A Star Trek: Reporting Back from our Time at the Grand Canyon Night Sky Festival

One of the things I love about my job is that I get to experience so much of what our national parks offer. From soul-easing sunrises to serene night skies, from windswept desert landscapes to alpine lakes and streams—I get to see it all and reconnect with the natural beauty we were all born from eons ago.

In addition to all the wilderness it preserves, the institution of the National Park Service offers countless opportunities to engage with these places and to interact with others who enjoy them so passionately. One such opportunity is the Grand Canyon Star Party, the annual festival of night at one of the world’s most famous natural spaces. And last week, National Parks at Night was fortunate and proud to be a part of this stellar event.

A Grand Party

Many national parks organize night sky festivals, but the Grand Canyon puts on one of the biggest. The party lasts eight days—long enough for us to participate last weekend, come home, write a blog post, and share the news with you today while the event is still going on.

Photographing the Milky Way at Mather Point. © 2019 Gabriel Biderman.

Photographing the Milky Way at Mather Point. © 2019 Gabriel Biderman.

Ten thousand night sky fans were expected to visit the park this week specifically for the festival, and scores more serendipitously joined the activities when they happened to find themselves in the right place at definitely the right time. Those folks enjoyed (and today are still enjoying):

  • lectures about dark skies, astronomy and nocturnal activities

  • more than 50 telescopes available for viewing planets and galaxies, arranged by the Tucson Amateur Astronomy Association

  • ranger-led constellation walks

  • a general camaraderie among like-minded knights of the night

This year marked the 29th Star Party, and the biggest news of the event (no, it wasn’t that we were there) was this:

On the very first morning the International Dark Sky Association visited to certify the Grand Canyon as an International Dark Sky Park—the 70th and now the largest park of its kind in the world. It’s an honor that took three years for the park to earn, partly by converting over 5,000 lights to be dark-sky compliant—creating what Forbes Magazine recently dubbed “the $1 million Milky Way.” The retrofitting funds were raised by the Grand Canyon Conservancy, the park’s nonprofit partner.

Introducing: Night Photography!

What was our place in all of this? For two days Gabriel Biderman and I led education about—you guessed it!—night photography. According to the rangers we worked with, this is the first time the festival has offered a night photography component, and we were thrilled to lead the way.

The Grand Canyon Star Party is broken into two halves—one on the South Rim, one on the North. We were stationed at the former, working around the primary visitor center.

On our first night, we delivered a presentation titled “Night Photography in the National Parks.” The visitor center theater accommodates 233 people, and every chair was occupied. Moreover, we learned afterward that about 325 people were outside the theater watching the large-screen livestream of the talk—for a total of about 550 attendees! That fully reinforced how big an event we were part of. I can’t speak for Gabe, but I know it’s the largest audience I’ve ever spoken to. I’m not sure I could adequately describe how fulfilling it is to be able to share a passion with so many.

Gabe and I posing with our in-house audience.

The talk centered around—well, the title says it all. We relayed some of the experiences of the Grand Canyon South Rim workshop that we had just wrapped up a few days before, showing images that we’d created of the canyon under moonlight, in addition to some behind-the-scenes pictures of our workshop attendees enjoying the night. And then we spent half an hour showing our photographs from 29 national parks—from Acadia and Arches to Yellowstone and Zion—sharing stories about the experience of being in these wonderful places at night.

When the talk was over, we signed some books in the back. We usually sell books on our own at events like this, but the Grand Canyon Conservancy asked if they could make the sales. We were more than happy to have them take over. They do great work, and we’re on board with any way we can support them. (If you have a love of, or an interest in, the Grand Canyon, check out what they do at the link above.)

© 2019 Cindy Radich.

© 2019 Cindy Radich.

Then we met with 60 photographers who were on hand for the free night-photo walk we were leading. Everyone gathered in the theater, where Gabe and I walked them through setting up their cameras for night photography. Then we all walked under the night sky to Mather Point, one of the most stunning vistas in the park and the best spot on the South Rim to view the Milky Way. Everyone was able to create some great images of our galactic core rising over the rim—many of them for the first time! The smiles were so big that we could see them even in the dark.

Day Work

The next day we were up early (well, early for us) so we could set up our table at the festival. The park was kind enough to station us right outside the main visitor center, in the heart of the goings-on. We spent the afternoon (a beautiful, sunny, cloudless, blue-sky day) meeting and greeting fellow photographers and night enthusiasts, talking about the Grand Canyon and other parks, sharing info about our workshop program, and giving out a lot of NPAN stickers to kids and kids-at-heart.

Photo © 2019 Jen Bookman.

Photo © 2019 Jen Bookman.

Gabe and I with our hard-earned Junior Ranger Night Explorer patches.

Gabe and I with our hard-earned Junior Ranger Night Explorer patches.

(Funny story: We were stationed so much in the middle of the activity that people kept asking us for general information about the Star Party—what it was, where to be for events, and so on. We were happy to oblige. Late in the day a ranger noted how helpful we’d been, and he thereby awarded us Junior Ranger patches.)

On that second night we led another photo walk, exactly the same as the previous night’s, except this time about 70 photographers partook. Many of them were people we’d met and chatted with during the day—lots of new friends and smiling faces.

One notable difference between the first- and second-night groups was that more than several of the latter hadn’t come to the festival with the intent of photographing at night, and thus didn’t have tripods. Fortunately for us, Manfrotto has treated us well over the past couple of years, so we had a few extra tripods we could loan out—all from the Traveler series.

Even more than the previous night, people were walking away from Mather Point with the first Milky Way images they’d ever created. And some went even further. One attendee tried his very first Milky Way pano, a couple of more decided to venture into star trails for the first time, and the last photographer standing that night, by the time Gabe and I left, was well into his inaugural run at making a Milky Way time-lapse.

Winding Down

At the end of the two days, Gabe and I were simultaneously wiped out and reinvigorated. Neither of us had ever been involved with an event quite like this, and now we can hardly wait to be involved in one again. We could feel two communities coming together—introducing our night photography community to astronomers and avid stargazers, and likewise enjoying being embraced by them in return.

There are so, so many people who love to soothe their souls with sunrises, desert landscapes, and alpine lakes and streams—and who love to seize the night. And now we’re lucky to be friends with more of them.


Notes

We owed, and conveyed, gratitude to several people for helping us make this happen. But three we’d like to mention here:

  1. Thank you to Rader Lane, the ranger who brought us into the fold and served as our point person on-site. He also spent his morning off from work saving my laptop. Upon leaving the park I left my bag behind in the house. Rader retrieved it and ensured that it found its way to FedEx. If not for him, I wouldn’t have been able to write this post—in more ways than one.

  2. Thank you to Jen Bookman and Cindy Radich, two of our Grand Canyon workshop attendees who stayed for the Star Party and shared their photos with us for this post. It was nice to have personal photographers on hand, and we always enjoy their company.

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

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Lost and Found in the California Desert: A Tripod and Ball Head Find Their Way Home

What are the odds?

I’m not generally someone who believes in fate, or that the things that happen to us in life are predetermined. But every once in a while something happens to make me question those beliefs.

I recently had such an experience in the California desert southeast of San Diego. It was, if you will, an anti-Lemony Snicket series of events.

Chris and I recently led two back-to-back workshops for Atlas Obscura in California’s Anza-Borrego Desert to photograph Ricardo Breceda‘s amazing animal sculptures of mostly extinct creatures that once roamed the area.

Jurassic Park in the Anza-Borrego Desert. Two life-size dinosaurs battle it out underneath the stars. Nikon D750 with an Irix 15mm f/2.4 lens, mounted on a Manfrotto 190go! tripod with an Acratech GPS ball head, light painted with a Luxli Viola. 25 seconds, f/4.5, ISO 4000.

Nearby Anza-Borrego Desert State Park is one of the remotest and hottest places in California, known primarily for spectacular wildflower displays called “super-blooms” in March and early April after an exceptionally wet winter. The park and the sculptures are the primary attractions of the area. It’s a great location for photographing the Milky Way, as Borrego Springs is an officially designated International Dark Sky Community, and the sculptures are cooperative subjects for light painting.

I had last visited Anza Borrego State Park in 1992—before the sculptures dotted the landscape—so I was eager to explore and to rediscover the area. Chris and I had arrived a couple of days early to scout and shoot for ourselves, and by the end of the first workshop we had been out late photographing for six nights in a row. We were having a blast, but we were tired.

Two bugs in battle. Nikon D750 with an Irix 11mm f/4 lens, light painted with a Luxli Viola. 25 seconds, f/4.5, ISO 6400.

As we were packing up to leave on that sixth night, I set my tripod on the ground to open the rear hatch of our car, and consciously thought that I had to make sure to put the tripod back in the trunk before we left. Somehow, I got distracted, and didn’t. I left my prized Gitzo 2545 Traveler tripod and Acratech GPSS ball head all alone in the desert to fend for themselves. Yes, I know. It was a bone-headed move, and I probably deserved what I got. But it was late, and I was exhausted.

Unfortunately, I didn’t realize my error until the next evening as we were preparing to go out for the night. Once I did realize, we looked everywhere we thought the tripod might be. The car. My room. Chris’ room. Our bags. The meeting space. The hotel lobby (had someone found and returned it?). We even checked the police station—you know, in case the tripod fell in with the wrong crowd. Finally, the previous night’s events played back in my head—I could see myself putting the tripod down, I could remember making a mental note to pick it up, but I couldn’t recall actually putting it in the car. So we hurried back to our last shoot location, the site of the magnificent gomphotherium.

Of course, it was too late. An entire night and day had passed, and someone had long since discovered and made off with my tripod. It wasn’t in front of the gomphotherium. It wasn’t beside the tortoises. It wasn’t under the camels. It was, quite simply, gone.

Chris standing beside the gomphotherium, an extinct elephant that once roamed Southern California. Nikon D750 with a Sigma 24mm f/1.4 Art lens, light painted with a Coast HP7R. 13 seconds, f/2.2, ISO 6400.

Luckily for me, Chris had a second tripod, and he let me work with it for the second workshop. I wasn’t very happy about the situation, but there wasn’t much point in getting angry or upset. Besides, I had a workshop to teach. It turned out to be a great group, and the skies cooperated with us. The time flew by, and it was time to say goodbye.

Then things got interesting. Thus begins the series of fortunate events!

Our fellow National Parks at Night instructor Gabe Biderman received an email from Acratech asking if one of us had lost a tripod in the desert! We have a partner relationship with Acratech, and Gabe has been our point person for contact with them. It seems that my tripod had been found by another photographer, who also happened to own an Acratech. His name is Aeon Jones. Aeon had been scouting the location for a landscape photography workshop that was part of the Palm Beach Photo Festival when he came across my tripod early in the morning—mere hours after I had left it there.

Poor Little Lost Tripod. © 2019 Aeon Jones.

Aeon wanted to get it back to its owner, and thought that perhaps it belonged to someone at the festival, so he carried it around all week hoping someone would recognize it. When no one did, he posted about it to Acratech’s Facebook page. Patty from Acratech saw the post, and wondered if the head had been registered. Aeon sent her the serial number, which showed up in Acratech’s records as having been shipped to NPAN.

By this point, the rest of the NPAN crew had heard my tale of woe, so Gabe already knew that the head was mine. Aeon wanted to be sure the tripod got back to its rightful owner, so, through Patty, he asked for me to confirm some details. I relayed what I knew about the tripod and the location where I lost it. Aeon knew he’d found his guy. He then put the tripod in the mail while he was traveling for a shoot in Moab. I arrived home from my next workshop at Maine Media to find the tripod outside my back door in the rain. The box was dented, soaked and falling apart, but the tripod and head were as good as new.

A bighorn sheep (aka “a borrego”) with the moon rising behind it. Nikon D750 with a Tamron 15-30mm f/2.8 lens, light painted with a Coast HP5R. 15 seconds, f/5.6, ISO 6400.

So back to my original question: What are the odds?

First, the tripod needed to be found by someone who 1) realized its value, 2) was honest and wanted to return it to its owner, and 3) had to be resourceful and dedicated in getting it back to me. Thankfully, Aeon was all of those. The odds that the tripod would be discovered by another photographer who also had a tripod with an Acratech head was unlikely, but luckily for me, that’s what happened.

After Aeon posted to Acratech’s Facebook page, Patty had to see the post and reach out to Aeon for the serial number, and that serial number had to have been registered in my name. I admit, I had not registered it—it was Acratech that kept good enough records to track me down. Once Patty discovered the owner, she had to take time out of her schedule to reach out to us, and then to connect Aeon and myself. From there, my tripod’s fate was in the hands of the U.S. Postal Service. The mail carrier left it on my porch in the rain where it could have been stolen while I was in Maine. But it wasn’t.

I have to admit that I never expected to see this tripod again, and I remember saying to Chris that the chances of someone trying to return it as opposed to keeping it or selling it on eBay were next to none. I thought that the chances of someone actually being able to track me down (my name wasn’t on the tripod) were even more remote.

Aeon Jones, you’ve restored this cynical photographer’s faith in humanity, and for that I thank you. I’ll always remember your good deed, and promise to pay it forward every time I get the chance. (I’m in California looking for lost tripods right now.)

By the way, Aeon told his side of the story on his own blog. To Patty, and the fine folks at Acratech: Thank you for maintaining good records, for responding to Aeon’s post, and for making heads so outstanding that another customer would want to make sure I got mine back.

Aeon Jones. You can read his side of the tale on his blog.

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.

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Photo Management for the Road Warrior: A Lightroom Travel Workflow

A question I am frequently asked is how I manage all of my photographs while traveling. I travel a lot. I’m on the road about half of the year. During this time I create tons of photographs, all of which I download and edit on my laptop. How, then, do I sync these photos with those in my primary Lightroom catalog back home? Easy. Let me show you how.

A Great Workflow for Small Lightroom Catalogs

When teaching Lightroom, I typically recommend having only one catalog. This alleviates much confusion and complexity for the new Lightroom user, and it complies with the philosophy of the way the software was designed.

I also suggest creating the Lightroom catalog on an external drive and storing all of the images on that same drive. (Click here for a simple explanation of how the Lightroom Catalog works.)

This strategy keeps all of your images, settings and catalog in one place. Then you can take that drive on the road with you, and work on the road just as you would work when home. When you return from your trip, you can plug that drive into your desktop computer and launch the same Lightroom catalog you had been working with while traveling. Finally, when it comes time to back up, you simply purchase two other drives of the same capacity and clone your master drive to the two backup drives.

This system works incredibly well … until you have too many images to carry around with you. (More on that later.)

Creating a Catalog on an External Drive

So how do we go about doing this?

1. Plug the external drive into your computer and open a Finder/Explorer window.

2. Navigate to the external drive.

3. Create a new folder on the drive called “Primary Lightroom Photographs” (or whatever else makes sense to you). This is where you will store all of your actual photo files.

4. Double-click on the Lightroom application while holding down the Alt/Option key (Apple) or the Alt key (PC). This will force Lightroom to open the Select Catalog dialog box (Figure 1).         

Figure 1.

5. Click the Create a New Catalog button (circled in red in Figure 1).

6. Navigate to your external hard drive and create a folder there with a name such as “Primary Lightroom Catalog.” This folder will house your Lightroom catalog (in the LRCAT file format). You will also see your Primary Lightroom Photographs (or whatever you named it) folder (Figure 2).This is where you will store your actual images.

Figure 2.

7. When you want to launch this catalog, navigate to the external drive, click on the Primary Lightroom Catalog Folder and double-click the LRCAT file (Figure 3).

Figure 3.

Larger Lightroom Catalogs, Larger Hard Drives

OK, back to that pesky problem of having too many photos for the aforementioned approach to work. Once you create enough imagery, it will be impractical to keep all of your images with you on a portable external drive. In this case you’ll want to have a large hard drive at home. I use a LaCie 16TB RAID Array (Figure 4).

For those of you who are afraid to delete any of your images, or for those who perhaps shoot a lot of video, you’ll want even more space than I have. You’re in luck, as even bigger versions are available. LaCie, for instance, offers their series of RAID arrays in sizes rangings from 8 TB to 168 TB! Purchasing a large hard drive allows room to expand, and it serves as a single location to keep all of your images.

To create a Lightroom catalog on one of these workhorses, follow the directions above, but instead of using a portable external drive, use your RAID (or equivalent).

Taking it with You

That solves your storage needs at home, but what about on the road? Well, once you have all of your images on your home-based hard drive, you use a smaller hard drive to take with you when traveling. That smaller drive won’t contain every image you have, but it will give you the capability to add to your home-based catalog quite easily once the trip is over.

There are countless sizes and brands from which to choose, but again I go with LaCie for their consistent quality. If you feel you’ll need a ton of storage on the road (4 to 8 TB), I recommend the Rugged series of hard drives. Tough, reliable and with ample storage, these drives will serve even the most prolific photographer. I use a superfast 2 TB SSD drive. These drives have no moving parts to knock around and are lightning fast. They range in capacity from 500 GB to 2 TB.

Once again, create a new catalog on your “travel drive,” this time in a folder called something like “Travel Catalog.”

When you are on the road, simply plug in this smaller drive and use it as you would use your larger home-based drive. This means that when you want to launch Lightroom, you navigate to this travel drive, go into to the folder that contains your catalog, and double-click on the LRCAT file. This will launch this specific catalog and alleviate any confusion if you have multiple catalogs on your computer.

When downloading your images on the road, be sure to import them into the Travel Photographs folder on this drive. This strategy keeps both your catalog and your images in one place: on your external travel drive.

Syncing Your Lightroom Catalogs

When you return home from your trip, it’s time to sync your catalogs.

1. Plug your travel drive into the same computer that your home-based drive is plugged into.

2. Launch your Primary Catalog from your home-based hard drive.

3. From the File menu, choose Import from Another Catalog (Figure 6).

Figure 6.

4. Navigate to your travel drive, click on your LRCAT file (Figure 7) and then click Choose.

Figure 7.

5. You’ll be shown the dialog in Figure 8. Check all of the boxes at the upper left to import all of your images from your travel drive to your home-based drive. By default all the images in the right-hand window will be checked. If they’re not, click the Check All button.

Figure 8.

6. Under file handling, choose “Copy new photos to a new location and import.”

7. Click the Choose button (circled in Figure 9) to select the folder on your primary drive that you would like to put the images in. In this example, I’ve navigated to the Primary Lightroom Photos folder on my Primary drive. Once again, click Choose.

Figure 9.

That’s it! Sit back and let Lightroom copy all of the images from your travel drive onto your primary drive. The beautiful thing about this method is that it not only copies your images but it also includes their adjustments, keywords and any other changes you’ve made while on the road.

When the process is complete, back up your entire primary drive—both the catalog and the RAW files. Only then should you erase the images from your travel drive. (I never want to delete that travel drive until I have at least two other copies of those files.)

In Short …

The key is to keep it simple. Your primary drive should contain only two folders: Primary Photos and Primary Lightroom Catalog (Figure 10). Always launch your Primary Drive Catalog while at home and keep this catalog organized.

Figure 10.

When you create your travel drive folder hierarchy, it should look the same. One folder for Photographs and one for the Catalog (Figure 11).

Figure 11.

Now you can use your lightweight travel drive on the road, and easily marry those images with your main catalog at journey’s end. Using this simple system will save you tons of time both at home and on the road.

Moreover, there’s a bonus! You can use this same Import from Another Catalog command to consolidate any extra Lightroom catalogs you may have lying around. Launch your Primary Catalog and choose Import from Another Catalog. Then simply point to whichever stray catalog you would like to import into your Primary. Repeat this process for each of the extra catalogs you may have. Once all of your images are in your Primary Catalog, you can delete all those older catalogs. And then back it up!

Note: If you’d like assistance setting up Lightroom to work this way, the National Parks at Night crew is happy to help! See our Tutoring page to learn how to connect with us one-one-one.

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.

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Celebrating Darkness: The National Park Night Sky Festivals of 2019

If you’re a regular reader of our blog, then a couple of weeks ago you may have caught the post announcing our involvement with the annual Grand Canyon Sky Party. We’re really revved up about this. It’s an opportunity for our night photography program to be integrated into a dark-sky festival at one of the country’s—nix that, one of the world’s—grandest national parks.

The Grand Canyon Star Party is an event that no night-loving parks buff should miss. But it’s not the only event of its kind. The National Park Service (NPS) is dedicated to preserving night skies and to letting people know about it. Want evidence?

  • Exhibit A: the NPS Night Skies webpage.

  • Exhibit B: the wide range of parks and rangers that commissioned artist and astronomer Tyler Nordgren to produce the “Half the Park is After Dark” poster series

  • Exhibit C: the commitment that’s led to an ever-growing number of units being designated as Dark Sky Parks by the International Dark Sky Association

  • Exhibit D: the night sky festivals that so many NPS units host each year

That last point is the point of this post. All year long the parks host events all across the continent. Below are many of the noteworthy ones coming up in the next several months, including a couple in Canada.

Petrified Forest National Park. NPS Photo/Jake Holgerson.

Petrified Forest National Park. NPS Photo/Jake Holgerson.

Petrified Forest National Park

Arizona, June 21

Annual Dark Sky Celebration

  • ranger- and astronomer-led programs

  • ancient solar petroglyph viewing at Puerco Pueblo

Yosemite National Park

California, June 22-23

Stars Over Yosemite

  • public telescope sharing

  • group camping

  • night-photography shoots

Grand Canyon National Park. Fujifilm X-T2. 30 seconds, f/4, ISO 6400. © 2018 Gabriel Biderman.

Grand Canyon National Park

Arizona, June 22-29

Grand Canyon Star Party

  • held on both the North Rim and South Rim

  • constellation tours

  • daily presentations at the visitor center

  • a night photography talk and two night photography walks by National Parks at Night partners and instructors Gabriel Biderman and Chris Nicholson!

Bryce Canyon National Park

Utah, June 26-29

Bryce Canyon Astronomy Festival

  • led by Bryce Canyon's Astronomy Rangers and local astronomical societies

  • keynote speaker: Dr. Amber Straughn, associate director of astrophysics science at NASA

  • model rocket assembly and launches

Black Canyon of the Gunnison National Park

Colorado, June 26-29

Black Canyon Astronomy Festival

  • guest speakers

  • astronomy activities

  • held on the South Rim of the canyon

Craters of the Moon National Monument & Preserve

Idaho, June 28-29 & September 27-28

Craters of the Moon Star Party

  • run by the Idaho Falls Astronomical Society

  • telescopes available for viewing star and planets

Badlands National Park. NPS/Gary Joseph Cohen.

Badlands National Park. NPS/Gary Joseph Cohen.

Badlands National Park

South Dakota, July 5-7

Badlands Astronomy Festival

  • evening presentations with special guest speakers

  • nightly telescope viewing sponsored by the NPS Night Sky Program and Celestron

Harpers Ferry National Historic Park

West Virginia, July 12

Harpers Ferry Night Sky Festival

  • guest speaker and kids program

  • stargazing activities after dusk at the Murphy-Chambers Farm

Ochoco National Forest

Oregon, July 30-August 4

Oregon Star Party

  • guest speakers, including NASA Solar System Ambassador Greg Cermak

  • observing programs for every level, from binocular to beginner to intermediate to advance to photographer (yes, in that order)

  • many, many programs

Lassen Volcanic National Park Dark Sky Festival. Photo by NPS/Alison Taggart-Barone.

Lassen Volcanic National Park Dark Sky Festival. Photo by NPS/Alison Taggart-Barone.

Lassen Volcanic National Park

California, August 2-3

Dark Sky Festival

  • nightly constellation tours and stargazing

  • discussions and demonstrations by National Park Dark Sky rangers, NASA, the International Dark Sky Association, StarChazerz and the Astronomical Society of Nevada

Shenandoah National Park

Virginia, August 9-11

Night Sky Festival

  • ranger talks and programs

  • guest presentations ranging from topics such as space weather, space travel and our future in space

Wood Buffalo National Park

Alberta and Northwest Territories, Canada, August 22-25

Dark Sky Festival

  • presentations by Bob McDonald, host of CBC Radio's Quirks & Quarks, and Wilfred Buck, a science facilitator for the Manitoba First Nations Education Resource Centre

  • fire circle and drumming

  • aurora and astrophotography workshop

sequoia dark-sky-logo-2018-01.jpg

Sequoia and Kings Canyon National Parks

California, August 23-24

Sequoia and Kings Canyon National Parks Dark Sky Festival

  • takes place in various locations, including the Foothills, Mineral King, Giant Forest, Lodgepole, Grant Grove and Cedar Grove, as well as Lake Kaweah in Three Rivers

  • over 50 programs, including tours, stargazing, guest speakers, movies, musical performances and more

Hopewell Furnace National Historic Site

Pennsylvania, August 24

StarFest

  • organized by the ChesMont Astronomical Society

  • presentations, kids activities, telescope demonstrations and door prizes

Kejimkujik National Park

Nova Scotia, Canada, August 24-25

Dark Sky Weekend

  • Canada’s only Dark Sky Preserve

  • presented in partnership with the Royal Astronomical Society of Canada

Theodore Roosevelt National Park

North Dakota, August 30-September 1

Dakota Nights Astronomy Festival

  • rocket building and launching

  • half-mile Solar System Hike

  • stargazing and telescopes

Chaco Canyon National Historical Park. Nikon D5 with a Nikon 24-70mm f/2.8 lens, light painted with a Coast HP7R flashlight and a Luxli Viola panel light. 10.5 minutes, f/11, ISO 100. © 2018 Chris Nicholson.

Chaco Canyon National Historical Park

New Mexico, September 20-22

Astronomy Festival

  • sun and night-sky viewing through telescopes

  • learn about celestial alignments in the park’s ancestral Puebloan great houses

  • guided hikes

Joshua Tree National Park

California, September 21

Night Sky Festival

  • held primarily at Sky’s the Limit Nature Center and Observatory

  • viewing through at least 20 telescopes

  • astronomy lectures

Katahdin Woods and Waters National Monument

Maine, September 21

Stars Over Katahdin

  • campfire chat with hot cocoa and s’mores

  • science lessons

  • astronomy presentations

Acadia National Park. Nikon D3s with a Nikon 28-70mm f/2.8 lens. 20 seconds, f/8, ISO 3200. © 2017 Chris Nicholson.

Acadia National Park

Maine, September 25-29

Acadia Night Sky Festival

  • internationally recognized speakers

  • poster artwork contest

  • events and workshops for everyone from families to the serious amateur astronomers

Great Basin National Park

Nevada, September 26-28

Astronomy Festival

  • daytime and evening telescope viewing

  • ranger talent show of astronomy-themed acts

  • night sky photography workshop by the Dark Rangers

Capitol Reef National Park. Nikon D750 with a Zeiss 15mm Distagon f/2.8 lens. 30 seconds, f/2.8, ISO 3200. © 2016 Matt Hill.

Capitol Reef National Park

Utah, September 27-28

Heritage Starfest

  • a dark-sky run/walk

  • constellation tours

Cedar Breaks and Grand Canyon-Parashant National Monuments

Utah, September 27-29

Southwest Astronomy Festival

  • night hikes

  • star parties in various regional parks and places

Jasper National Park

Alberta, Canada, October 18-27

Jasper Dark Sky Festival

  • keynote speaker: Jad Abumrad, creator and host of Radiolab

  • VIP stargazing reception

  • stargazing along the shores of Lake Annette

  • “Science for Breakfast” with Nick Pope, former head of the British government's UFO project

Other Opportunities

These aren’t the only opportunities to celebrate the night skies of the national parks. The above represents the larger events and the annual events—at least the ones that we know of at press time. (Blog time? Press-Enter time?)

In the 400-plus units of the park system, there’s often something going on involving night. Ranger-led walks. Telescope parties. Meteor-shower viewing. Moonlight strolls. And so on. To find an event in a park near you, or in a park near where you’re traveling, go to the NPS’ Event Calendar page and do a search for “night,” or “stars,” etc.

Moreover, if you live outside North America or you’re traveling internationally, you can look for night programs all over the world, such as the Exmoor (National Park) Dark Sky Festival in England, the Mayo Dark Sky Festival in Ireland and the Queensland Astrofest in Australia.

Really, there’s a whole world of seizing the night to be had. So … go seize!

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

UPCOMING WORKSHOPS FROM NATIONAL PARKS AT NIGHT

Nights, Camera, Action! 5 Videos from Gabe and B&H to Help You Photograph the Dark

We all thought it was really cool that a recent episode of Game of Thrones was shot for 50 straight nights. While not as epic as that, I recently spent the last six months creating a “Night Photography Series” of videos with the amazing crew at B&H Photo.

The videos were shot in the cold and snow of Maine, the urban ruins of Sloss Furnaces National Historic Landmark in Alabama, as well as throughout New York City. We thought we’d organize them all in one place so you can easily learn with us. They cover a lot of topics, from camera settings to gear to light painting and more.

While the series was created for people new to the night, we think everyone can find a few helpful reminders and tips in each installment. The videos are fairly short, from 6 minutes to 20 minutes. Good lengths to get inspired to #SeizeTheNight!

(Special shouts out to Kelly Mena for proposing this project, and to Robert Sansivero who did a fantastic job filming and editing.)

Best Camera Settings for Night Photography

In this very snowy video, I discuss the night logic behind making certain choices about ISO, shutter speed, aperture and white balance. It all leads down the path to mastering manual mode so you can take control of your night visions.

How to Photograph Star Trails

When most of us think about night photography, we think about the stars. In this video I give tips on making those jaw-dropping star trail shots, both in-camera and by stacking them together in post.

How to Light Paint

Once you’ve focused on the stars, we step it up and gain a better understanding of adding light to a night composition. I look at the gear you need to capture, the light painting tools to create, and how to balance the ambient light with the additional light you bring into the scene. Get inspired and more comfortable with your light painting!

Create AMAZING Photos with Light Writing

I turn out the lights, don my favorite black fedora, and take a look at a bunch of fun tools that make writing with light fun and easy. I share my top tips, I do a live demo, and I break down some of my favorite images to show how you can bring a very unique vision to the night.

Best Cameras for Night Photography

In the last video, I compare the current batch of full-frame mirrorless cameras, looking specifically at which features best suit the night photographer. There is also an extended, 1-hour version wherein I compare similar images shot with different cameras in the same conditions, allowing us to really gain a better understanding of what these bodies are capable of producing.

And … Cut!

Let us know if you find these videos helpful and what subjects you’d like us learn more about next. You can type out your thoughts in the Comments section below or on our Facebook page.

Finally, fun fact: I wear a different hat in each video!

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