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The Everyday Sling might just be the perfect pack for not carrying too much gear, combining comfort with Peak Design's signature modern style.
1 Auroral photography: Your guide to capturing the u
If you've ever been interested in aurora photography, now is a great time to get out there and give it a try. Here's why:
In the next few years we will enjoy sensational aurorae, advance notice of their arrival, and the equipment necessary to capture them as never before. Even armed with all of these advantages, however, the aurorae are not going to put themselves on your memory cards. That's something you'll have to do yourself, and it can be a struggle.
This article provides ten suggestions that, if followed, will improve your odds of emerging from that struggle with some exceptional imagery. This article consists of two pages - the first page deals with how to find an aurora and equip yourself to capture it properly, and page 2 will guide you through the remainder of the process, including camera settings, composition and advanced topics.
Let’s begin by getting to know the aurora. According to my friend, astrophysicist Dr. Henry Throop, the aurora was thought at one time to be caused by ices suspended high above the Earth’s coldest, darkest regions. We now know that the aurora is actually an electrical phenomenon, caused by interactions between the solar wind and the Earth’s upper atmosphere. The sun emits massless photons that we see as light, but also emits out a real, physical, tangible wind of particles which moves at several hundred kilometers per second.
When this wind reaches the Earth, it begins a process that ends by exciting gasses in the Earth’s atmosphere, eventually leading to the emission of light. And just as a true neon light only comes in one color (red), the colors of the aurora are limited too: green and red caused by oxygen, with the fainter blue and purple caused by nitrogen. Unlike the wispy shapes of the aurora, its colors are narrow and precise.
Just like stars, the aurora is present during the day and the night, though during the day it is overwhelmed by the brightness of the sky. As the sun sets, it starts to become visible, being brightest near midnight when the orientation of the Earth’s magnetic field and the solar wind cause it to be strongest. The aurora is seen mostly in a ring centered roughly around the poles, where the solar wind is focused most intensely by the Earth’s magnetic field.
If the Earth had no magnetic field, we’d still have an aurora, but it would be weaker and more flat across the sky: a dull glow seen in every direction. A planet like Jupiter with a stronger magnetic field has a comparably more intense aurora, while Mercury - having neither an atmosphere nor magnetic field - has no aurora at all.
A terrestrial wind passing across the continents creates an unsettled display of turbulence and eddies, which we see in the form of dynamic cloud patterns, vortices, weather, and storms. In much the same way, the solar wind crossing the Earth’s magnetic field makes visible to us the turbulence of space: the vortices and eddies of magnetic fields peel off and pass rapidly overhead.
Even though - like wind - the magnetic fields themselves are invisible to us, we can see it through its tracers: charged particles. As the aurora moves in the sky overhead, the ripples in it are like the wakes and eddies peeling off a boat as at travels up a rough river at night, working at times with, at time against, the current and forcing what’s there out of the way.
Now that you know what you’re chasing, when should you expect to actually see your quarry? Sadly there is no easy answer to that question. Here are some notes to consider, as you prepare for the hunt:
Fortunately, the modern auroral photographer can take advantage of a lot of 'real time' information and analysis of so-called 'space weather', freely available online. Resources I recommend include:
Photographers in search of exceptional aurora imagery will generally need to travel a significant distance. This is because aurorae form in oval rings that, roughly speaking, circle the magnetic north pole (the 'aurora borealis') and magnetic south pole (the 'aurora australis'). When observed from far away, these rings will appear as a faint glow on the horizon. When viewed from the arctic or antarctic, however, even an ordinary aurora will often appear directly overhead.
Overhead aurorae tend to be more photogenic, clearer and brighter because of reduced atmospheric interference, and will more effectively illuminate the foreground. Auroral displays over snow, for instance, will generally cause the snow to take on the coloration of the aurora. In comparison, when an aurora is low on the horizon, the foreground will often appear as a less-interesting silhouette.
In addition to finding a location remote from the equator, you’ll want to situate yourself far away from city lights, airports, and other sources of light pollution. To give you a quantitative sense of what this means, when photographing around Fairbanks, Alaska (population under 100,000, counting the surrounding boroughs), I prefer to be at least 30 to 40 miles out of town. The farther, the better. Even from 100 miles into the bush, my photos will occasionally still show a faint orange glow on the horizon.
Here are a few popular spots:
As I’m based on the west coast of the United States, northern Alaska has become my preferred location for aurora photography.
When photographers are asked how they managed to achieve a certain result, they will usually point to their own artistic proficiency, not the capability of their tools. 'It’s the photographer, not the camera,' is the common refrain. There are, of course, elements of artistry in aurora photography as well. However, the importance of good quality equipment cannot be overstated. Aurora photography does not require the most expensive kit available; it requires gear that can capture broad views, in low light, in cold weather. You will need:
Gearing up for winter photography, at night, in the arctic, necessitates psychological preparation as well. If you want to get the most out of your journey, you’ll need to be prepared to be awake and working most of the night.
Aurorae just don’t seem to enjoy the warmth of the tropics or the glow of the midnight sun during summer. You’ll need to play on their home turf, during the dark months. That means planning to spend hours on end, standing around outside at night, quite possibly in extreme cold, and probably a long way from home.
Clothing: be sure you’re dressed for the occasion. This is not a party you’ll want to attend in a mini-skirt. For winter aurora photography I’ve settled on a down-filled mountaineering suit (the Mountain Hardwear Absolute Zero), winter boots rated to -40 degrees F (the Sorel Caribou Reserve), multiple pairs of long thermal underwear (Under Armour ColdGear Base 3.0, both top and bottom), and a wind-proof cap (by Mountain Hardwear).
For the hands, you’ll want gloves thick enough to keep you warm, but thin enough to allow you to operate your camera. Personally I prefer to forgo gloves and keep my hands in warm pockets between shots. Most of the time it works fine. If you’re averse to occasional frostbite, try a different approach.
Batteries: The temperatures of the far north take an enormous toll on battery life. My camera batteries last around 1,500 actuations in normal conditions, but in the arctic winter have become exhausted after as few as 25 frames. The conventional cold weather advice is to keep your battery warm by storing it in a jacket pocket while not in use, but that is not an adequate solution under extreme arctic conditions. I recommend bringing multiple batteries and a charger, and rotating the batteries through the charging station when they’re not in use. If your aurora photography will take you far from the nearest well-stocked camera store, consider also bringing backups for any other 'mission critical' elements of your system.
Tripods: Carbon fiber tripods are just wonderful. They’re light, and in cold weather can be carried without chilling your hands as much as metal would. In frigid temperatures, however, both the carbon fiber legs and the adhesive used to connect then to your tripod base can become brittle. Exerting substantial pressure on your tripod, particularly when its legs are buried in deep snow, can easily result in the amputation of a leg. If you’d prefer not to find yourself hundreds of miles from civilization, with only a 'dipod' for support, be particularly cautious when planting your gear in deep snow.
Cameras and lenses: As noted above, weather-sealing is preferable. In part, this is to help prevent condensation from forming inside your equipment, when you move from an exceptionally cold environment (e.g., shooting outside) to a much warmer space (e.g., into a heated car). Particularly for non-weather-sealed equipment, including most medium format cameras and lenses, it is essential that the cold-to-warm transition be made gradually. It only takes one misstep to generate trip-ending amounts of condensation inside your lenses or sensor. To help slow the transition, I transfer my equipment to a camera bag that has also been outside, and only after sealing the bag do I move the bag and its contents into a warmer space. The camera is then allowed to heat up, slowly and safely, within the bag. For even better protection, consider placing your equipment in an airtight enclosure, such as a Ziploc bag, during the thawing process.
Safety gear: If you’re headed to the far north during winter you should, of course, also read up on how to travel safely in cold, icy climates. When travelling in northern Alaska between November and March, I’ll usually bring extra fuel, chemical additives to prevent the fuel from freezing, an oversupply of food (including food that will be palatable when frozen), a cold weather sleeping bag (rated to -25 degrees F), jumper cables and a tow rope with which a vehicle could be rescued after sliding off of an icy road. My tow rope has paid for itself on multiple occasions.
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|_ERN9064 by ernesto juarez|
from Shoot yourself ! (with your camera)
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