Tag Archives: Astrophotography

How to capture Deep-Space Objects with Breathtaking Landscapes

For decades, astrophotography was split into two camps. On one side, you had the landscape photographers capturing the Milky Way arching over a lonely pine tree with a wide-angle lens. On the other hand, you had the deep-space specialists – the “faint photon hunters” – who used massive telescopes to track nebulae and galaxies from their backyards. But recently, a new discipline has emerged that bridges the two: The Deepscape.

A deepscape is a photograph that pairs a distant, high-detail deep-space object (DSO) – like the Orion Nebula, the Andromeda Galaxy, or the Pleiades – with a terrestrial foreground. It is the “final boss” of night photography. It requires the precision of an astronomer and the eye of a landscape artist.

Here is your comprehensive guide to capturing the universe without losing the Earth.

1. The Gear: Moving Beyond the Tripod

When you’re shooting at 14mm, the Earth’s rotation is a minor nuisance. When you’re zooming into a nebula at 200mm or 400mm, the Earth’s rotation is a violent blur. To bridge this gap, your gear list needs an upgrade.

The Equatorial Mount

This is the most critical piece of kit. An equatorial mount (or star tracker) compensates for the Earth’s rotation by moving the camera at the exact same speed as the stars. Without this, your stars will trail in seconds.

The Lens Choice

Forget the wide-angle glass. For deepscapes, you want telephoto lenses.

-> 70-200mm: Perfect for large targets like the Orion Molecular Cloud or the Andromeda Galaxy.

-> 300-500mm: Ideal for smaller nebulae or “compressing” the moon/planets against distant mountains.

The Camera

While a standard DSLR or mirrorless camera works, astromodified cameras are the gold standard. These have the internal IR-cut filter removed to allow the deep red light of Hydrogen-alpha (H\alpha)—the stuff nebulae are made of—to reach the sensor.

2. The Planning: Aligning the Heavens

You can’t just show up and hope for the best. Deepscapes require “celestial alignment”. You need to know exactly where a galaxy will set behind a specific mountain peak.

Essential Tools

PhotoPills or Stellarium: These apps allow you to simulate the night sky at any date and location. You can use the “Night Augmented Reality” mode to see exactly where the Lagoon Nebula will be at 3:00 AM.

The Bortle Scale: You need dark skies. Aim for a Bortle 1-3 location. In a Bortle 8 city, the faint dust of a nebula will be drowned out by the orange glow of streetlights.

The Moon Phase

Unlike wide-field photography where a little moonlight can illuminate the landscape, deep-space objects are easily washed out. Schedule your shoot during the New Moon phase or after the moon has set.

3. The Technical Execution: A Tale of Two Exposures

Because you are using a tracker, you face a physical paradox: if the camera moves to follow the stars, the ground will be blurred. If the camera stays still for the ground, the stars will trail.

The solution? The Composite Method.

Step A: The Sky Frames (Tracked)

Once your mount is polar-aligned, take multiple long exposures of your chosen DSO.

Settings: f/2.8 or f/4, ISO 800-1600, and exposure times of 60–120 seconds.

Stacking: Don’t just take one photo. Take 20 or 30. By “stacking” these images in software, you improve the Signal-to-Noise Ratio (SNR).

You’ll have to try this multiple times in order to find the perfect exposure balance and optimise SNR.

Step B: The Foreground Frames (Untracked)

Turn off your tracker. You need a rock-solid, sharp landscape.

Blue Hour Secret: The best deepscapes often use foregrounds shot during “Blue Hour” (just after sunset or before sunrise). This allows you to capture detail, texture, and colour in the landscape that is impossible to get in pitch blackness.

Long Exposure: If you must shoot at night, take a 5–10 minute exposure at a lower ISO to keep the foreground clean.

Having experience with landscape photography helps a bunch here, and you can practise this a bunch in daylight.

4. The Challenges of Long Focal Lengths

As you increase your focal length, two enemies emerge: Atmospheric Turbulence and Flexure.

Seeing Conditions: On hot nights, the heat rising from the ground creates “shimmering” (atmospheric seeing). This ruins deep-space detail. Aim for cold, stable nights. You can mitigate this by researching the place and weather conditions to make sure the temperature is low and winds are calm.

Wind: At 400mm, a light breeze acts like an earthquake. Use a heavy-duty tripod and hang your gear bag from the centre column for stability.

5. Post-Processing: Bringing the Nebula to Life

This is where the magic (and the hard work) happens. You will likely use software like Adobe Photoshop, PixInsight, or DeepSkyStacker.

The Masking Process

You must carefully mask the tracked sky and blend it with the static foreground. The goal is “believable transitions”. If you see a hard, glowing line around the mountain, the illusion is broken. Use a soft brush and match the colour temperature of the sky’s glow to the light hitting the landscape.

Colour Balancing

Deep space isn’t just black. It’s filled with colourful gases.

Oxygen III: Blue/Green

Hydrogen Alpha: Deep Red

Sulfur II: Deep Orange/Red

Avoid over-saturating. The most breathtaking deepscapes feel like a window into a reality we can’t see with the naked eye, rather than a neon light show.

6. The Ethics of “Faking It”

There is a healthy debate in the community about deepscapes. Is it “real”?

The Rule of Realism: Most pro photographers insist that the DSO must have actually been in that position at that time. Taking a photo of the Andromeda Galaxy in the North and pasting it over a South-facing mountain is generally considered a “digital art piece” rather than a photograph.

The Focal Length Match: Ensure your foreground and sky are shot at the same focal length. If you shoot a mountain at 35mm and a nebula at 400mm and combine them, the scale will look “uncanny” and wrong to the human eye.

Final Say

Capturing a deepscape is an exercise in patience. It is a hobby of failures—forgotten batteries, foggy lenses, and alignment errors—which is bread & butter for landscape and astrophotography—and the only thing you can do to avoid mishaps is practice.

But when you finally align your tracker, wait out the cold, and see the spiral arms of a galaxy hovering over a familiar mountain range, the perspective shift is profound. You aren’t just taking a picture of a rock; you’re capturing the Earth’s place in an infinite, glowing neighbourhood, now frozen in time.

Astronomical Events in 2026 & How to Photograph Them

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The night sky is a dynamic arena, a celestial ballet that has captivated humanity since we first looked upward. While every year offers its share of planetary alignments and meteor showers, some years stand out for hosting truly spectacular, once-in-a-lifetime astronomical phenomena. The year 2026 is poised to be one such year, offering enthusiastic amateurs to seasoned professional photographers incredible opportunities to capture the cosmos.

However, the modern world presents a significant hurdle to astrophotography: light pollution. The encroaching glow of urban sprawl has washed out the heavens for much of the global population. Therefore, planning for the events of 2026 isn’t just about knowing when to look, but where to look. This guide explores the key astronomical events of the upcoming year and weaves in essential techniques for capturing them, emphasising the crucial role of certified Dark Sky locations in achieving breathtaking results.

The Foundation: Seeking True Darkness

Before diving into specific dates, it is essential to establish the importance of location. You cannot photograph faint celestial objects if the atmosphere is glowing with artificial light. For the best possible imagery in 2026, you must seek out true darkness.

This is where International Dark Sky Reserves play a pivotal role. Designated by DarkSky International (formerly the IDA), these are regions surrounded by populated areas that possess an exceptional quality of starry nights and a nocturnal environment that is specifically protected for its scientific, natural, educational, and cultural value.

Visiting a Dark Sky Reserve—such as Aoraki Mackenzie in New Zealand, NamibRand in Namibia, or regions in the American Southwest and rural Europe—does more than just let you see more stars with the naked eye. For a camera sensor, it means a significantly better signal-to-noise ratio. The absence of artificial light allows you to use higher ISO settings and longer exposures without washing out the image frame with orange or grey haze. When planning your 2026 celestial travels, prioritising proximity to a Dark Sky Reserve will exponentially improve your photographic output, especially for faint targets like meteors or the Milky Way’s galactic core.

The Main Event: The Great European Total Solar Eclipse (August 12, 2026)

Without question, the anchor event of 2026 is the total solar eclipse on August 12th. While total eclipses happen somewhere on Earth roughly every 18 months, they often occur over inaccessible oceans or remote tundras. The 2026 path of totality is unique because it crosses highly accessible areas of the Northern Hemisphere during peak travel season, specifically touching eastern Greenland, western Iceland, and cutting a swath across northern Spain.

A total solar eclipse is perhaps the most dramatic natural event a photographer can witness. The moon completely blocks the sun’s brilliant photosphere, plunging day into an eerie twilight, dropping temperatures, and revealing the sun’s magnificent, wispy corona.

Photographing the Eclipse

Capturing an eclipse requires preparation and, crucially, safety equipment. You cannot point your camera at the sun during the partial phases without a certified solar filter; doing so will destroy your camera’s sensor and can instantly blind you if you look through an optical viewfinder.

The photographic workflow involves two distinct stages. During the partial phases, where the moon slowly takes a “bite” out of the sun, a solar filter must be on your lens. You will need a telephoto lens, ideally 400mm or longer, to get a detailed disk size. Spot metering on the sun itself will usually yield a correct exposure, resulting in an orange or white sun against a black sky.

The magic happens during the brief minutes of totality. As the final sliver of sunlight disappears—creating the brilliant “diamond ring” effect—you must swiftly remove the solar filter. This is the only time it is safe to view and photograph the sun naked. During totality, you are photographing the faint solar corona. You will need to drastically change your settings, opening your aperture and slowing your shutter speed. Because the corona’s brightness varies significantly from its inner edge to its outer wisps, the best technique is “bracketing”. Take a rapid sequence of photos at different shutter speeds (ranging from perhaps 1/1000th of a second down to 1 or 2 full seconds) to ensure you capture the full dynamic range of the sun’s atmosphere. As soon as the diamond ring reappears on the opposite side, the filter must go back on immediately.

For those targeting Spain, the eclipse occurs very late in the day, near sunset. This offers a unique, albeit challenging, photographic opportunity to capture the eclipsed sun just above the horizon, potentially incorporating landscape elements—a rare composition in eclipse photography.

The Summer Spectacle: The Perseid Meteor Shower (August 2026)

August 2026 is a powerhouse month for astronomy. Just days around the solar eclipse, the annual Perseid meteor shower will reach its peak. The Perseids are beloved for being bright, frequent, and often producing dramatic fireballs.

Crucially, the moon phase for the 2026 Perseids is incredibly favourable. Because the new moon occurs on August 12th for the eclipse, the peak nights of the Perseids (around August 12th-14th) will feature moonless skies for most of the night. This is the ideal scenario for meteor photography.

Photographing Meteors

Unlike the eclipse, which requires telephoto precision, meteor showers are about wide perspectives and patience. You need a camera with good high-ISO performance and your widest, fastest lens (ideally f/2.8 or faster).

The technique involves setting up your camera on a sturdy tripod in the darkest location you can find—again, a Dark Sky Reserve is the gold standard here. Set your lens to its widest aperture and manually focus on infinity using a bright star. Your ISO will likely need to be between 1600 and 3200, depending on your camera’s noise handling.

You want to take continuous long exposures. A typical exposure time is between 15 and 25 seconds. If you expose longer than that, the stars will begin to trail noticeably due to the Earth’s rotation (unless you are using a star tracker). Use an intervalometer (either built-in or an external remote) to lock the shutter down, taking back-to-back photos for hours.

Compositionally, while the meteors radiate from the constellation Perseus, they can appear anywhere in the sky. It is often best to compose a shot that includes an interesting foreground element—a mountain range, an interesting tree, or an old barn—and point the camera generally toward the radiant point, but including a vast expanse of sky. The goal is to capture as many frames as possible in hopes that a bright meteor streaks through one of them.

Planetary Giants: Jupiter and Saturn at Opposition

Throughout late summer and autumn of 2026, the gas giants Jupiter and Saturn will reach opposition. This means they are opposite the sun in our sky, rising at sunset, staying visible all night, and appearing at their brightest and largest for the year.

While dedicated planetary cameras and large telescopes provide the best views, impressive photographs can be taken with standard DSLR or mirrorless gear. A long telephoto lens (even a 70-200mm with a teleconverter) can resolve Jupiter as a distinct disc and easily capture its four Galilean moons as tiny pinpricks of light lined up beside it. Saturn’s rings are also resolvable with sufficient focal length.

The key challenge here is exposure. The planets are much brighter than the surrounding stars. If you expose the stars, the planets will be blown-out white blobs. You must use a fast shutter speed and low ISO, spot-metering specifically on the planet to capture surface bands on Jupiter or the definition of Saturn’s rings.

The Lunar Finale: Supermoons in 2026

While the year begins with a flurry of celestial activity, it saves a double-header of lunar brilliance for the winter months. In 2026, after the initial supermoon in January, the final two major lunar events occur back-to-back in November and December.

1. The Beaver Supermoon (November 24, 2026)

This moon marks the time of year when beavers traditionally prepare for winter. As a supermoon, it will appear roughly 14% larger and 30% brighter than a standard “micro-moon” (when the moon is at its farthest).

2. The Christmas Eve Cold Supermoon (December 24, 2026)

The final supermoon of the year is particularly poetic, occurring on Christmas Eve. Known as the Cold Moon, it will be the closest full moon of the entire year, reaching its absolute peak brightness against the crisp, clear winter sky.

How to Photograph the 2026 Supermoons

The primary challenge in supermoon photography is the sheer intensity of its light. To the naked eye, it looks massive and detailed; to a camera, it often looks like a glowing white hole in the sky. To get a professional result, you must take full control of your exposure.

The Technical Recipe

Manual Mode is Mandatory: Switch your camera to ‘M’. The moon is essentially a giant rock illuminated by direct sunlight, so it requires settings more akin to daylight photography than night photography.
Low ISO: Keep your ISO as low as possible to preserve the fine details of lunar craters and “seas” (maria).
Narrow Aperture (f/5.6 to f/11): This range is typically the “sweet spot” for lens sharpness. Using a narrower aperture also ensures that if you have distant landscape elements, they remain relatively sharp. But you can use as wide as F/5.6 to let in more light while keeping the entire moon in focus.
Fast Shutter Speeds (1/125s to 1/250s): Surprisingly, the moon moves quite fast across the sky. A common mistake is using a long exposure (e.g., 5 seconds), which results in a blurry, oblong moon. Use a fast shutter to “freeze” the moon and capture its texture.

Conclusion: Preparation Meets Opportunity

The year 2026 offers a compelling itinerary for the astrophotographer. From the high-stakes drama of the Spanish or Icelandic eclipse to the serene, all-night vigils for Perseid meteors, the opportunities are vast. Success in astrophotography, however, rarely happens by accident. It is the result of meticulous planning—scouting locations, understanding the specific phases of the event, practicing with your gear in the dark beforehand, and crucially, respecting the need for true darkness. By aligning your travel plans with certified Dark Sky locations and mastering the techniques required for these varying phenomena, you can ensure that 2026 is the year you capture the universe in all its glory.

Astrophotography featuring Historical Sites

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There is a profound, almost dizzying irony in pointing a high-tech digital sensor at a 4,000-year-old stone circle to capture light that has been traveling through the vacuum of space for millions or billions of years. When we practice astrophotography at historical sites, we aren’t just taking a “pretty picture”. We are performing a feat of cosmic archaeology. We are aligning three distinct timelines: the deep time of the universe, the ancient history of human civilization, and the fleeting millisecond of the camera’s shutter click.

For the modern photographer, these sites offer more than just a foreground; they provide a tether to our ancestors who looked at the same constellations—albeit in slightly different positions—to navigate, harvest, and worship.

The Philosophy of the Frame

Why go to the trouble of hauling thirty pounds of gear to a remote ruin in the middle of the night? Because a photo of the Milky Way over an empty field is a science experiment, but a photo of the Milky Way over the Great Sphinx of Giza is a narrative.

Historical sites provide scale and context. They remind us that while empires crumble and languages fade, the celestial dance remains the one constant. It’s a humbling reminder that we are part of a long continuum of sky-watchers. Plus, let’s be honest: a crumbling Roman aqueduct just looks significantly cooler under a canopy of stars than your backyard fence.

Technical Foundations: The Gear and the Math

Astrophotography is one of the few niches where “spraying and praying” will leave you with nothing but a black screen and a cold cup of coffee. You need a specific toolkit to bridge the gap between the dark earth and the bright stars.

The “Rule of 500”

To avoid “star trailing” (where the stars look like little sausages instead of points of light), photographers use the Rule of 500. This formula helps you calculate the maximum shutter speed before the Earth’s rotation becomes visible in your frame.

If you are using a 20mm lens on a full-frame camera (crop factor of 1), your max exposure is 25 seconds. Any longer, and those stars start to smear.

Planning: The Digital Scout

You cannot simply show up at Stonehenge and hope for the best (mostly because security will tackle you, but also because of the weather). Success in this field is 80% planning and 20% execution.

Light Pollution Maps: Use tools like Dark Site Finder to ensure the ruins aren’t drowned out by the orange glow of a nearby city.

Celestial Alignment: Apps like PhotoPills or Stellarium allow you to use Augmented Reality (AR) to see exactly where the Milky Way core or the Moon will rise relative to the monument.

Permits and Legality: This is a candid peer advice: Do not trespass. Many historical sites are protected UNESCO heritage zones. Shooting at night often requires special permission, a paid guide, or attending “Star Parties” organised by the site’s conservators.

Iconic Locations and Their Challenges

1. The Pyramids of Giza, Egypt

The ultimate prize. The challenge here isn’t just the desert heat; it’s the haze and the light pollution from nearby Cairo. To get a clear shot, photographers often have to use light pollution filters or wait for specific atmospheric conditions that clear the dust.

2. Stonehenge, United Kingdom

Stonehenge is notoriously difficult to access at night. However, the alignment of the stones with the solstices makes it a masterclass in archaeoastronomy. Capturing the North Star (Polaris) centered over a trilithon creates a “star trail” image that feels like a portal through time.

3. Moai of Easter Island (Rapa Nui)

Remote, dark, and haunting. The Moai statues offer a vertical element that perfectly complements the vertical band of the Milky Way. Because there is almost zero light pollution, you can capture the “Airglow”—a faint emission of light from the Earth’s atmosphere—that adds eerie greens and reds to your sky.

Note: When shooting at these sites, “Light Painting” (using a flashlight to illuminate the ruins) is a controversial subject. Many purists prefer using “Low Level Lighting” (LLL) or simply mask in a separate foreground exposure taken during blue hour to maintain a natural, moonlit look. You may go either way depending on the level of effort you wish to put in.

The Art of Post-Processing

The raw file coming out of your camera will likely look flat and underwhelming. The magic happens in the digital darkroom.

Stacking: Taking 10–20 identical shots and using software (like Sequator or Starry Landscape Stacker) to average out the digital noise. This makes the “sky” look silky smooth while keeping the “ruins” sharp.

Colour Balance: Ancient stones often look best with a slightly warmer tone, while the night sky usually benefits from a cooler, deeper blue. Learning to mask these two areas separately is the hallmark of a pro.

Enhancing the Nebula: Use “Dehaze” and “Clarity” sparingly on the Milky Way core to bring out the dust lanes without making the stars look like neon glitter.

Ethics: Respecting the Ancestors

Beyond the technicalities of sensors and shutters, night photography is an exercise in quiet endurance. It demands a brand of discipline that extends far beyond your gear; it is the persistence to stand in the cold for hours, waiting for a single cloud gap that may never come. We don’t just capture these scenes; we enter into a silent contract with the environment.

Leave No Trace

This philosophy is our primary directive. As temporary guests in these spaces, we must treat the landscape with profound reverence. Scaling ancient masonry or fragile rock faces for a “hero angle” is more than just reckless; it is a betrayal of the site’s history. True creative mastery is found in discovering a compelling perspective within the boundaries of respect, ensuring the location remains pristine for those who follow.

The Responsibility of Light

In a world of long exposures, our light is our footprint. While high-powered lasers are useful tools for celestial navigation, they can be remarkably intrusive. A single stray beam can ruin a fellow photographer’s twenty-minute exposure or, more critically, interfere with established flight paths—which if we might add, may land you in jail. We must manage our light with extreme caution, prioritising the “dark sky” experience for both the lens and the community.

Honouring the Midnight Sanctuary

There is a spiritual stillness that settles over a site at 3:00 AM. When the world is asleep, these locations offer a rare, raw atmosphere. Honour this by moving with intention and keeping your voice to a whisper. By embracing the silence, you aren’t just being a polite observer; you are allowing yourself to connect with the site’s true character. This connection often results in work that feels grounded, timeless, and deeply resonant.

Conclusion

Astrophotography at historical sites is more than a technical challenge; it is an act of preservation. By capturing these monuments against the backdrop of the cosmos, we document their survival through the ages. We see the handiwork of humans who are long gone, framed by the light of stars that might no longer exist. It is the ultimate long-exposure—a snapshot of our place in the universe.

Sentience: A Manifesto for Modern Landscape Photography

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The world of landscape photography is currently at a crossroads. For decades, the recipe for a “great” photo has been fairly rigid: find a famous mountain, arrive at sunrise, set your tripod to a specific height, use a wide-angle lens, and wait for the “hero light”. But in 2026, we are witnessing a quiet revolution. As artificial intelligence becomes capable of generating “perfect” sunsets with a single tap, the value of that technical perfection is plummeting.

If a machine can create a flawless vista of the Himalayas, why do we still trek for days to see them? The answer doesn’t lie in the pixels; it lies in the presence.

The “Sentient Landscape” is a philosophy that moves away from the hunt for the perfect shot and toward a deeper, more visceral relationship with the world around us. It’s about slowing down, embracing the “messy” reality of nature, and using your camera not just as a recording device, but as a sensory bridge. Here is how we redefine the craft for an era that values soul over sharpness.

Finding Poetry in the Small Stuff: The Intimate Landscape

We have been conditioned to think that “landscape” means “everything”. We reach for our widest lenses to cram as much of the horizon into the frame as possible. But there is a profound, quiet power in doing the exact opposite.

The Intimate Landscape is the art of extraction. It’s about using a telephoto lens—the kind you’d usually use for birds or sports—to zoom into the patterns of the earth. When you remove the sky and the horizon, you remove the context of scale. A ripple in a sand dune can look like a vast desert; the bark of an ancient tree can look like a topographical map of a canyon.

By looking for the “landscape within the landscape”, you stop being a tourist and start being an observer. You begin to see rhythms, textures, and shadows that the “hero shot” hunter misses. It’s the difference between hearing a symphony and listening to the vibrato of a single violin string.

Painting with the Cosmos: Astro-Landscape Impressionism

Astrophotography is often the most technical, rigid genre of them all. It’s usually about noise reduction, star tracking, and pinpoint sharpness. But the stars aren’t just cold dots of light; they are ancient, pulsing energy.

Astro-Landscape Impressionism – specifically through a technique called Intentional Camera Movement (ICM) challenges the “sharpness” rule. Imagine standing under a brilliant night sky, perhaps with Jupiter or the Milky Way burning bright above you. Instead of locking your camera down on a heavy tripod, you hold it. As the shutter stays open for a few seconds, you move the camera with a slow, deliberate rhythm.

The result is a dreamscape. The stars turn into streaks of light, blending with the silhouettes of trees or mountains. It looks less like a photograph and more like a painting by Van Gogh or Monet. You aren’t capturing the geometry of the night; you are capturing the feeling of standing under the infinite. It’s a way of saying, “This is how the night felt to me,” rather than “This is what the night looked like.”

The Atmospheric Protagonist: When Weather Becomes the Hero

How many times have we checked the weather forecast, seen “cloudy and rainy”, and decided to stay home? In the conventional world, rain is a nuisance. In the Sentient world, the storm is the story.

When we wait for the “perfect” light, we are essentially asking nature to perform for us. But the most honest moments in nature are often the most difficult. A mountain peak that is half-hidden by a heavy monsoon mist is infinitely more mysterious than one under a clear blue sky. A forest floor during a grey, drizzly afternoon has a depth of colour—a “neon” green to the moss and a deep obsidian to the wet rocks—that a bright sun would simply wash out.

“Weather as the Hero” means leaning into the low contrast. It’s about realising that fog isn’t hiding the landscape; it is the landscape. It adds a sense of “Soft Fascination”, a psychological state where our brains can rest and recover by looking at the gentle, repeating patterns of nature without the harsh glare of a “hero” sun.

With all that being said, we’d advise not going out in bad weather, such that it can cause damage to your equipment or harm to you, just to try and get a “good” shot.

The Intentional Pause: The Psychology of Not Releasing the Shutter

Source: Reddit.com/u/life_is_a_conspiracy

The biggest barrier to great photography in 2026 isn’t bad gear; it’s the digital trigger-finger. We take thousands of photos, hoping that one of them will be “the one”. This “spray and pray” method actually disconnects us from the very place we are trying to capture.

The most avant-garde advice for a modern photographer is simple: Stop shooting, or to be more precise, stop shooting as much.

Practice the “Five-Frame Limit“. Go to a beautiful location and spend three hours there, but allow yourself only five clicks of the shutter. What happens to your brain when you do this is fascinating. You stop looking at your screen and start looking at the land. You notice the way the wind moves through the grass. You feel the change in temperature as a cloud passes. You hear the distant call of a bird.

When you finally decide to press the button, that frame carries the weight of those three hours. It isn’t just a picture; it’s a memory that has been carefully selected and refined by your own presence. This is what it means to “shoot with intent”.

PS: Film photography is totally not dead, try taking it up if you’re struggling with the issue of the digital trigger-finger, and have got some coin to spare.

Vying For An Authentic Future

As we move further into a world of digital perfection, Sentient Landscapes offer a path back to what makes us human. It reminds us that photography isn’t about the gear we use, it always has been about the way we choose to see.

By embracing the intimate, the impressionistic, and the atmospheric, and by slowing our pace to match the rhythm of the earth, we create images that are uniquely ours. They might not be the “cleanest” or the “sharpest” shots on social media, but they will be the most honest.

In 2026, the most radical thing you can do as a photographer is to stop trying to be a machine and start trying to be a soul in the wilderness.

February 2025

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Asian Photography India February 2025 Issue is Out Now!

📸 Cover by: @navaneeth_unnikrishnan

🌌 In this issue, explore:

Reaching The Stars – @navaneeth_unnikrishnan

#TechReviews
Nikon Nikkor Z 50mm/F4 Lens Review
OnePlus 13 Review
Oppo Find X8 Pro Review: Worth ₹99,999?

#Astrophotography
Astrophotography on a Budget: DIY Solutions & Beginner Gear
History of Astrophotography: From Film to Digital
Time-Lapse Astrophotography: Capturing Motion in the Sky

Reaching the Stars – Navaneeth Unnikrishnan

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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.

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.