Photo Tips and Stories

I love it when only a 0.6-second shutter speed is needed to properly expose the Northern Lights. That setting indicates a super-bright show.

Not immediately apparent in a still photo is that the Northern Lights are often a fast action subject, and the dancing and pulsing light show is awesome. In a long exposure, that movement results in a blurry result. Wide aperture lenses (and, of course, a bright show) are optimal for capturing the aurora structure.

This night's display was extremely bright, permitting a relatively short 0.6-second exposure at f/1.4 and ISO 3200, and it was moving fast. Shooting straight up into the aurora is one of my favorite compositions, but the fast movement made guessing the ideal future composition challenging. It was exciting to anticipate and view the results.

We are at or near a solar maximum. Do you have the right Northern Lights lenses in your kit?

This night was the third over-4-hour road trip all-nighter in 4 days. I don't remember the tiredness, but as usual, the images were worth the effort.

A larger version of this image is available here.

This is one of my favorite images from a recent photo trip to Denali National Park. The picture does not convey the significant time and effort involved in its capture, but images such as this one make it all worthwhile.

Dall sheep are awesome animals, and I counted on the also-awesome Canon EOS R5 II and RF 100-500mm F4.5-7.1 L IS Lens to bring home the images.

A larger version of this image is available here.

Comet C/2023 A3 Tsuchinshan–ATLAS was in the sky, so, of course, it had to be photographed.

While single-exposure images of this comet looked nice, my upgraded tracking mount, a Sky-Watcher Star Adventurer GTi, was still in the box and longing for use.

This image is the result of stacking sixteen 30-second exposures using Deep Sky Stacker (DSS) software (it's free).

After aligning the mount and establishing the Canon EOS R5 Mark II settings, the shutter release button on a simple Vello Wired Remote Release was locked down (push down and slide forward), and the R5 II's continuous shooting mode captured about 45 minutes of images while I did something else. The middle 8 minutes of frames had the darkest sky and were selected for processing.

The Canon RF 70-200mm F2.8 L IS USM Lens was chosen because it had the desired focal length, it creates extremely sharp stars, and it has a rotating collar to add the rotation direction natively missing on the mount. It proved an outstanding choice.

A larger version of this image is available here.

The viewer's eye is drawn to contrast, which is lacking in a strongly blurred portion of the image. Thus, blurring the non-subject area aids in drawing the viewer's eye to the sharp-focused subject.

For this image, the telephoto compression and long distance beyond the subject create the background blur, and getting down into some close rocks takes the foreground out of focus, eliminating those distractions.

While I love the use of blur in photography, I rarely like foreground blur covering the subject's face.

A larger version of this image is available here.

I had a distraction this week. The space weather forecast was redlined. It couldn't get much better. A long period of Kp 8 was predicted from sunset into the next day (as I shared with you in a news post).

A Kp 8 could be visible from my yard in central Pennsylvania. But then, I remembered Bryan's Law of Astronomical Events: If there is an astronomical event happening, all locations within a reasonable drive will be totally cloud-covered.

So, shocking was the National Weather Service forecast for 0% cloud cover and 0% wind speed, an unbelievable combination for an unusual night sky event I'm chasing, and that forecast was for the duration of the Kp 8 prediction. Game on. An adventure began.

Reasonable Northern Lights displays are rare in central PA, and I didn't have a go-to location list prepared for this opportunity. I needed good visibility of the sky and wanted dark skies, especially to the north, with a foreground subject being a bonus.

Shooting from home was an option. A nearby field provided the desired visibility, and our sky is moderately dark, especially when the air clarity is high. I could drive a short distance from the house and be shooting in minutes.

Still, the forecast was outstanding enough to make researching an even better location worthwhile. That my wife hadn't seen the Northern Lights in about two decades and had recently asked to see them again raised the bar on location selection.

Scouting the Pennsylvania state forest maps for vistas looking north and online scouting via images captured from those locations provided a few good options within a couple-of-hour drive. However, a high elevation (for PA) lake I scouted for Milky Way photography earlier in the summer was in a dark sky location with no close towns to the north. Most subjects are even better when their reflection is included, and the rare 0 mph wind forecast made the lake option seem especially great. A bonus was that the lake was a 1.5-hour drive north, deeper into the Northern Lights visibility range.

The lake was a perfect location. It was calm, and we (and a pack of loud coyotes) had it to ourselves for the entire night.

Reaching Kp 8.5+, the 10/10/2024 Northern Lights show was a 10. I've had the privilege of viewing and photographing the Northern Lights numerous times, but this show was different from what I normally see. The lights did not have a strong structure and they were not hte brightest I've seen, but the color was wild, with the reds and even some blues being especially amazing.

Consider the Northern Lights a fast-moving subject, as they are often pulsing and dancing. A wide aperture lens is needed to avoid strong motion blur, the smearing of the aurora details.

My favorite two aurora lenses, the Sony FE 14mm F1.8 GM and FE 24mm F1.4 GM Lens, each mounted to an Alpha 1 body for fast switching, were in the MindShift Gear BackLight 26L. Both lenses performed superbly as always.

A larger version of this image is available here.

This bull was significantly obstructed and facing away as it thrashed an alder, providing poor photo opportunities. So, planning for its next move became the priority.

The bull had moved away from a cow to threaten an opponent, so, logically, it would go back to the cow. If that option was chosen, the bull would most likely come through a specific opening, and positioning for a supporting background behind that opening became the plan. That optimal position included getting low to ensure most of the close, in-focus foreground was out of the frame, that the mountains were prominently included, and that the catchlight in the bull's eye was enlarged (reflecting more sky).

As predicted, the bull came into the opening, and better than expected, it stopped to provide a variety of poses.

The Canon EOS R5 Mark II and RF 100-500mm F4.5-7.1 L IS USM Lens are an outstanding combination for on-the-move wildlife photography.

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This Denali National Park landscape image combines three seasons. Denali summers are short, and despite the late summer date, fall foliage and wintery snow were available.

The morning featured thick fog and uncooperative animals. However, the landscape was especially appealing. While I was stopped to photograph the lightly snow-dusted black spruce trees in the fog, the fog began to dissipate, revealing snow-capped mountains in the background and allowing sunlight to illuminate the fall foliage in the foreground.

Wildlife photography was the primary photo objective, but this image is one of my favorites from the trip. The compact Canon RF 24-105mm F4 L IS USM Lens, featuring professional-grade build and optical quality, is made for moments like this. When photographing wildlife, I usually have this lens in the pack, often on a second body for fast access.

A larger version of this image is available here.

For a wildlife photo adventure with many miles of hiking expected and a wide range of focal lengths on the requirements list, the Canon RF 100-500mm F4.5-7.1 L IS USM Lens often gets the call. This lens performs extraordinarily well, consistently delivering outstanding sharp image quality.

This moose moment resulted in a series of images to select from. Unfortunately, those enormous antlers impeded view of the bull's eye in many, reducing their impact. The image selected to share here combines good eye visibility, the legs positioned with separation and optimal forward body height, and the bull's left antler framed in the clearing behind it.

Bonus points are awarded for the alert ears forward, but I'm not sure how the tongue impacts the rating. Perhaps that is too much cuteness for such a massive beast.

A larger version of this image is available here.

Do you photograph in the rain?

While rain may not be as comfortable or enjoyable to shoot in as a dry day, the quality of captured-in-the-rain images sometimes surpasses that of those captured on a pleasant weather day. That is fortunate as it rained nearly every day for over two weeks in Alaska.

While a too-heavy rain (and the fog that often accompanies it) reduces visibility, making wildlife difficult (or impossible) to see, wetness darkens and saturates colors, such as this ram's horns. In addition, clouds create a soft, shadowless light at any time of the day and often add a moodiness that can differentiate an image, such as the background in this one.

High-quality waterproof exterior layers, including a hood and boots, are the key to staying dry. A waterproof uninsulated shell jacket and pants enable the use of layers for temperature adjustment, including to avoid sweating, which makes you wet from the inside. Use a rain cover on your backpack to keep your gear and extra clothes dry.

While the Canon EOS R5 Mark II and RF 100-500mm F4.5-7.1 L IS Lens are weather sealed (and they were wet at times), I opt for a camera rain cover when the rain becomes steady.

When packing the day before the trip, the rain cover for this lens was nowhere to be found. Fortunately, B&H impressively shipped a new one to AK faster than I could get there.

Notice the 1/60 shutter speed used for this image. This speed is usually too long for wildlife photography, and even an eyeball movement can create motion blur. However, insurance shots were on the card, and getting even lower noise results became the objective. The R5 II and RF 100-500 image stabilization had no problem delivering sharp 500mm 1/60 results in adverse conditions while the ram was motionless.

Dall sheep are awesome, and it was a privilege to spend hours with these creatures, including this huge ram, in Denali National Park.

A larger version of this image is available here.

The little green heron's strike happens extremely fast and infrequently. Thus, photographing this bird in action involves lots of waiting with occasional sudden lightning-fast action. A few minutes into waiting for a strike, attention deficit kicks in, and one's mind begins to think about other matters. Of course, the sudden action we have been waiting for happens while our minds are adrift, and we miss the shot.

That is not the case with the Canon EOS R5 Mark II. Mind drift is no longer an issue with the R5 II's game-changing pre-continuous shooting feature because we can seemingly capture images from the past.

Without being especially alert while half-pressing the shutter release, I still captured this heron's surprise full strike and recoil. This image is the second in the 20-fps sequence to have the tadpole fully out of the water. The tadpole's alignment with the shadow behind it, along with a nice stream of water falling from the catch, made this selection optimal.

While the general area of tadpole attack could be estimated, the specific prey location was unknown. Thus, framing slightly wide to account for whatever happened made sense, and this image is cropped by just over 10% in both dimensions. Because of the R5's ultra-high resolution, the final image still measures 4830 x 7241 pixels, about 35 megapixels.

A larger version of this image is available here.

With the Canon EOS R5 Mark II in hand, it is time to find subjects, and few are cuter than whitetail fawns.

This one cooperatively posed in front of a distant background, which the Canon EOS R5 Mark II and RF 600mm F4 L IS USM Lens turned into a strong blur. Your eye sees nothing but deer (and a few raindrops).

While this Shenandoah National Park buck is staring directly at the camera, it is the doe behind me that he cares about. No move she makes goes unnoticed, which provides an alert look for his portrait.

Getting down low was an important technique for this photo. The lower camera position pushes the background farther away, which provides a stronger blur. The lower position aids in getting catchlights in the eyes and in making the buck appear regal.

He bedded for a long time, perhaps close to an hour. After getting way too many shots, I did the same. He was warmer than me.

The Sony Alpha 1 and Sony FE 600mm F4 GM OSS Lens were an outstanding combination for the fields and less-dense forest areas at SNP.

A larger version of this image is available here.

The lens being reviewed is usually mounted on a camera and ready for quick use, and on this day, the Sigma 24-70mm F2.8 DG DN II Art was that lens. This lens's high utility focal length range, wide aperture, fast and accurate AF, and superb optical quality made it a perfect choice for around-the-house use. Then Elliott came for a visit.

Elliott enjoys playing on the stairs, and it is hard to go wrong with a white background (and foreground), including with any color wardrobe.

I seldom appreciate obstacles in front of a person's face, even if they are strongly blurred. However, this image shows a scenario where that concept works.

A sharp eye matters for portraits, and the Sony Alpha 1's eye AF easily made that distinction despite the ballisters in the foreground. Elliott was moving fast, and this lens's fast AF was critical during this well-timed shutter release button mash.

A larger version of this image is available here.

Another milestone was reached, and I was given the green light for a graduation photo shoot. Getting ready took two hours longer than originally planned, but a couple of hours of sunlight still remained as we went out the door.

Just inside of shade is usually a great choice for portrait lighting, and we started with that option. The background is usually a large percentage of the composition, so selecting a good one is important, and large columns usually work great.

Columns this large are typically found at institutions, and they provide a sense of place that is valued in university graduation photos. More to that point, these columns were in front of the building where most of her classes were held, adding relevance to the composition.

While several other lenses were along and used, the Canon RF 85mm F1.2 L USM Lens on an EOS R5 was my first choice for this shoot. This combination produces standout portraits at f/1.2, with impressive resolution and contrast, and the incredible 85mm f/1.2 background blur is especially advantageous.

The background blur reduces distracting lines of contrast behind the subject, especially for their head. In this case, the subject was aligned on the column to fully eliminate that issue.

I lost a few points for the edge of the graduation gown sleeve intersecting the line of the column's edge. A good photographer always has an excuse ready, so I'll blame feeling rushed for that one.

A larger version of this image is available here.

A good reason to pursue many wildlife species is that you get to go where they live. That is the case with dall sheep, and few animals have a more stunning daily view.

On this day, fall was officially a couple of weeks away, but the Denali National Park tundra was aflame in color, and the mountains were loaded with snow.

While climbing to the sheep, I couldn't help pausing to capture this scene. The strong-textured dark foreground ridgeline, red huckleberries in mottled sunlight in the valley, high contrast snowy mountains in the distance, and a straight dark cloud putting a cap on the scene seemed a composition worthy of a photo.

The ability to capture this composition is an example of the advantage of a 100-something mm telephoto zoom lens vs. a 200-600mm, 200-800mm, or similar option.

A larger version of this image is available here.

This ram is the king of the mountain.

When composing an animal, I like to leave extra space in the direction the animal's body is pointed toward and extra space in the direction the animal's head is facing. In other words, the animal's body should be coming into the frame vs. exiting, and the animal's head should be looking into the frame vs. out of the frame. Usually, this strategy provides a visual balance.

Sometimes, the body and head point in opposite directions, and in that case, a centered animal may be the optimal choice. Another scenario calling for a centered animal is when it is directly facing and approaching the camera (or the opposite), providing symmetry that balances well in the center of the frame.

The ram's raised right-front leg adds a sense of movement, giving this frame an advantage over the many others captured during this encounter.

A larger version of this image is available here.

I had to go back for a second attempt.

Just outside of Badlands National Park is the small town of Wall, SD. Wall is best known as the home of the massive roadside attraction Wall Drug Store.

Describing the Wall Drug Store is beyond the scope of this post but calling it unique is a vast understatement.

Inside, the narrow Wall Drug traveler's chapel seemed inviting to the Sony FE 12-24mm f/2.8 GM Lens's ultra-wide-angle view, and I spent a few minutes capturing it.

I had this image queued to share, and as I was preparing the post, I realized that the room was not squared in the frame. I had carefully leveled and centered the camera during the capture and didn't otherwise pay much attention to that aspect of the image while processing it.

With that realization, I was no longer satisfied with the image. Considering the age of the building, I even wondered if the problem was caused by the structure itself. A quick search of other Wall Chapel photos shows similar crookedness.

Still, I was bothered. So, a second attempt was made a year later.

This time, I was acutely aware of the first attempt's shortcomings, and while the second attempt's results were better, I still wouldn't call them perfect. Photoshop to the rescue.

This image required HDR compositing due to the bright lights and stained glass windows. Layer opacity adjustments handled that task for this image.

A larger version of this image is available here.

Don't forget to create the solar eclipse smiley face image to commemorate the look on your face and that of everyone around you during totality.

Photography is fun. Include humor in your creativity. I thought a similar composite was entertaining and decided to create my 2024 version using unrotated images.

A larger version of this image is available here.