locations. Instead I ended up finding alternate photo spots that I like even better than the ones I lost. The high point (literally and figuratively) of that trip turned out to be a chilly, first-ever sunset and Milky Way shoot from atop 13,800 foot Mauna Kea.
I remember my Yosemite Fall Color workshop group finding Yosemite Valley at peak fall color, and three beautiful moonrises in my just concluded winter moon workshop. And while thousand of photographers jockeyed for position beneath bone dry Horsetail Fall in February, my workshop group set up elsewhere and photographed one of the most beautiful sunsets of the year.
I remember way back in January, along with my Death Valley workshop group, photographing my first-ever lunar eclipse (on the heals of my first-ever solar eclipse in August of 2017).
And I remember trudging through Grand Canyon sand by starlight to a spot that I’d decided before nightfall was probably not a good Milky Way candidate, and discovering that I was wrong. It turned out the level of the Colorado River level had changed in the night, replacing mushy sand with a swirling pool that rendered the Milky Way’s reflection as a luminous abstract.
I could go on and on about my memories of 2018, but all these great memories also remind me of the unknown highlights in store for 2019. Certainly the planned trips, which include my first-ever Iceland visit (with Don Smith in preparation for our 2020 workshop), my first-ever Oregon Coast workshop (with Don Smith), another raft trip through the Grand Canyon, a return visit to New Zealand, and on and on. But what excites me more than anything is the inevitable surprises, those special moments that dazzle when dazzling is the last thing you expect. Bring it on!
(Click an image for a bigger view, and to see a slide show)
Posted on July 17, 2018
(Jump to the bottom for a “how-to” and my starlight photography exposure recipe)
Five photographers followed bouncing headlamps through the chilly dark. Even in midday the trail through the dense rainforest surrounding Lake Matheson has a twilight feel; on a moonless winter night like this, the path becomes downright cave-like. Soon our footsteps were in sync, each tap broken by a beat of eerie silence. For me, the solitary experience at the front of the line was simultaneously serene and disconcerting, a feeling enhanced by occasional rustling and primal cries from the primitive world outside radius of my light.
I was midway through the second of back-to-back New Zealand Winter photo workshops. Just a couple of hours earlier the entire group had completed the nearly 2 1/2 mile loop in daylight. So striking was the sunset reflection of Mt. Tasman and Mt. Cook on that hike, that when we looked up after dinner and saw stars, a few of us hardcore night shooters couldn’t resist returning to the lake to photograph the Milky Way above the peaks.
Rather than hike all the way out there, we reasoned that we could satisfy our objective with a relatively short walk to Jetty Viewpoint, the closest view of the lake and mountains, less than a quarter of the way along the loop. Given the spur-of-the-moment nature of our adventure, I hadn’t done my usual (obsessive) plotting of the Milky Way’s position before bundling up and heading our to the lake. I knew only that it would be more or less vertical, in the general direction of the peaks.
What I hadn’t fully accounted for is how much higher in the sky as the Milky Way is in New Zealand. So unfortunately, by the time the five of us arrived at Jetty Viewpoint, we found the Milky Way was so high that capturing the bright galactic core and its reflection required a vertical composition. And it had rotated so far north that including the Milky Way and the peaks required a horizontal composition. After trying a few versions of those either/or compositions, we decided that since the reflection was the real star of the show, we may as well just continue another 20 minutes to the Lake Matheson’s best view point, Reflection Island.
The shear volume of stars in the pure New Zealand darkness is mesmerizing, but it’s disorienting to look up at night and not see a single familiar constellation, . Once we were settled in at Reflection Island, I spent the time during exposures wandering my gaze about the foreign sky.
A camera can “see” much better in the dark than we can, a capability that only continues to improve. For many years my night photography was limited by technology to moonlight only, but the low-light capability of the newest cameras has opened the door to a world that’s been invisible to the naked eye. Combining a modern camera that captures clean high ISO images with a fast lens not only enables moonless night photography, it pulls unseen wonders from the darkness.
I only use my Sony a7SII and Rokinon 24mm f/1.4 lens when photographing extreme dark skies, but when I do, I never cease to be blown away by what they “see.” Packing for four weeks in winter without exceeding the airline’s weight limits is difficult. But anticipating the opportunity to photograph the Southern Hemisphere night sky, I bit the bullet and added my dedicated night photography gear to my camera bag. Every time an exposure completed, I couldn’t take my eyes off the image on my LCD. As saturated with stars as the sky appeared, each image revealed far more stars than were visible to my eyes, and the brightest stars stood out like an approaching locomotive.
A quick check of my astronomy app told me that the bright star burning a hole in the sky above the trees on the right is Achernar, well known Down Under but new to me. Slightly brighter than magnitiude .5 (the lower the number, the brighter the star), it’s the ninth brightest star in the night sky—the Achernar photons that landed on my sensor started their Earthward journey nearly 140 years ago.
The Magellanic Clouds (satellite galaxies gravitationally bound to the Milky Way but not visible in the Northern Hemisphere) that were faint fuzzy blurs to my eyes took on actual shapes. And while I couldn’t fit the mountains and both of the Magellanic Clouds in my frame, I was able to included the Small Magellanic Cloud in this image.
More exciting than the volume of stars revealed by my camera was the spectacular reflection it pulled from the seemingly black void of the lake’s surface. This ability to view beauty hidden from my eyes by darkness is the best part of night photography.
Starlight exposure made simple
Based on many years experience teaching starlight photography (not to be confused with moonlight photography), I’ve come up with what I think is the simplest approach to the most frequently asked night photography question: “What exposure settings should I use?”
The problem is, there isn’t a single set of ISO, f-stop, and shutter speed settings you can plug in for great results because the setting you use (and the results you get) depend on your equipment. Starlight photography is all about capturing light, the more the better. But as good as today’s camera technology is, successful night photography is still about making compromises. As you try to maximize the light reaching your sensor, you’ll need to manage these exposure compromises:
Understanding these compromises, you’re ready for my starlight-exposure-made-simple axiom: Give the scene as much light as you can without ruining the image. In other words, for the most light possible, use the longest shutter speed, widest aperture, and highest ISO that gives you results you can live with.
Taking this approach doesn’t mean that I don’t vary my exposure settings. Once I’ve settled on a composition, I use a variety exposure-setting combinations. Not only does this give me as many options as possible at processing time, it’s also an opportunity better understand my cameras’ and lenses’ limitations to learn how far I can push the exposure threshold next time.
Posted on June 3, 2018
It was 4:00 a.m. and I’d spent the last two hours photographing the Milky Way’s brilliant core above the Colorado River. In about 75 minutes the guides would be ringing the “coffee’s ready” gong, signaling the start of another day at the bottom of the Grand Canyon. Collapsing my tripod, I performed a little mental math and found slight relief in the knowledge that I might be able to squeeze in one more hour of sleep. That relief vanished in the time it took to turn and glance toward the northern sky and see the Big Dipper, suspended like a celestial mobile in the notch separating the canyon walls.
My Milky Way position had been chosen for its unobstructed view of the southern sky; the best view of the Big Dipper was clear across the campsite, at a sheltered pool just beyond our rafts. The moonless night sky at the bottom of the Grand Canyon is so dark that the Milky Way casts a slight shadow, but once your eyes adjust, it’s surprisingly easy to navigate without adding light. Trudging across through the sand, I passed a handful of other solitary photographers, anonymous shapes enjoying the darkness as much as I was. I stopped few times to answer questions and point out the Big Dipper, then moved on.
Setting up on the steep, sandy slope above the river, I gazed at the Big Dipper and privately chuckled at my good fortune—this prime photo opportunity hadn’t manifest because I proactively made myself seek a scene away from my original subject (as I encourage my students to do), it was a chance glance after I’d mentally put myself to bed. When we landed at that spot the prior afternoon, I’d been so focused on the southern exposure and the Milky Way opportunity in that direction that I hadn’t even considered that there might be something facing north too. Shame on me, but sometimes it’s better to be lucky than good.
Checking my first Big Dipper frame, a couple of things became instantly obvious: though sunrise was still an hour away, and my eyes could detect no sign of its approach, with the same exposure I’d been using for most of the night, the sky was noticeably brighter on my LCD; more significantly, the Big Dipper was reflecting in the river. I realized that pool below me, while not flowing, was sloshing enough that the reflection didn’t stand out to my eyes, but it was smoothed enough by a multi-second exposure that the water mirrored a blurred but clearly visible reflection of the bright Dipper stars.
From my elevated vantage point, part of the handle’s reflection was lost to the sandy beach—I needed to move closer to the river to include the entire reflection. Remember when I said it’s surprisingly easy to navigate in the moonless darkness? On my first step toward the river I learned that functional night vision applies to avoiding objects, not to depth perception. So, as that first step dropped earthward and I waited for it to touch down, where I expected sand I found only air. The rest of me followed quickly and I was in free-fall. Fortunately the fall was not far, just a couple of feet, but it’s amazing how the disorientation of a blind fall slowed time enough for me to curse the darkness before my graceless splat onto the damp beach.
The beach was damp because the place I landed had been river when I went to bed. I popped up almost as quickly as I landed, the unwitting beneficiary of artificial tides induced by upstream releases from the Glen Canyon Dam, timed to meet the power needs of Las Vegas and the rest of the Southwest sprawl. Had I fallen a few hours earlier, I’d have splashed in chilly river water—not enough river to sweep me to my death, but definitely enough to soak me and my camera. So I found myself sandy but otherwise unscathed—glancing about to see if anyone had seen my fall, I instantly forgave the darkness that had made me more or less invisible. The Rokinon lens I’d had on my camera was caked with sand; since it was too dark to clean it, I switched to my Sony 16-35 f/2.8 GM.
The rest of the shoot was fairly uneventful, at least until my final frame. Over the next few minutes I inched even closer to the river, which I discovered had receded enough to add about six feet of soggy shore. With each frame I verified my focus, tweaked my composition, and experimented with different exposures.
On my final few frames I was comfortable enough with all of the photography variables that I wasn’t even thinking about the next shot, and instead simply stood and took in the night sky. As I waited for my last frame of the night to complete, a brilliant meteor sprung from the darkness and split the Dipper’s handle. It came and went in a heartbeat, and I held my breath until the image popped up on my LCD and I confirmed that I’d captured it. The perfect cap to a spectacular night.
Posted on May 27, 2018
Nothing in my life delivers a more potent dose of perspective than viewing the world from the bottom of the Grand Canyon. Days are spent at the mercy of the Colorado River, alternately drifting and hurtling beneath mile-high rock layers that tell more than a billion years of Earth story. And when the sun goes down, the ceiling becomes a cosmological light show, each pinpoint representing a different instant in our galaxy’s past.
More than any of my five trips through the Grand Canyon, I’ll remember this year’s for its night skies. The wall-to-wall blue that dogged our daylight photography darkened to just what the night-photography doctor ordered, and we took full advantage. Excited about the potential for stars, each day I powwowed with our lead guide, the amazing Lindsay, to identify potential campsites with the best views of the night sky in general, and the best views of our Milky Way’s brilliant galactic core in particular.
But targeting a Milky Way campsite is easier in theory than execution. In the Northern Hemisphere, even when the galactic core reaches its highest point, it’s still fairly low in the southern sky. So given the Grand Canyon’s general east/west orientation, the best Milky Way views are usually blocked by the canyon’s towering walls. Even identifying a potential campsite on a north/south oriented stretch of the river doesn’t ensure success because Colorado River campsites in the Grand Canyon are first-come, first-served. So even though the other groups on the river don’t usually think strategically about photographing the night sky like I do, each campsite has its own appealing qualities and there’s never a guarantee that any given one will be free when we get there.
In general, my raft trips’ first night or (maybe) two usually provide our best Milky Way opportunities because the first 75 miles of the Colorado River downstream from our put-in at Lee’s Ferry runs pretty much north/south. With the river running north/south, the canyon walls are to the east and west and we usually get a pretty clear view of the north and south horizons. Just downstream from the confluence of the Colorado and Little Colorado Rivers, the canyon bends more or less permanently east/west and Milky Way core views are few and far between.
This year, our day-one campsite got us a decent but not quite perfect view of the southern sky. Nevertheless, many rafters rose and gave it a try, with varying degrees of success—at the very least, it was good practice, and much was learned. On day two we had a magnificently open sky, but the southern horizon was behind us as we faced the river, so the Milky Way’s center rose above lots of shrubs and rocks. That night I and a few others photographed the view across the river toward the Big Dipper, North Star, and fainter part of the Milky Way in Cassiopeia, but a handful had some success photographing the brighter Milky Way from a hill facing south.
I knew days four and five would be long shots for Milky Way photography because Lindsay and I had in mind an east/west trending day-4 site directly across the river from Deer Creek Fall (fingers crossed), one of the trip’s photographic highlights. And there were no good candidates for day 5 (we ended up camping beneath Toroweap). But Lindsay had an ace up her sleeve for day 3, our first day on the east/west portion of the river, if we could pull it off.
In addition to being the day we bend west, day three is the much anticipated “rapid day.” After warming up with a couple of days of fairly infrequent mild to medium rapids, the action on day three ramps up considerably, both in rapid frequency and intensity. Rapid day is always so much fun, for most of the rafters the thoughts of night photography take backseat thrills and laughter.
While everyone else’s attention was on the river, in the back of my mind I was crossing my virtual fingers for the prosaically named Camp 118 (for the number of miles downstream from our starting point at Lee’s Ferry). Camp 118 had been on my radar since Lindsay had told me about it on our first day, citing a bend in the river that gives the spot a view of the southern sky that’s very rare on this part of the river. But she warned me that Camp 118 has other benefits that make it popular among all the trips on the river, and gave us a no better than 50 percent chance of scoring it.
Equal parts exhausted and exhilarated, late in the afternoon of day three we rounded a bend and found Camp 118 free and clear. Phew. As soon as we landed I did a quick check with my compass app and confirmed that the river here pointed due south. Camp 118 also had a long south-facing sandy beach that would give everyone ample room to setup and move around in the dark without getting in anyone else’s way. Once the boat was off-loaded I gathered the troops and told them to prepare for some the best Milky Way photography of the trip.
One more Grand Canyon Milky Way obstacle I forgot to mention is that even in the most favorable locations, the galactic core doesn’t rotate into the slot between the canyon walls until 2:00 a.m. or later. Often rafters go to bed with every intention of rising to photograph it, but when the time comes, their resolve has burrowed deep into the cozy folds of their sleeping bag. The best antidote is to be as prepared as possible before going to bed. At the very least, I prescribe the following: identify your composition, set up your camera, lens, and tripod, set your exposure, focus at infinity, and have your camera ready atop the tripod beside your cot. Better still, if it can be done without risk of someone stumbling over it in the dark, leave the camera composed and focused at your predetermined shooting spot.
I woke at 2:00 a.m. and found many already at work on the Milky Way, which was just making its way into view above the canyon wall in the east. During the next two-and-a-quarter hours I worked the scene while the galactic core slid from left to right, first above the river and finally down toward the wall on the west side of the river. I used both my Sony a7SII and a7RIII bodies, and my Rokinon 24mm f/1.4, Sony 12-24 f/4 G, and Sony 16-35 f/2.8 GM lenses.
Since getting my 42 megapixel a7RIII, I’ve been happy enough with its night photography results that I’d almost forgotten about my 12 megapixel a7SII. In fact, I seriously considered leaving my a7SII at home for this trip. I’m so glad I didn’t. Using the two side-by-side like this, offered an instant reminder why the a7SII is the night photography king. Combined with the light gathering ability of an f/1.4 lens, with my a7SII I can look through my viewfinder and focus perfectly in about three seconds. I can also get crazy-bright images in crazy-dark conditions like this.
I usually feel like the “star” of night images is the sky; because vertical orientation gives me the most sky and least foreground, most of my night images are oriented vertically, especially when the more or less vertically oriented Milky Way is present. But one of my goals for this trip was more horizontal Milky Way images, so I made a point of setting aside my vertical bias and shooting a lot of horizontal frames. This image (like all of my images) is a single click (no composite of multiple frames) with no artificial light added (no light painting or any other light besides stars and skylight). I saw several meteors that night, but have no specific memories of the small one darting across the upper middle of this frame.
I wrapped up with this scene a little before 4:00 a.m., but heading back to bed I saw the Big Dipper cradled between the two canyon walls, just above the north horizon, too beautiful to resist. I ended up photographing another 20 minutes or so on the other side of camp, ending up with one of my favorite images of the trip, including a meteor I very much remember. But that’s a story for another day….
A few tips for photographing the Milky Way
I have an entire article that spells out Milky Way photography, but here’s the CliffsNotes (is that still a thing?) version:
Click an image for a closer look and slide show. Refresh the window to reorder the display.