Canon has also expanded its RF Hybrid Primes line up with the RF 20 mm f/1.4 L VCM lens. Joining the 24 mm, 35 mm, and 50 mm f/1.4 lenses, this ultra-wide-angle lens offers smooth autofocus, minimal focus breathing, and a physical iris ring for video shooters. Weighing 519g, it has a 67 mm filter thread, a rear filter holder, and is dust-resistant.
Designed for both stills and video, the lens features built-in focus breathing reduction for stable compositions, smooth subject tracking, and silent operation. Its high-thrust VCM ensures precise, rapid autofocus, while a clickless iris ring allows seamless aperture adjustments during filming. The lens shares consistent size, weight, and controls with Canon’s other f/1.4L VCM primes, reducing the need for rebalancing when swapping lenses.
Optically, the RF 20mm F1.4L VCM introduces BR optics to minimize chromatic aberration, along with aspherical elements that correct distortions like sagittal coma flare—perfect for astrophotography. ASC and SWC coatings reduce flare and ghosting, ensuring crisp, high-resolution images even in challenging lighting. With its outstanding image quality and future-proof design for 8K imaging, this lens is a must-have for professionals seeking both precision and versatility.
The Canon RF 20mm F/1.4 L VCM is priced at ₹1,58,995.
Canon has unveiled the EOS R50 V and RF-S 14-30mm F4-6.3 IS STM PZ, designed for next-gen content creators. The EOS R50 V, a video-centric camera without a viewfinder, featuring a design optimized for vertical shooting, enhanced ergonomics, and a dedicated button layout for seamless video creation. It supports Canon Log 3, oversampled 4K 30p, cropped 4K 60p, and Full HD 120p recording.
With features like Cinema View, Slow & Fast Motion mode, and professional tools like false colors and zebras, creators can achieve cinematic results. Dual Pixel CMOS AF II, Register People Priority, and Movie Digital IS enhance autofocus and stabilization. The camera also supports XF-HEVC S / XF-AVC S formats, Custom Pictures, LUTs, and 3-mic noise reduction for professional workflows.
For livestreaming, the EOS R50 V offers multiple connection methods, including USB-C and HDMI, with cropped 4K 60p streaming. The Smooth Skin Movie mode and Movie for Close-Up Demos AF further refine content.
The RF-S 14-30mm F4-6.3 IS STM PZ is Canon’s first RF lens with built-in power zoom, offering smooth servo zooming via the lens, camera controls, or a smartphone app. Its lightweight design maintains balance on gimbals, while 5-axis image stabilization ensures steady shots. The lens’ 22.4-48mm equivalent focal length makes it versatile for wide and close-up shooting, with a 0.15m close focus and 0.38x magnification for detailed content creation.
Canon EOS R50V + RF-S 14-30mm kit is priced at ₹79,995 and the RF-S 14-30mm lens is priced at ₹33,995
Sony India has announced the FE 400-800mm F6.3-8 G OSS, its first 800mm super-telephoto zoom G Lens. Designed for wildlife, sports, birding, and landscapes, this lens offers high-resolution performance, fast autofocus, and superior stability with an inner-zoom mechanism that maintains its center of gravity.
With six ED glass elements, an 11-blade circular aperture for smooth bokeh, and advanced coatings to reduce flare, the lens ensures outstanding clarity. Two precision linear motors enable fast, silent autofocus, keeping up with the A9 III’s 120 fps burst speed. A focus range switch and focus hold buttons enhance usability.
Optical image stabilization allows handheld shooting without blur, while a durable, dust and moisture-resistant design ensures reliability. The tripod mount foot rotates easily for horizontal or vertical orientation. This lens is also compatible with 1.4x and 2x teleconverters, extending the range up to 1600mm.
The Sony 400-800mm F6.3-8 G OSS will be available across Sony stores and dealers in India from March 17, 2025, for ₹264,990.
Nikon India Private Ltd. recently announced the launch of “Through Her Lens”, Season 4, a contest dedicated to recognise and celebrate the immense contribution of women in photography. The contest will remain open for submissions until March 31, 2025, inviting both women professionals and enthusiasts to participate and showcase their unique perspectives and creative storytelling.
Sajjan Kumar, Managing Director, Nikon India Pvt. Ltd., expressed his thoughts on the occasion, saying, “At Nikon, we believe that women professionals bring a unique strength and individuality to the world of imaging. Through ‘Through Her Lens’ Season 4, we aim to amplify the voices and stories of women from diverse backgrounds who have made remarkable contributions to the industry. This contest serves as a platform for creative expression and storytelling, capturing beauty in its most profound moments. Our goal is to celebrate their achievements, inspire aspiring talents, and reinforce the fact that women are shaping the visual narratives of our world on equal footing. Let’s honour the power of women behind the camera—because the world looks even more inspiring through their lens.”
With a strong emphasis on both videography and photography, this year’s theme highlights the distinctive way women perceive and capture the world—not just through their eyes, but through their lens. Beyond merely taking pictures, participants are encouraged to create bold visual narratives, cutting through distractions and bringing focus to stories that need to be told. Nikon India invites women from all walks of life to share their moments and stories, showcasing their unique journeys and perspectives through the lens. This initiative encourages women to embrace their authenticity, celebrate their achievements, and break barriers in the world of photography and videography.
A distinguished panel of renowned women photographers will judge the contest, bringing their expertise across diverse photography genres. Saumya Khandelwal, a celebrated photojournalist, captures compelling narratives through her lens, while Falguni Kharwa, a specialist in newborn and maternity photography, beautifully preserves life’s most delicate moments. Palak Maheshwari, known for her expertise in food and product photography, has a keen eye for composition and aesthetics. Arpitha S Murthy, an acclaimed wildlife photographer, captures nature’s raw beauty and untamed stories. Together, these accomplished jurors will assess the submissions based on creativity, storytelling, and visual impact, ensuring that the most compelling and inspiring works are recognized.
The winners will be awarded exclusive Nikon cameras and special prizes. → 1st Prize: Nikon Z f + NIKKOR Z 35mm f/1.4 S → 2nd Prize: Nikon Z 30 + NIKKOR Z DX 12-28mm f/3.5-5.6 PZ VR → Consolation Prizes: Nikon will award ₹20,000 vouchers to select rising stars based on merit (The number of vouchers will be determined based on the quality of submissions). Participants can enter the contest by sharing their best Nikon-shot videos or images on Instagram, mentioning the camera and lens used, and tagging Nikon India along with the contest-specific hashtags #HerLensHerStory and #THLS4. Participants must upload their photos/videos shot on a Nikon camera to Instagram, tagging Nikon India and mentioning the camera and lens used in the caption.
Submissions will be judged on originality, storytelling, and visual impact. By launching “Through Her Lens”, Nikon India continues its commitment to celebrating the fearless creativity of women in photography and videography. The initiative is more than a contest—it is a movement to elevate women’s voices in the world of visual arts. It’s time to frame the world through her eyes, her perspective, and her voice. It’s time to frame the world through her lens.
Dr Latika Nath, The Tiger Princess of India,has been photographing stories for years now, blending art and advocacy. Through photography, she’s paving a way for the next generation of women to come ahead and break the glass ceiling. Her work has brought her several accolades, publishings & exhibitions. Today, she is a Nikon Creator & Ambassador for Leica. Asian Photographyspoke to herabout her upbringing, passion for photography & wildlife conservation, the barriers she has faced in her life & her career, storytelling and more. Excerpts:
What inspired you to become a photographer, and what was the journey like?
I grew up surrounded by a family that loved the outdoors and photography. National Geographic magazines were always around, and every vacation was carefully recorded. As a child, sitting and listening to friends of my parents who were photographers had me dreaming of a life as a wildlife photographer. I got my first camera when I was five years old, and would follow my father around and take photographs on vacations. Later as a scientist, photography became a tool for documenting animal behaviour, identification, monitoring and story telling for conservation of species, cultures and communities.
I was married to a wildlife photographer and spent over a decade being discouraged from doing any photography. My photography was perceived as a threat to his, and for over a decade, I hardly ever picked up a camera. After separating from him, I realised the decade that I had lost. Cameras moved from film to digital, lenses and technology had changed, and it wasn’t a gradual process, it was a quantum leap. Kodachrome and Fuji films were things of the past, with a few specialised photographers who would continue the craft.
It was with trepidation that I borrowed a camera from my father. Unsure of my ability to learn to use it and even less certain of whether I would be able to make the kind of images I knew I wanted to, I embarked on a journey of discovery and wonder. Every image I took was for myself, allowing me to remember the details about my journeys, the places I visited, the wild animals I came across and the people I met. My memory would fall short, and I would not be able to recount the details, but my photographs reminded me of the time and the place. The photographs were taken for myself first, and then I began to slowly share a few with other people.
With renewed confidence, and excitement, I began to purchase equipment one at a time, and spent most of my time travelling. Nikon noticed my work and invited me to become an NPS member. That was the beginning of a new time. To my surprise, I realised that people actually enjoyed my photographs, and that without realising it I was being considered a member of the wildlife photographer community in India, and then across the world. It was humbling and still surprises me. Exhibitions and books followed, and I began to be spoken of as a professional photographer. And this love affair with photography continues to be a central part of my life.
What kind of stories do you love telling through your photographs?
I photograph anything that fascinates me. Portraits of Wildlife & people, landscapes, architecture, the stars, food, marine life, culture, communities, colours, patterns, textures, and emotions. Photography is my way of sharing how I see and experience the world. It is about my perspective, and about showing people a different way to look at something they might have already seen. It’s about making people think, and ask questions, and to encourage them to explore a thought or a reaction.
Much of my photography tells the stories of species and their habitats and focusses on creating awareness for conservation of the animals. However, some of the more important work I have done has also been about tribal people and their connection with nature.
Have you faced gender bias in the industry? How did you navigate it?
Of course, I did face gender bias. India is a largely patriarchal society, and most people in the early years of my career would imagine that all wildlife photographers are men. When a petite, 5’3” girl would appear, there would be comments and disbelief and a tendency to immediately rule out the possibility of even considering that I was capable of working under tough field conditions and producing decent work.
As one of the first women conservation ecologists and photographers in India, there was a definite glass ceiling that I had to break through. Persistence, commitment, and an unswerving dedication to my path were all important in making people realise that I could work with the best of them, and could not only match, but surpass the work that they were doing.
Have you worked on projects that specifically highlight women’s stories? Can you share an example?
I seldom work on women-centric projects, but one that is very close to my heart is the story of the women of the Mursi tribe of Ethiopia. Those women perform a ritual at the coming of age ceremony of a boy in their family. At this time, the young men who have been through this ritual are involved in whipping the women related to the boy who is undergoing the ceremony.
The women, except for the mother of the boy, come to the ceremony highly decorated, their hair and bodies covered in clay and butter, dancing and singing. The young men then whip the women with whips prepared on the site. The women get cuts all over their bodies and often bleed profusely.
I have an image where a very young girl is insisting that she too can be strong enough to take the whipping and is waiting for a young man to strike her with a whip while her older sister looks on. The image speaks to me and each time I look at it, it breaks my heart. This image and others are all a part of my book, and the exhibitions on Omo.
What does Women’s Day mean to you as a photographer?
As someone who belongs to a family of strong women, and someone who is constantly deriving strength and support from a community of strong, wise and compassionate women friends and colleagues, I sometimes wonder why we need a women’s day. Are we being told indirectly that one day out of 365 is for the celebration of women, while the other 364 are not?
Do we need one day a year to celebrate women? I would rather belong to a world where each day we celebrate being good human beings, where there is respect, honesty and truth. It is sad that we feel that we can only celebrate a single day in a year as Women’s Day — I capture the world through a woman’s eyes every day. Each day is a day in the life of a woman, and my photographs capture and freeze these moments in time.
How can photography be a tool for women’s empowerment?
The haunting images of the Chipko movement, the fight for the Right to Information by Aruna Roy, the recent protests in Iran about Mahsa Amini’s death and women cutting their hair, the story of the young girls like Malala from Pakistan or Greta Thunberg, or the Narmada protests by Medha Patkar, as well as the struggles of Aung San Suu Kyi or Irom Sharmila were all brought into the consciousness of people across the world through the power of photography which supplemented the written and spoken word. Images can truly change the narrative and influence change, and be a powerful tool for women’s empowerment.
Have you ever faced limitations in terms of access to certain spaces?
In India, most of the top photographers are still men. There are only a small handful of women that have made their name in fine art photography, street photography, wildlife photography, fashion photography and photojournalism. The men’s club is still elitist and one that most of us have not been able to break into these. Assignments are hard to come by, and very few journals or magazines will work with women photographers. This needs to change.
What’s a project you’ve worked on that made you feel particularly proud as a female photographer?
As one of India’s foremost wildlife photographers and the Tiger Princess of India, my three decades of work on big cats is something that I’m very proud of. I have worked across the globe and on all species of the big cats. I work on foot and have walked with many of the big cats. This is something that few photographers can do, and fewer have the courage to do. I am considered the role model for many young women entering this field, and this alone makes it all worthwhile.
Have you noticed a shift in the industry regarding how women are represented in photoshoots?
In the stories of today, strong, independent women who are decision makers, super moms, and powerful businesswomen are playing important roles in changing the narrative. The submissive housewife has disappeared, as has the gangster’s moll, and women can command centre stage presence in photoshoots as trend setters and role models.
If you could create a Women’s Day photo series, what would it focus on?
For a while now, I have been wanting to shoot a series on women weavers of India. I would very much like to shoot this and hope that I will be able to find someone who will support this dream project. The saree is a quintessential part of being an Indian woman, and I would like to tell the story of the creation of sarees through the women who create them.
Anai Bharucha’s artisticvision stems from a variety of places. She has shot a variety of genres starting with fashion, but her personal work is far away from what she does commercially, dwelling on themes of body positivity, wellness, individuality, family and more. Her work has gained international recognition, as she’s worked with brands like Estée Lauder, Reebok, Bodice, Vogue India, Harpers Bazaar and more. Asian Photography caught up with her, talking about her inspirations, vision behind a picture or a picture series, and the ultimate advice that is required for this day and age. Excerpts:
How did you pick up the camera? What inspired you?
I originally picked up a Nikon F70 that my uncle gave me almost 15 years ago in Hong Kong. He used to be a professional sports photographer. I shot a cricket match at the Kowloon Cricket Club (KCC) just for fun, and I remember really enjoying the process of freezing a moment in time.
My uncle praised my work with so much heart, even though it was probably just average! It gave me a sense of confidence, so I kept shooting. I came back to Bombay and started shooting my friends, and I found far more joy in shooting fashion and people. I started to apply for courses in the UK and New York, as there was nothing in India that was quite so specific in the field I wanted to explore at the time. Fast forwarding, I ended up spending three years in London at UAL. Looking back, I do not believe anyone needs to study photography (at a school), however I will always be grateful for the exposure and world I got to be part of during my time away from home. It gave me a personal sense of style and aesthetic and helped to really mould my work at a time when fashion in India meant celebrity on a white background flanked by wind machines cover shoots.
How do you see the role of women evolving in the field of photography?
This is constantly changing, and the percentage of women in the field has definitely increased in the last 10 years. However, I do feel there is still a long way to go within the advertisement or commercial photography world, especially in India.
What are some key elements that make a photograph stand out?
Every image is different and speaks to a viewer in different ways. Some of the things that might tend to catch my eye first are light, perspective, what an image is trying to say with regard to a story or narrative, and sometimes I simply get pulled into an image with leading lines.
What themes or subjects do you love capturing the most, and why?
I’m always inspired by people, the body, human behaviour, spaces, architecture and colours. I started off with fashion, but now see myself pulling further and further away from it when it comes to my personal work. Furthermore, I find myself more drawn to documentary style of work, which ultimately can integrate with fashion sometimes.
Can you describe a project or shoot that holds special significance for you?
I genuinely feel like I let every project consume me. From conceptualisation to the final edits. I sometimes obsess over the smallest details: the light, the mood, the emotion. Some projects stay with me longer than others after completion. But I can recollect a special one. A couple of years ago, I shot for a fashion brand called Reistor. The campaign was titled ‘Wear the Damn Shorts’. We shot a body positivity story with real women from all walks of life. I felt like I had the power to make everyone feel really good and confident about themselves (even if it was just for one day) and it ended up feeling like such a rewarding day.
What are some of the most rewarding moments you’ve experienced as a photographer?
Seeing my work in print, whether it’s on billboards or stores, in a magazine, or in a coffee table book still always makes me feel a deep sense of fulfilment. It’s a moment of validation for ourselves. I don’t know if digital will ever be able to replace this feeling.
Have you ever felt the need to prove yourself more in this field?
Yes. Being a woman in a male dominated industry, that feeling never quite leaves you completely. Sometimes it’s faint, just in the background. But on big advertisements sets or film sets with a hundred plus people on-site, it is much more prominent. But I do believe I am able to create some of my best work when it’s just me, my camera and my subject.
What has been the most challenging photoshoot you’ve done, and how did you handle it?
None of my shoots have been super tedious in that sense. I like to maintain a calm, easy environment on set. Sometimes the back and forth with agencies / the clients on post work has been quite challenging and draining. In general, I don’t think there’s any job I regret taking up. Everything is learning for me.
What advice would you give to young women aspiring to enter the photography industry?
Shoot for yourselves first. Don’t look at what everyone else is doing. We are living in a time when we are overloaded with digital content and everything can start to look and feel the same. Look at photo books instead of social media for inspiration. Travel. And try to find your own style of work through something personal to you – your family, your childhood, the way you see the world around you right now, anything.
What is one message you want to convey through your photography on Women’s Day?
Be yourself. Use less filters – on social media and in life.
RED Digital Cinema, a subsidiary of Nikon Corporation, has announced the release of the V-RAPTOR [X] Z Mount and KOMODO-X Z Mount digital cinema cameras. These cameras integrate the Nikon Z mount, expanding lens compatibility for filmmakers and content creators.
Part of the new Z CINEMA series, co-developed by Nikon and RED, these models aim to provide flexible solutions for cinema and high-end production. The Nikon Z mount’s large diameter and short flange distance allow users to leverage a range of lenses, including NIKKOR Z lenses for sharp rendering and minimal aberration. The cameras also support Nikon F lenses via the Mount Adapter FTZ II.
The V-RAPTOR [X] Z Mount features an 8K VV global shutter sensor, offering a wide dynamic range and improved color capture. The camera includes RED’s Global Vision tools, designed to maintain details in highlights and varying lighting conditions.
The KOMODO-X Z Mount, equipped with a 6K Super 35 global shutter sensor, supports 6K recording at up to 80 fps and 4K at up to 120 fps. The camera is compatible with RED’s R3D Redcode RAW format, allowing efficient video data management and grading flexibility.
Both models support power zoom control for the newly-launched NIKKOR Z 28-135mm f/4 PZ lens and enhanced autofocus. Both these cameras will be available through RED Digital Cinema Inc and authorized RED dealers.
Nikon India Pvt. Ltd. has announced the launch of the NIKKOR Z 28-135mm f/4 PZ, a power zoom lens designed for full-frame Nikon Z-mount mirrorless cameras. First revealed in October 2024, this lens is tailored to meet the demands of professional videographers, offering seamless zoom control, minimising focus shifts, and can resolve 8K video.
According to Sajjan Kumar, Managing Director of Nikon India, the lens is built for dynamic video production, providing smooth operability and versatility. Its power zoom mechanism allows for precise zoom control across 11 speed settings, while the internal zoom design ensures stability, especially when using a gimbal.
Ideal for documentaries, weddings, and solo shoots, the lens offers a wide focal range with a minimum focus distance of 0.34m at the wide end.
Designed for professional setups, the lens supports matte boxes, follow focus systems, and remote zoom control via Nikon’s NX Tether, SnapBridge, and NX Field. It also features Nikon’s Meso Amorphous Coat to reduce flare and ghosting, a stepping motor (STM) for silent autofocus, and a fluorine coating for dust and water resistance.
With this release, Nikon continues to push the boundaries of imaging technology, empowering filmmakers and content creators with cutting-edge tools for high-quality video production.
Astrophotography has long been a fascinating field, allowing us to capture the beauty and wonder of the night sky. One technique that has gained popularity in recent years is time-lapse astrophotography, which involves taking a series of photographs at regular intervals to create a stunning visual representation of the motion of celestial objects. In this article, we will explore the world of time-lapse astrophotography, its techniques, and the breathtaking results it can produce.
What is Time-Lapse Astrophotography?
Don Smith
Time-lapse astrophotography is a technique that involves taking a series of photographs of the night sky at regular intervals, usually ranging from a few seconds to several minutes. These images are then combined to create a time-lapse video or animation, showcasing the motion of celestial objects such as stars, planets, and galaxies. This technique allows photographers to capture the dynamic movement of the universe, revealing patterns and phenomena that would be difficult to observe with the naked eye. Time-lapse sequences can display star trails, the rotation of the Milky Way, or the transit of planets in a visually captivating way.
Equipment and Techniques
To capture stunning time-lapse astrophotography images, you will need a few essential pieces of equipment:
1. Camera: A DSLR or mirrorless camera is ideal for time-lapse astrophotography because most of them come with an intervalometer built-in. Look for a camera with good low-light performance and the ability to shoot in RAW format. RAW files preserve maximum detail, which is crucial for post-processing.
2. Tripod: A sturdy tripod is essential for keeping your camera stable and preventing camera shake. Stability is critical, especially for long exposure shots.
3. Intervalometer: An intervalometer is a device that allows you to set a specific interval between shots. You can also use a camera’s built-in interval shooting mode or a smartphone app if your camera supports wireless control.
4. Wide-angle lens: A wide-angle lens (between 10-24mm) is ideal for capturing the vast expanse of the night sky. Lenses with a wide aperture (f/2.8 or lower) are particularly useful for gathering more light in low-light conditions.
5. Remote shutter release: A remote shutter release or camera timer helps to prevent camera shake and ensures that your shots are taken at precise intervals.
Techniques for capturing Time Lapses
When it comes to techniques, there are a few key considerations:
Shoot in RAW: Shooting in RAW format gives you more flexibility when editing your images. This flexibility is vital when enhancing details, adjusting exposure, or correcting colour balance during post-processing.
Use a low ISO: Keep your ISO as low as possible (preferably 800 or lower) to minimise noise and digital artifacts. However, in particularly dark conditions, a higher ISO may be necessary.
Focus on infinity: Make sure to focus your lens on infinity to ensure that your stars and other celestial objects are sharp and clear. Many lenses have a focus mark for infinity, but it’s a good idea to fine-tune using your camera’s live view.
Golden hour preparation: While time-lapses are typically shot at night, setting up during the golden hour (just before sunset or sunrise) allows you to capture smooth transitions between light and darkness.
Shoot for sufficient time: The length of your time-lapse sequence will depend on your subject. For example, capturing star trails may require several hours of continuous shooting, while the motion of planets or meteors might only need an hour.
Tips and Tricks for Better Results
To take your time-lapse astrophotography to the next level, consider the following tips and tricks:
Plan your shoot: Research celestial events you want to capture, such as planetary alignments, meteor showers, or the movement of the Milky Way. Use astronomy apps or websites like Stellarium, SkySafari, or Star Walk to predict the timing and location of these events.
Use a star tracker: A star tracker is a motorised device that compensates for the Earth’s rotation, allowing for sharper images of celestial objects. While star trackers are often used for still astrophotography, they can also enhance time-lapse sequences.
Minimise light pollution: Urban areas with high levels of light pollution can obscure the night sky. Travel to darker locations, such as rural areas or designated dark-sky parks, for clearer views. Light pollution filters can also be helpful.
Experiment with intervals: The interval between shots determines the speed of motion in your time-lapse. Shorter intervals (e.g., 2-5 seconds) work well for fast-moving objects like meteors, while longer intervals (e.g., 20-60 seconds) are better for slower celestial phenomena.
Incorporate foreground elements: Including terrestrial features like mountains, trees, or buildings can add depth and context to your time-lapse, creating a more visually compelling composition.
Backup your data: Time-lapse photography involves capturing hundreds or even thousands of images. Use high-capacity memory cards and ensure you have sufficient storage to avoid interruptions.
Post-processing: Use software like Adobe Lightroom, Photoshop, or specialised time-lapse programmess like LRTimelapse to enhance your images. Adjust exposure, contrast, and colour grading to highlight the beauty of the celestial events.
Examples of Time-Lapse Astrophotography
Time-lapse astrophotography offers endless creative possibilities. Here are some common themes and examples:
Star Trails: By keeping your camera stationary, you can capture the circular motion of stars as they revolve around the celestial poles. Star trails reveal the Earth’s rotation in a mesmerising way.
Milky Way Motion: Tracking the Milky Way’s movement across the sky creates a sense of grandeur, showcasing its vivid colours and intricate structure.
Planetary Transits: Capture the subtle motion of planets like Jupiter and Saturn as they move against the backdrop of stars.
Meteor Showers: Events like the Perseids or Geminids provide opportunities to capture streaks of light as meteors burn up in Earth’s atmosphere.
Auroras: The northern and southern lights provide an incredible display of shifting colours and shapes, making for dramatic time-lapse sequences.
Eclipses: Lunar and solar eclipses, though rare, offer unique opportunities to capture time-lapse sequences of these awe-inspiring events.
Vit Kovalcik
Challenges and How to Overcome Them
Time-lapse astrophotography is not without its challenges, but with preparation, you can overcome these obstacles:
Weather: Cloudy or inclement weather can ruin a shoot. Check weather forecasts in advance and have a backup plan.
Battery life: Long shoots can drain your camera’s battery. Bring extra batteries or use an external power source to keep your camera running.
Lens fogging: In humid conditions, your lens may fog up during the night. Use a lens warmer or anti-fog solutions to prevent this issue.
Noise: Long exposures and high ISO settings can introduce noise into your images. Reduce noise during post-processing and consider stacking techniques to improve image quality.
Conclusion
Time-lapse astrophotography is a captivating way to document the beauty and motion of the night sky. With the right equipment, techniques, and planning, you can create stunning sequences that reveal the dynamic nature of our universe. Whether you’re capturing star trails, planetary alignments, or the mesmerising dance of the aurora borealis, time-lapse photography offers endless opportunities for creativity and exploration. So grab your gear, head to a dark-sky location, and let the wonders of the cosmos unfold before your lens.
Mastering an awe-inspiring genre like astrophotography is a tough task, one that’s becoming tougher over the years. Navaneeth Unnikrishnan has toiled through it all and is one of the pioneers of the genre today. His pictures don’t only consist of pure astrophotography, they belong to a wide range of genres including landscapes, night landscapes, mobile photography, timelapse and more. Asian Photography spoke to him about gear, passion, time investment, workflows, and more. Excerpts:
How did you get into astrophotography?
I stumbled into astrophotography by chance when I unintentionally captured an image of the Milky Way without realising what it was. My hometown has very minimal light pollution, and one night, while observing the sky from my terrace, I noticed an unusual faint glow. At the time, I had a basic understanding of photography but no understanding of night skies, so I decided to point my camera toward the sky and take a long exposure shot. To my surprise, the image revealed intricate details that were invisible to the naked eye. That moment sparked my fascination with astrophotography, leading me to explore wide-field and deep-sky imaging.
How should one start in astrophotography if they plan to get into it?
With the advancements in camera tech today, one can even begin astrophotography using just a smartphone. Most smartphones, especially flagships, feature a “Pro Mode”, which allows manual control over shutter speed and ISO, along with the ability to capture images in RAW format. This can be a great starting point for beginners. Alternatively, one can invest in a basic mirrorless or DSLR camera equipped with a wide-angle lens (24 mm or below) and a wide aperture (f/2.8 or lower), along with a sturdy tripod. The setup is ideal for basic wide-field astrophotography. However, astrophotography goes beyond this, there are specialised forms such as deep-sky imaging, planetary imaging, lunar and solar imaging. These require dedicated equipment. For example, deep-sky imaging requires the use of a telephoto lens or a telescope mounted on an equatorial mount to compensate for Earth’s rotation and prevent star trailing. A practical step beyond wide-field astrophotography is investing in a portable star tracker, which, while limited to tracking wide focal lengths, can significantly step up your wide-field images. However, one of the biggest challenges remains access to pristine dark skies, something that is increasingly tough to find in India due to light pollution.
Shot on a mobile
Does Astrophotography need a lot of patience?
Yes, astrophotography demands a great deal of patience, especially when it involves travelling to remote locations with pristine night skies, and enduring harsh conditions like extreme cold during night time sessions.
There are several forms of astrophotography. Among them, wide-field imaging is one of the most accessible and requires comparatively less patience. However, other forms, such as deep-sky imaging and planetary imaging, require a good deal of dedication. The process involves setting up heavy equipment, troubleshooting technical issues, and dealing with unexpected software errors – sometimes in the middle of imaging sessions! These challenges can test one’s patience, but are ultimately rewarding.
What are the most challenging things about Astrophotography?
Astrophotography can be challenging, and at times, even frustrating, when despite all efforts, you may return without a single usable image. There have been instances where I have travelled for days to reach a remote location, endured extreme cold, and stayed there for weeks, only to be met with consistently overcast skies. This is a reality that anyone involved in astrophotography for a while is bound to face.
Unfortunately, weather forecasting in India is not as reliable making it difficult to plan imaging sessions with certainty. Beyond weather related challenges, deep-sky imaging presents its own set of difficulties, such as tracking inaccuracies, software glitches, light pollution, poor atmospheric conditions, and issues with telescope collimation. Each of these factors can impact the imaging process, making astrophotography a pursuit that demands persistence, adaptability, and a deep passion for the craft.
What are your favourite things to shoot and why?
My favourite subject to photograph is the Milky Way. Despite capturing it countless times, I am still captivated by its beauty, the intricate dust lanes, the vibrant Rho Ophiuchi cloud complex, and the subtle H-alpha emissions that weave through the galactic core.
However, for me, photographing the Milky Way goes beyond just capturing an image. It carries a deeper, almost philosophical significance. It is a reminder that we are part of something vast, our home galaxy, stretching across the cosmos. It evokes thoughts about our place in the universe, the immensity of space, and the connection to the past, as the light we capture has travelled for thousands of years. It also sparks existential questions about time, history, and the fleeting nature of human existence in the grand cosmic timeline. Astrophotography, to me, is not just about the technical process, it’s a bridge between science, art, and introspection.
What equipment and lenses do you use for Astro, and how are they different from regular gear?
My astrophotography setup is a combination of standard photography gear and specialised astro equipment. Each piece serves a distinct purpose, from wide-field landscapes to deep-space imaging and solar observation.
My go-to gears for wide field and aurora images are Sony A1, Sony A7s Astro-Modded, along with a couple lenses like Sony 14mm F/1.8, Sony 20mm f/1.8, Sony 16-35mm F/2.8, Sony 50mm f/1.2. I love the noise performance and sharpness of the lens offered by these gears and has never failed me in extreme conditions.
For deep-space objects like nebulae, galaxies, and planetary imaging, I use dedicated cameras like ZWO ASI294MM Pro (a monochrome camera optimised for astrophotography) with Narrowband filters from Optolong to capture specific wavelengths of light, this includes Red, Green, Blue, Luminance, H-Alpha, Oxygen III, Sulfur II, a Celestron EdgeHD 8″ Telescope giving me 2032 mm focal length. I use these for distant nebulas, galaxies, planets and lunar imaging. I also use a Redcat 51 Telescope for wide field images.
For observing and photographing the Sun, I use a dedicated solar telescope designed specifically for hydrogen-alpha (Hα) light. Unlike regular telescopes, this instrument isolates a narrow wavelength of red light emitted by hydrogen atoms, revealing solar prominences, filaments, flares, and dynamic surface activity, features that would be invisible in standard white-light observations.
This is coupled with a ZWO AM5 Tracking mount. These setups allow for long-exposure imaging and tracking celestial objects with precision.
Specialised equipment significantly improves image quality, detail, and the ability to capture astronomical phenomena beyond what the naked eye can see.
What is the most underrated aspect of Astro, be it equipment, or a ritualistic practice, or a software workflow?
The Art of Astrophotography is something I would consider underrated. While technical expertise is crucial, astrophotography is equally an art form. Composition, framing, and creative processing play a vital role in shaping the final image, transforming a technically accurate capture into something truly mesmerising and unique.
In your opinion, is there a perfect astro image?
No, in my view there is no single, universally “perfect” astro image. Perfection in astrophotography is subjective and multifaceted, much like art itself. What one person considers ideal, another might see differently.
Subjective – The perception of beauty varies from person to person. Some may be drawn to vibrant colours and intricate details, while others prefer a minimalist and evocative approach. There is no absolute standard for what makes an astro photo “beautiful”; it is deeply personal and open to interpretation.
Technical vs Artistic Perfection – An image may be technically flawless, sharp focus, minimal noise, and excellent dynamic range, yet lack artistic impact. On the other hand, an image with minor technical imperfections can still be compelling due to its composition, emotional resonance, or unique perspective.
Astrophotography is constantly advancing. What was considered a “perfect” image ten years ago has now been surpassed by newer techniques and improved equipment. As camera technology and imaging gears progresses, so does our perception of what constitutes the best possible image.
Each astrophotographer approaches the craft with different priorities. Some focus on scientific accuracy, capturing celestial objects with precision, while others emphasise artistic interpretation. The idea of a “perfect” image is ultimately shaped by an individual’s goals, vision, and personal style.
What does “Astro Modding” a camera mean, and could you tell us about the process?
Astro Modding is basically modifying your camera by removing a certain filter to enhance its sensitivity to specific wavelengths of light which is Hydrogen-Alpha emission, this wavelength of light is found in nebulae. Normal DSLR and mirrorless cameras have a filter that blocks some light. This filter is good for regular pictures, but it makes it hard to see the beautiful red and pink colours of nebulae. Doing this helps with capturing more detail in emission nebulae and other Hα-rich objects. Allowing better signal collection (as the filter removed does cut some light). The downside of modding your camera is it voids your camera warranty. So I prefer doing it on an old, used camera.
It’s a lengthy process and would require good technical knowledge. Hence, I would advise you to modify it from reputable “modders”. Once the basic modification is done, it would not work well under normal daylight conditions unless you add a white-balance fix or correct it using IR/UV cut filters.
