Via Diginfo.tv

Here are a few pointers on how to shoot the sun the next time a Solar Eclipse happens.

Now first of word of warning… shooting the sun could be potentially dangerous to both your eyes and your camera’s sensor. Make sure you are fully familiar with the settings on your camera before attempting and know that you are shooting at your own risk. The following information is geared towards shooters with DSLR cameras but can be used by people shooting any kind of camera.

The Lens

The first thing to remember when shooting any astrophotography is that the stuff in space is REALLY far away. Really, really far. You need a BIG lens to make the sun or moon take up an reasonable amount of screen real estate.

The above image was taken on a full frame sensor (Canon 5d MkII) on a 180mm lens. Smaller sensors like APS-C will show a larger sun disk. Consider at least a 150mm and above lens when shooting solar eclipse.

Now here’s where we can run into potential dangers – having a large lens like that is like looking at the sun with a magnifying glass. And if you’ve ever burned ants on the sidewalk with a magnifying glass, that’s potentially what you could do to your sensor (and your eyes).

Put on the shades

I popped this Redrock Micro Matte box on the front of my camera so I could use a 4×4 0.9 ND filter in front of my lens. ND filters are like sunglasses for your lens – they cut out light evenly (neutrally) on all colors and they are an absolute must when shooting the sun. This 0.9 ND filter I have in this set up drops the light coming into the lens by around 3 stops which means the light enter is halved 3 times (or 1/8 – or 12.5% – hence the .9)

As an experiment I put a 4×4 circular polarizing filter in the second tray of the matte box. This created strange solar flares (double exposures).

The second filter was flaring the light in a strange way, I’m not sure if it was the polarizer or just a lens flare type artifact. If you see this type of artifacting, you may want to experiment with the types of glass in front of your lens.

If you don’t have these filters – you could rig something up with ND gels – just make sure to double them up over and over again to cut down more light from the sun.

Exposure

Stop it down! I turned the aperture on lens all the way down to f22 – the second smallest aperture available on my Nikon lens. Do this before you attempt anything else because it’s the first step to limiting the amount of light coming into the camera sensor. Why the second smallest? Well I was trying to avoid Lens Defraction which can reduce the sharpness of your shots in high f-stop photos. To be fair, I didn’t really experiment with many f-stop values.

Secondly turn your ISO to the lowest setting. You are after all shooting the brightest spot in the sky.

Third – set you shutter speed for the proper exposure. Depending on how powerful your ND filters you will probably shooting in the 1/4000th of a second or higher. The shot above was taken at 1/8000th of a second.

AVOID LIVE VIEW
As a filmmaker, I use the Live View on my HDSLR all the time, but in this situation it is best to avoid it. Live view flips up the shutter and leaves the sensor unprotected from the sun’s rays. You can use Live View to quickly check your focus but there is a possibility you could burn out your sensor if you stay in Live View for an extended amount of time.

Instead, use the mirrored viewfinder to check your framing. Even with the ND filters and aperture all the way down, it was still mildly unpleasant to look into the viewfinder (but not dangerous). I could have worn sunglasses myself to check the framing.

Fix it in Post

The problem with all these exposure techniques to shoot a solar eclipse is it really makes the sun look like the moon – gone is the blue sky background and the sun becomes a white disk… that’s just not that interesting to look at.

So I took the shot of the sun and color corrected it to make it appear a little more yellow. Then I overlayed the images (in my case a timelapse) on top of a picture of a twilight sky and changed the blending mode to “Add”

Add some new-age trippy space music and you’ve got a neat little video of the a solar eclipse!

Have fun but stay safe.

See more instructions Here

Every time I go to my nephews’ soccer games and see all the parents with their cameras on “green mode”, or attend a sporting event and see spectators using their flash from a quarter mile away, it makes me grit my teeth. It’s all I can do to stop from walking up to them and fixing their camera for them.

This morning, I got to thinking. If it is painful for ME to see these cameras being mistreated, imagine how the camera feels! Canons have feelings too, ya know? (Nikons happen to have more, but let’s not get into that).

The readers of this site tend to be a bit more knowledgeable about photography than your average shutter snapper, so I wrote this one with the more advanced photographer in mind.

Improve Photography | Read the Entire Article

I hope he takes off the lens cap before he fires.

Note that I will assume from here on that everyone is a right-handed shooter, as that will be the least confusing, as well as the most directly applicable to the right-handed ergonomics of most DSLR’s.

With rifles, your hand that is in front of you (i.e. not your “trigger” hand) does most of the weight bearing and pulling. By this I mean that your left arm supports the weight of the weapon system not only by simply keeping it elevated, but you also pull it tight into your shoulder. When you shoot normally (i.e. at 1/50s + shutter speeds and you thus don’t need to apply these so stringently) the majority of the weight of a camera is supported by your “trigger” (right) hand. More specifically the “center of mass” or “center of balance” of the camera is at the body end. This very concept is exactly why lenses that truly require tripod collars, such as 400mm+ primes, have their collars further out to the lens objective (a fancy way of saying the glass end of your lens). This is because that even with a heavy camera body mounted on them, the camera+lens system’s center of balance is still away from the camera body due to the 1) heavier weight of the lens and 2) the length of the lens itself, which acts as a large lever.

Regarding the lever piece, think of Olympic gymnasts, particularly the ones that do the crazy flips and maneuvers. I can do all of them myself, too…before I wake up. But they tend to be short, right? And then they tend to assume the cannonball position when doing flips, yes? What this does is reduce what’s called their “moment of inertia,” or their resistance to rotation. If you have ever watched figure skating, it is even more pronounced – pay attention really closely the next time one does a spin and the skater keeps their legs and arms spread out, and then pulls them in really tight. Reducing the skater’s moment of inertia causes them to go from a gentle, elegant rotation to a spin that quickly resemble more of a blur. With the lens’ center of balance, the longer it is (regardless of weight, although a large front glass element will add significantly to it) the greater the force (i.e. heavier camera body) that needs to be applied to it in order to get it to rotate.

Going back to holding the camera, it is for this reason that with a longer (and usually heavier) lens you tend to hold it further away (you hand closer to the lens objective) than at the lens mount like you would with a pancake lens. In addition, because you are not also pulling it into your shoulder like you would with a rifle, you use your right hand to support the weight of the camera system and your left hand is used to zoom and/or focus, but primarily to aid in stabilization – it does very little true weight bearing.

Well, when you need to apply all of these fundamentals and get that slow shutter speed shot without a mono/tripod, you will switch that. Use your left hand to support the weight of the camera, and if your lens allows (i.e. isn’t a short/pancake lens), open your hand so it is palm up and the length of the lens barrel is resting on your open hand. The base of the palm, also known as the “palm heel,” of your hand should be just before the point your lens and camera connect, so that your main support point (think of the part of your hand that does most of the weight bearing in a push-up) is under the camera body itself.

Pentax Forums | Read the Full Article

Read his accompanying article here.