Dehaze: The Night Photographer's Secret Weapon

Did you know that Lightroom has a secret weapon for night photographers to make the Milky Way look fantastic? It’s way down toward the bottom of the Develop module: the Dehaze tool. In this post and in the video at the end, we’ll show you what this great tool was originally designed to do, plus how to use it to make stars sizzle!

The Dehaze slider was introduced in 2015 shortly after Adobe’s upgrades to their new cloud-based pricing structure. So, if you are still using an older standalone program (Lightroom 4/5/6) but want to take advantage of this awesome tool, then it’s time to update to Creative Cloud.

So what exactly is Dehaze? An official description from Adobe states, “Dehaze is a feature for removing haze/fog from pictures. It is based on a physical model that tries to estimate the amount of light transmission and how it varies across the picture. The user can then control how much haze to remove by adjusting a slider.”

Perhaps a less confusing way to think about it: Dehaze adds more contrast.

However, Dehaze is not like the Contrast slider. It adds contrast in a different way. A smarter way. The Contrast slider adds contrast mostly to the midtones and its affect tapers off in the highlights and the shadows. The Dehaze slider functions by targeting the lower-contrast areas of the scene and applying the bulk of its effect there. This means low-contrast areas of the scene get more of the effect than the higher-contrast areas of the scene. Brilliant! This is just what we need.

To apply the Dehaze filter, open an image, head to the Develop module and simply scroll down to the Effects panel. You’ll find the Dehaze slider at the bottom. Moving it to the right increases contrast, moving it the left decreases contrast.

Figure 1.

Figure 2 below shows a typical use of the Dehaze slider. Notice how moving the slider increases the contrast in the sky and mountains (which were lower-contrast to begin with) much more than it does in the flowers in the foreground (which were already higher-contrast).

Figure 2.

But, here’s some great news: The Dehaze slider works for more than just haze. Figure 3 shows how it can enhance a waterfall and the rainbow in its mist. Once again, notice the increase in the brighter and lower-contrast area of the scene. It’s receiving much more of the effect than the foreground hillside.

Figure 3.

Care should be taken with this slider, though. In addition to increasing contrast, it also increases saturation, especially in the blues. Too much of an increase can produce an overly saturated, false-looking image. Figure 4 shows how the blue tones increase in saturation when the Dehaze slider is cranked up.

Figure 4.

So how does all of this apply to night photography? Well, increasing contrast and saturation is precisely the way we emphasize our night skies and Milky Way! Figure 5 shows the before image of the Milky Way over Mount Reynolds in Glacier National Park and the same image after increasing the Dehaze slider to +67. Notice how the dimmer stars become more pronounced and the Milky Way seems to become more three-dimensional.

Figure 5.

For a more complete description and more examples of how the Dehaze slider can improve your night photos, check out our 13-minute video below:

The next time you want to intensify and emphasize your night skies, visit the Effects panel in Lightroom and increase the Dehaze slider. Just remember: Kid gloves—use a light touch. A little goes a long way.

Note: For a comprehensive tutorial on Lightroom’s Library and Develop Module, check out Tim’s 33-part, six-plus-hour video on Vimeo.

Tim Cooper is a partner and workshop leader with National Parks at Night. Learn more techniques from his book The Magic of Light Painting, available from Peachpit.

UPCOMING WORKSHOPS FROM NATIONAL PARKS AT NIGHT

Own Your Settings

It’s not as far as it looks from here to there. Fujifilm XT-1, 7Artisans 7.5mm f/2.8 lens. 1/60, f/2.8, ISO 1000.

It’s not as far as it looks from here to there. Fujifilm XT-1, 7Artisans 7.5mm f/2.8 lens. 1/60, f/2.8, ISO 1000.

What follows is one of my favorite moments of our 2017 season—a moment of candor and clarity from a student during our workshops at Olympic National Park.

During the daily group image review she expressed, “I learned that I need to own my settings.”

I paused. I sensed Chris pause, too. It was a pivotal moment for her.

She further elaborated, “Too often I counted on my fellow students to aid me when choosing the right settings. And this took part of the ‘work’ out of this workshop. I’m taking it back. I will own my own settings.”

This was a poignant moment. I was awfully proud of her, and actively thanked her for sharing and committing to the idea—and for stating it in a manner so succinct that it became profound. For the remainder of the workshop, she made rapid progress and took ownership of her mistakes, and explored what she learned from each.

You can be transparent in many ways. Nikon D750 and 70-200mm f/2.8 lens. 2 seconds, f/16, ISO 100.

You can be transparent in many ways. Nikon D750 and 70-200mm f/2.8 lens. 2 seconds, f/16, ISO 100.

Moments like these are a core reason we love holding workshops. You have good chances for making extraordinary images, but the true purpose is to put in the hard work by facing your own gaps in knowledge by trying things outside your comfort zone.

Often photographers, or anyone learning challenging material in the field, look for any lead to follow. It’s natural, it’s human nature. Much can be learned by doing what the photographer next to you is doing. But it works best when it’s followed by two more steps: 1) dissecting why the borrowed knowledge works, and 2) taking off those training wheels and figuring it out yourself. Or, as this student said, by owning your settings.

I’ll take that even further. To “own your settings” I suggest you commit to:

  1. doing the math
  2. trying things that may not work
  3. asking why a photo failed and making a process to ensure you won’t make the same mistake repeatedly
  4. exploring your gear, including its strong capabilities and disadvantages
  5. developing your own system of process

Let’s break these down.

Doing the Math

We supply “cheat sheets” to workshop attendees for the 400 Rule and the high ISO test. It’s intended as a backup for when you have what I lovingly call a “brain fart.”

But knowing the math is vital. Doubling and halving the shutter speed or ISO is something that should come as easy as breathing. Well, breathing doesn’t take practice, but getting used to these numbers does. And you get used to them by shooting over and over again—you know, while working through your first 10,000 photos.

Similarly, being able to perform a high ISO test on demand will increase your enjoyment of night photography forever. Knowing you got a proper exposure frees your mind to bend on creativity.

Trying Things That May Not Work

As a rule, doesn’t this apply to shooting in darkness? LOL.

What I intend by this is truly to adopt an attitude that rewards creative risk-taking. There is no harm when making a photograph that does not work.

But what if it does work? Then you have another piece of evidence you can file away in your mental bank of “settings” for future use.

This may not have worked … but it did. Nikon D750, 15mm Zeiss Distagon f/2.8 lens. 75 seconds, f/2.8, ISO 400.

This may not have worked … but it did. Nikon D750, 15mm Zeiss Distagon f/2.8 lens. 75 seconds, f/2.8, ISO 400.

Asking Why A Photo Failed

… And Making A Process To Ensure You Won’t Make The Same Mistake Repeatedly

Great leaders often say, “I learned more from my mistakes than my successes.” There are many reasons for this. Some are emotional. Some are scientific.

My favorite quote about learning from failure comes from Seth Godin:

The rule is simple: The person who fails the most will win. If I fail more than you do, I will win. Because in order to keep failing, you’ve got to be good enough to keep playing.
So, if you fail cataclysmically and never play again, you only fail once. But if you are always there shipping, putting your work into the world, creating and starting things, you will learn endless things.
You will learn to see more accurately, you will learn the difference between a good idea and a bad idea and, most of all, you will keep producing.

Developing a habit to accelerate the study of failure includes:

  • acknowledging your mistakes via self-review
  • engaging in peer review
  • soliciting feedback from people whom you aspire to be like, or hold in high technical or creative esteem
  • putting your work out there, be it on Facebook, Instagram, your website or on gallery walls

On the technical side, if you have trouble identifying how a photo went sideways and your peers fail you for an explanation, you can always book some time with us for a remote critique.

But please fail often, and well.

Exploring Your Gear

… Including Its Strong Capabilities And Disadvantages

I know that my Nikon D750 can’t make a quality file over 60 seconds in duration when the temperature is above 90 F. When does your gear fail? Knowing is important.

I also know that I can shoot a half-hour single exposure at 45 F with no quality degradation. At the same temperature I also know that after 8 minutes I should turn on Long Exposure Noise Reduction (LENR).

Elwha Valley, Olympic National Park. Nikon D750, Zeiss Distagon 15mm Zeiss Distagon f/2.8 lens. 60 minutes, f/5.6, ISO 400, plus LENR.

Elwha Valley, Olympic National Park. Nikon D750, Zeiss Distagon 15mm Zeiss Distagon f/2.8 lens. 60 minutes, f/5.6, ISO 400, plus LENR.

How do I know these things? I scrub my Lightroom. I look at the settings. I take notes. And I keep this info in my backpack just in case I need a reference about the technical boundaries of my camera.

Another example: You may have a lens that can’t focus on stars via live view, but does OK with a strong flashlight and a subject relatively nearby.

Knowing these things helps you avoid the future frustration of committing time making exposures when your gear just can’t handle it. No one camera system can do everything right. So it’s a practice of working within the boundaries of possibility.

Developing Your Own System Of Process

What works for me may not work for you. So please don’t take any of this as dogma. A final belief you may choose to hold about owning your settings is to make a system that helps you recall the things you need to do at the right time.

I’ve recently started using the Bullet Journal to manage my priorities, ideas and commitments. I started a page in there where I have a living list of steps for night photography that I had (until recently) kept only in my head.

Zig when others zag. Nikon D750, Zeiss Distagon 15mm Zeiss Distagon f/2.8lens. 26 seconds, f/2.8, ISO 6400.

Zig when others zag. Nikon D750, Zeiss Distagon 15mm Zeiss Distagon f/2.8lens. 26 seconds, f/2.8, ISO 6400.

No matter how you choose to do it, establishing a process—instead of trusting your brain to have perfect recall—is a sound choice. Because when it’s dark, and when everything is unfamiliar, wouldn’t having your own step-by-step guide, tailored to you, help appease anxiety and help you focus on making gorgeous night photography?

It does for me.

Wrapping Up, Taking Ownership

The path to owning your settings is just that: a path, a journey. It’s not a destination reached quickly or by accident, especially in night photography. But it’s a journey worth making, because when you get there, you will have the confidence required to take responsibility for your own creative process, which includes mastering the techniques necessary to level up.

We love the “work” part of workshop. When participants choose to share images that didn’t work, expressly to learn how to avoid that mistake in the future, it helps the whole group grow.

Many thanks to our student who had the clarity to speak aloud, in front of her peers, “I will own my settings.”

And thank you, dear reader, for being part of the adventure. Now go, and seize the night, as well as your settings.

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.

UPCOMING WORKSHOPS FROM NATIONAL PARKS AT NIGHT

Nikon Night Photography Showdown: The D850 Compared to Its Cousins

As you may know, all five of us at National Parks at Night are primarily Nikon shooters. Between us we use the D750, D810, D3s, D4s and D5. Although we are generally happy with our current cameras, some of us are ready for an upgrade. As such, the announcement of the D850 a few months ago excited us as much as it did the rest of the photo world. This camera was touted to be a game-changer for every niche it caters to, including night photography. So it was natural that we’d want to field-test it as a nocturnal tool.

With its nearly 46-megapixel sensor and impressive list of specs and features, the D850 was a fitting camera for Nikon to release during its centennial year. Although it is a direct successor to the D810, the D850 seems to be more of a hybrid between the high-megapixel D810 and the high-speed D5. The new camera sports a Nikon-designed 45.7-megapixel FX-format BSI CMOS sensor aimed at landscape, studio and architectural photographers, but can shoot up to 9 frames per second and at least 51 continuous frames before the buffer fills for sports and wedding photographers. And the back-side illuminated sensor should improve low-light performance, which is obviously key for night photographers!

I recently had the opportunity to spend some time (not nearly enough) with the D850 and compare its performance to other high-end Nikon cameras, especially as it pertains to night photography. Despite the moon, UPS and the weather (clouds, cold and wind) all conspiring against me, I was able to spend a couple of nights with the D850, as well as make some comparison images with the D750, D810 and D5.

Lady Boot Arch from behind, Alabama Hills, Eastern Sierra, California. Lighting with a warm-gelled Coast HP5R flashlight from camera right, low and just in front, plus behind and to the right of the rock column. Single shot. It took about eight tries to get the lighting right. Nikon D850, Irix 11mm f/4 Blackstone lens. 15 seconds, f/5.6, ISO 3200.

There are many online reviews of the D850, but in this one I’ll focus entirely on how it performs and handles for night photography––in particular:

  • high ISO astro-landscape photography
  • native ISO long exposure night photography
  • high contrast artificial light night photography

I am assuming that the reader is at least minimally familiar with Nikon DSLRs, and that they will use other resources such as DPReview and DXOMark to evaluate the camera for other types of photography.

Features and User Experience

The camera is just slightly heavier than the D810, and is well-balanced and comfortable to hold. It weighs about half a pound more than the D750, and almost a full pound less than the D5.

The controls and buttons of the D850 are similar to the D810, except that the ISO and Mode buttons have switched positions in line with the D5. This is a nice improvement over other Nikon cameras like the D750 where the ISO button is on the back and to the left of the display.

The pop-up flash has been sacrificed in favor of better weather sealing and a larger optical viewfinder with .75 magnification and 100 percent frame coverage. Night photographers should appreciate both of these features more than a built-in flash. There is also a flip lever with a shutter to block light from entering through the viewfinder during long exposures.

The D850 has an articulated rear screen which operates in the same fashion as the D750 screen, except that it is higher resolution and touch-sensitive. The screen adjusts on only one axis and is useful primarily for low and high camera angles with the camera in the horizontal position. Previous Nikon touch screens were usable only in playback mode, but the D850’s touch screen is also active in live-view and menu navigation modes.

Like many of Nikon’s semi-pro and professional cameras, the D850 has two card slots, one for XQD and one for SD cards. Personally, I would prefer the choice of two of the same card slots, but the XQD card’s extreme write speed is required to take full advantage of the camera’s high frame rate and large buffer, as well as the massive amounts of data recorded by the high-resolution sensor during video recording.

One feature that is especially welcome to night photographers is the introduction of backlit buttons, which obviously ease the task of finding controls in the dark. Though, unlike with the D4s, D5 and D500, only the buttons on the left side of the D850 are illuminated.

As with the D750, there is a Time exposure setting, available in manual mode in between X250 and Bulb. The Time setting looks like two dashes (“- -”) in the Control Panel. Unlike the Time setting in the D750, which shuts off after 1,694 seconds if not ended sooner, the D850 shutter will remain open indefinitely.

Despite the few quibbles mentioned, the D850 is a joy to use. It’s highly customizable and very easy to get comfortable with.

Unfortunately, programmed shutter speeds do not extend past 30 seconds, which is also true of the available shutter speeds in the built-in intervalometer. Canon finally extended their shutter speed range with the 6D Mark II and 5D Mark IV, and hopefully Nikon will follow suit with their future models.

One of my biggest disappointments with past Nikon cameras has been the poor quality of the live view image in low light, which makes live-view focusing at night quite difficult. There is some improvement with the D850, and a new setting that allows the user to set different brightness levels for live view and image playback is helpful, as are the addition of live-view focus peaking and zebra stripes . (If you’re not familiar with the latter feature, know that it will make your life better. Check it out.)

Petroglyphs, Volcanic Tablelands, Bishop, California. Illuminated from the right with a warm-gelled Coast HP5R flashlight. Nikon D850. 15 seconds, f/9, ISO 6400.

The awkward Mode dial has been replaced with a much more user-friendly Mode button, with the unfortunate trade-off of losing the user-programmable custom modes for saving frequently used combinations of camera settings. I’m also not a fan of the outdated menu banks. Two other concerns:

  1. The SnapBridge Bluetooth app for transferring images to your smartphone, at least at first inception, was unreliable at best and is the only way to add GPS data to your files in-camera. (Nikon has told us that the recent update makes it usable, but I have not been able to test it.)
  2. Transferring files over Wi-Fi requires an attachment, of which the Nikon option is the $750 WT-7A Wireless Transmitter. (There are third-party options as well, which we will cover in the future.)

Despite the few quibbles mentioned, the D850 is a joy to use. It’s highly customizable and very easy to get comfortable with. I’m not sure that I’d want to hike the Pacific Crest Trail with it on my back, but in my limited experiences, it didn’t feel noticeably heavier in the field than my D750.

Imaging

Most previous Nikon DSLRs have used Sony engineered sensors, so the first thing to note with the D850 is that this is one of the few cameras that features a Nikon designed sensor. It’s a 45.7-megapixel FX-format BSI CMOS sensor. BSI stands for back-side illumination, a technology that has an atypical arrangement of the sensor components that allows more photons to reach the photodetectors, improving low-light performance, as well as readout rates, or the time required to digitize the light reaching the sensor.

What this means to us is that Nikon has produced an extremely high-resolution camera that does not sacrifice low-light performance. Night photographers can make very large high-quality prints from images made with a D850.

(An interesting side note is that Sony’s a7R II was the first FX camera to utilize a BSI sensor, and the replacement a7R III also utilizes BSI technology. This technology has been around for a while, but until recently was too expensive to implement in a reasonably priced FX camera.)

Mesquite Flat Sand Dunes, Death Valley National Park. The moon is low in the sky and the ambient exposure is intentionally underexposed for effect. For the middle-ground dunes, warmth, exposure and contrast were boosted using a local adjustment brush in Lightroom. An example of the malleability of files from this camera. Nikon D850, Nikon 24-120mm f/4 lens at 34mm, and Luxli Constructor LED light at 3200 K on the lowest setting, placed at the toe of the foreground dune. 30 seconds, f/10, ISO 800.

Like its predecessor, the D850 has a native ISO of 64, allowing for wider dynamic range than cameras with a native ISO of 100. The sensor also utilizes dual conversion gain, which has the effect of preserving highlight dynamic range while increasing sensitivity. In essence, the sensor has two different sensitivities: the native ISO of 64, and ISO 400, which is when the increased gain is activated.

Of course night photography is often done at high ISOs, which sacrifice dynamic range in favor of shorter exposure times. It has been suggested that underexposing at ISO 400 or 500 and then raising the exposure during RAW conversion will preserve more of the dynamic range than shooting at higher ISOs up to 4000. To me this indicates some degree of ISO invariance, (which is reinforced by my test images) although the article linked above claims that it is not.

Owens Valley Radio Observatory, California. This image was shot at the D850's native ISO of 64 to test the dynamic range of the sensor in a real-world situation. The scene was exposed for the maximum possible exposure without significant clipping of the brightest highlights, to determine if there would be adequate shadow detail while preserving highlight detail. Neither the camera’s histogram, blinking highlight indicator, nor zebra stripes indicated clipping, but highlight detail just exceeds the capability of an Adobe RGB display. Slightly less exposure would be preferable, especially considering that there is plenty of room on the left side of the histogram for compromise. Unfortunately, I was unable to do comparison shots with the other cameras at this location. In a nutshell: the dynamic range of this camera at native ISO is incredible. Nikon D850, Irix 15mm f/2.4 Blackstone lens. 30 seconds, f/3.2, ISO 64.

The focusing system in the D850 is the same as in the D5: a 153-point autofocus system featuring 99 cross-type points. Both the center focusing point and light meter are rated down to -4 EV. This is not enough to focus or meter by starlight, but it does offer a slight improvement over previous Nikon models like the D750 (-3 EV) and D810 (-2 EV).

As with the D810, the D850 has no optical low-pass or anti-aliasing filter, which makes for the sharpest possible images, but at a cost of an increased risk of moiré in highly detailed areas of a repeating pattern.

Image Quality

I was able to use the camera in different lighting conditions varying from full moon to starlight to some artificial lighting mixed with moonlight. When I had access to the camera, temperatures ranged between the low 20s and low 40s F, so long exposure noise was not a problem. (I’m eager to try the D850 during our Redwood National Park night photography workshop in late June to see how it performs during long exposures at summer temperatures.)

An example of ISO 25,600 in moonlight. Ken Lee at the Keane Wonder Mine, Death Valley National Park. Seeing detail in Ken's screen and in the folds of his black coat is astounding at this ISO. I would not make a large print of an photo shot at these settings, but the image quality is still very impressive. Nikon D850, Nikon 14-24mm f/2.8 lens at 24mm. 2 seconds, f/6.3, ISO 25,600.

Thirty-minute exposures at native ISO without enabling LENR were clean as a whistle. Native ISO 64 exposures yielded truly extraordinary image quality in both natural and artificial light, but higher ISO images were inconsistent. To be fair, I was not testing in a controlled environment, but with real-world variability that makes it more difficult to be scientific.


D850 test and Comparison Images

So you can make your own evaluations, we are providing you a selection of images made during the testing I did for this article. They are mostly DNG files with embedded metadata. Feel free to download the files and manipulate them for evaluative purposes. Please do not attempt to remove or edit the files in this folder, but rather download them onto your own computer first.

You can download everything mentioned below at npan.co/d850testimages. (Warning: It might take awhile, and we recommend not doing so with a mobile device using a cellular data connection. The files total about half a gigabyte.)

(All images are © 2018 Lance Keimig/NationalParksAtNight.com, and may not be printed or republished without express written consent of the author and National Parks at Night.)

 

ISO 6400 Comparison

6400.jpg

ISO 6400 Comparison

D750 v. D810 v. D850

These images were made sequentially on a very cold and windy night in Vermont just before moonrise. The clouds near the horizon are reflecting the lights of South Burlington or Williston, about 20 miles to the north. As the clouds were changing quickly during the shots, the value of comparing highlight clipping is somewhat limited. The foreground was lit by a handheld Luxli Constructor light, which was moved across the frame during the exposure, as the beam was not wide enough to light the entire scene. In hindsight, it would have been better to mount the light on a stand for consistency. The white lines in the road are puddles reflecting light from the sky.

 

Dynamic Range

Uhebe Crater Dynamic Range.jpg

Dynamic Range

D850

In this folder you will find a daytime image made at Ubehebe Crater in Death Valley National Park. The image was made shortly before sunset, during a windstorm that kicked up a tremendous amount of dust. It wasn’t the photo op I had hoped for, but still provided plenty of material to work with. There are three PNG files showing my Lightroom basic and local adjustments, and one showing clipping in the original file. I have included the DNG file, so you can make your own adjustments as well.

There is also the radio telescope image in DNG format to show the maximum dynamic range—what’s possible, and what isn’t.

 

Native Versus High ISO

hi-lo.jpg

Native v. High ISO

D750 v. D5 v. D850

There are two subfolders here, one showing native and +6-stop exposures in mixed artificial and moonlight shot with the D750 and D850. These are DNG files. The second folder shows native and +6-stop exposures in starlight with a little light pollution, comparing the D5 and D850 under these circumstances. Note that heavy clouds moved in during the 30-minute exposure on the D850, so it looks quite different than the 30-minute D5 image.

 

ISO Invariance

invariance.jpg

ISO Invariance

D5 v. D850

These two folders include a sequence of images shot with the D5 and D850 at full-stop ISOs from 100 to 6400 using the same aperture and shutter speed. The D850 folder also includes an ISO 64 image since that is the native ISO of the camera. For each stop of underexposure, the resulting image was given an additional stop of exposure in Lightroom, up to 5, the maximum available. For the ISO 64/100 exposures—which are six stops less than the 6400 exposures—five stops plus Highlights and Shadows were added to make the image look as good as possible. Only basic module adjustments were applied.

The conclusion is that the D5 is most definitely not invariant, and the D850 is. The D5 has a lower dynamic range at native ISO, and best results are achieved by giving correct exposure at whatever ISO you use, and not by raising exposure in post-processing. Conversely, the D850 has extremely wide dynamic range at native ISO 64, and also has a small bump in dynamic range at ISO 400 when the additional gain is applied to the sensor. Best results are achieved by shooting at ISO 64 when possible, or, for astro-landscape imaging for star points or Milky Way photography, I recommend shooting at ISO 400 and adding four stops of exposure in the RAW converter of your choosing.

For example, a typical astro-landscape photography exposure would be 20 seconds, f/2.8, ISO 6400. With the D850, I recommend using 20 seconds, f/2.8, ISO 400, and then boosting the exposure by four stops during RAW conversion. This will allow you to use the much wider dynamic range at the lower ISO without adding additional shot noise to the image. (Using ISOs lower than 400 and boosting the exposure in post by more than four stops will not yield better results.)

These are DNG files, so feel free to download and reset them to make your own adjustments from scratch.

 

Light Writing Comparison

light writing.jpg

Light Writing

D750 v. D810 v. D5 v. D850

These images, made on the Racetrack Playa in Death Valley, are the only ones I have comparing all four cameras. But due to the unique nature of each light-writing exposure––namely the angle of the light source and the speed it was moving—there are some intrinsic variations in highlights. Still, they’re fun files to review in order to get a general sense of the image qualities under these conditions (moonlight with a light source in the frame).


Which Nikon is Right for You?

In short, all of the cameras I tested have outstanding image quality, and make excellent choices for night photographers. The question readers should be asking themselves is, “Which camera is best for my needs?”


D750

The D750, despite being released more than 3 years ago, produces images that hold their own amongst its more expensive brethren. It is a superb value, currently priced at just under $1,800, and is a great step up from an APS-C camera. It would also be an excellent choice for a second body.

The compromise in choosing the D750 is primarily in user experience. Lacking a touch screen and the better live-view image quality of the newer cameras—as well as the comfort features of the D5 and D850 such as illuminated rear controls and an eyepiece shutter—don’t affect image quality so much as ease of use.

If you never print, or if you never display your images on anything larger than your computer display, you might be best off with a D750 and using the extra money to invest in some new Nikon glass to go with it.


D810

The D810 was released 3 1/2  years ago, and is currently priced around $2,800. Heralded as revolutionary at the time of its release, it is still a great camera, but a bit harder to recommend after the release of its successor. At roughly $500 less than the D850, I don’t think there’s enough of a savings to sacrifice all that the new camera adds to the party. Photographers who need the resolution of the D810’s 36-megapixel sensor but are on a restricted budget are those who might be attracted to the predecessor now. Look for price drops in the near future, or consider buying a used one as upgraders unload their “old” models.


D5

The D5 is truly a beast. Capable, durable, fast, accurate and relatively heavy. It’s not a camera for hikers, not even for long walks. Some famous photographer once said that if a subject wasn’t within 100 yards of the car, it wasn’t worth photographing. This camera is for that guy. Maybe it’s for you if you have a reliable assistant who never complains about schlepping your gear. Maybe it’s for you if you are strong and young and cost is not a primary consideration. For the journalist, sports or high-end wedding shooter who also does night photography, this is the camera. The D5 is worthy of its flagship status in every way. But not only is it significantly heavier than its more-than-worthy little siblings, it’s also significantly more costly: $6,500, body only.


D850

Now, the camera we really want to talk about: the D850. Released in October 2017, and priced at $3,300, there is still a backlog and a wait of one to two months to get your hands on one. Nikon Professional Services members do a little better, with an approximate wait time of two weeks as of January 2018.

As mentioned earlier in this post, the D850 takes some of the best features of both the D810 and the D5 and combines them into one camera. The D850 offers outstanding image quality, close to medium-format resolution and high-end features (many of which are extremely useful for night photographers)—all for roughly half the price of the D5.

It’s not perfect––native Wi-Fi and a useful smartphone controller, GPS, extended shutter speeds, custom exposure modes, and high ISO amplification that doesn’t push highlights into clipping would all be welcome improvements. Still, the combination of image quality, high resolution and features make the D850 one of the very best digital cameras ever made.

I recommend the D850 for professional and serious amateur night photographers who want to make large high-quality prints. And those who want to take advantage of the latest technologies in a camera with outstanding image quality without taking out a second mortgage should also put their names on the list.

What do you Think?

We welcome your thoughts and questions in the Comments section. (Please post all questions here for the benefit of other readers.)

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

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

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

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

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

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

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

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

January 2: Full Moon/Supermoon

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

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

January 3-4: Quadrantids Meteor Shower

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

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

Best Viewed: after midnight

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

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

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

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

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

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

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

February 15: Partial Solar Eclipse

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

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

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

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

March 31: Full Moon, Blue Moon

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

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

April 16: First New Moon of the Milky Way season

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

April 22-23: Lyrids Meteor Shower

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

Best Viewed: after midnight

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

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

May 6-7: Eta Aquarids Meteor Shower

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

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

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

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

May 15: New Moon

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

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

June 13: New Moon

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

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

June 21: Summer Solstice

Shortest night of the year. Boo!

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

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

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

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

July 27: Total Lunar Eclipse

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

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

July 28-29: Delta Aqaurids Meteor Shower

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

Best Viewed: after midnight

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

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

August 11: New Moon, Partial Solar Eclipse

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

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

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

August 12: Perseids Meteor Shower

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

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

Best Viewed: from darkness to morning

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

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

September 9: New Moon

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

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

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

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

October 8: Draconids Meteor Shower

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

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

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

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

October 9: New Moon

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

October 21-22: Orionids Meteor Shower

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

Best Viewed: after midnight

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

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

November 5-6: Taurids Meteor Shower

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

Best Viewed: after midnight

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

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

November 7: New Moon

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

November 17-18: Leonids Meteor Shower

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

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

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

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

December 7: New Moon

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

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

December 12-16: Comet 46P/Wirtanen

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

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

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

December 13-14: Geminids Meteor Shower

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

Best Viewed: after midnight

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

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

December 21: Winter Solstice

Longest night of the year!!!

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

December 21-22: Ursids Meteor Shower

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

Best Viewed: after midnight with your fingers crossed

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

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

Wrapping Up

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

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

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

UPCOMING WORKSHOPS FROM NATIONAL PARKS AT NIGHT