Exploring Night Sky Photography

Pasture Arch, Walpole NH

Rye Beach, NH, July

I'm happy to admit that I am not an expert on astrophotography, but the improved low light capabilities of newer digital cameras have made the process of capturing the night sky so easy and the results so remarkable, that it is hard to avoid giving it a try. There are a number of great photographers who have concentrated on this special photographic niche. They have produced breath-taking star field images, and have generously published detailed descriptions of the special techniques required. I have included links to a couple of the best discussions, but I thought a more personal and less encyclopedic introduction might be helpful.

Milky Way over my Driveway

I remember how amazed I was when I looked at my first night sky photograph. It was just a random piece of unremarkable sky, but I was blown away by the ability of long exposures to see far deeper into the universe than is possible with the unaided eye. I had to do more.' I get out occasionally, but my explorations of the night sky are limited by a persistent laziness that makes it difficult to leave my warm bed for a cold and lonely pasture. I'm always happy when I come back from a night shoot, but it is just a matter of getting out of the door. I succeeded last week in capturing the Milky Way from a spot in Walpole that I had always thought would provide an interesting foreground and perhaps a description of the process from a aspiring amateur may be of value to those who are thinking of exploring this remarkable field of digital photography.




The Galactic Season

Alyson's Orchard Walpole, September

Of course when we talk about night sky photography, the major attraction is the dense band of stars in the Milky Way and for the best show, timing is crucial. Currently, we are in a great time of the year for capturing the Milky Way in the Northern Hemisphere. The Galactic Core season begins in the spring when it is located, at its highest point, in the southwest. The high point moves across until it is found in the southwest during the fall. In the spring, the Milky Way extends in an arc across the horizon, allowing the capture of dramatic panoramic views across a large portion of the sky. As we get into the summer and fall, the band of light moves into a more vertical orientation, making it difficult to capture the full Galactic disk as it arcs across the dome of the sky. Each season provides a variety of opportunities to use our Galaxy in your images, but, happily, the frigid months of winter are not the best time to look for the Milky Way.

Spofford Lake, Spring Arch

The Moon
 Star field observation starts with an understanding of the location of the moon. Each month I note on my calendar the few days around the new moon. Although a little peripheral moonlight can help illuminate foreground elements, the new moon is generally the best time to clearly capture the stars in their full glory. Around the time of the new moon, I start checking the weather for the best chances of clear sky's. It is exciting to find a crystal clear night on just the right day, but I'm embarrassed to admit that I am often equally thrilled to see clouds obscuring the sky, giving me a reasonable excuse to rush off to bed.



The Right Spot
I am always looking for good locations to capture the Milky Way. There are three basic requirements

South Facing View.
The Milky Way moves across the sky from Southeast to Southwest and a prime location must have a clear view to the horizon in that direction. I spend time scanning my favorite locations, looking for those with the proper orientation.

Avoiding Light Pollution.

Brattleboro Light Pollution

Light pollution is persistent problem. Even out in the country, it is amazing how much artificial light will show up when I am shooting with ISOs from 2500-3200 at f2.8 and 20-30 second exposures. 




 


 


Martha's Vineyard, Ocean Dark

A faint glow on the horizon,which is barely perceptible to the unaided eye, can look like a blazing sunrise when captured in a long exposure. I try to get away from major centers of civilization, but even a small village like Spofford can throw up a surprising amount of light. I envy my friends who are fortunate to live near the ocean, where views out to sea are relatively clear of artificial light. For those of us who are land-locked all we can do is get as far away from people as possible, minimize the glare in Photoshop and tell everyone that that orange patch is actually the first glow of sunrise.







Foreground

Jaffrey Silos

Finding something of interest in the foreground is key to achieving context and drama in a star field image. I'm always looking for trees, church spires, barns, or farm equipment that I can position before the great arch of stars. Of course the "sea coasters" have an endless array of lighthouses to use for drama, but we can catch the stars reflected in the calm waters of local rivers and lakes. The key to effective use of foreground elements is to get close enough.  Star fields are generally shot

Chesterfield Town Hall

atextreme wide angles. I almost always use my 16mm lens. and with that broad angle of view the foreground must be quite close to be seen to dramatic effect. The foreground elements can be striking in silhouette against the bright sky, but I often play with light painting using my trusty light LED flashlight. Light painting is all about experimentation and using a subtle touch. The foreground may also be captured in the natural light with a separate long exposure that can be blended with the star field image during post-processing.

My Walpole Apples
 For years I have been attracted to a couple of lone apple trees which sit out in the middle of a lovely pasture in Walpole New Hampshire. I have shot the trees in various seasons and conditions of light, but I have always felt that they might serve as interesting foreground subjects for a Milky Way photograph. The trees are isolated in the middle of a large pasture on the crest of a hill looking off to the south. I knew I would have freedom to move around the trees to find the best angle under the arch of the Milky Way. I had shot stars from edge of this location before, but I had never ventured out to get close enough to bring the trees into the foreground. About one week ago I finally got my chance.



The Right Day and Time

Photographer's Ephemeris, Walpole Apples

I used the Photographer's Ephemeris to find the nights in May when the Moon would not be an issue. TPE is THE essential piece of software for anyone wanting to predict the locations of the Sun and Moon from any location and on any day. My current favorite program for predicting the

PhotoPills

location of the Milky Way is Photopills. Although the program's user interface takes a bit of getting used to, it shows the position and elevation of the Milky Way throughout the night from any location. I was able to see that the Galactic Arch would be in the best position over my Walpole Apples between 1 and 3 AM on the days when the Moon would be new or below the horizon.








I knew the what, the where and the when, all that remained was the fourth "W", the weather. 


The forecast was for one clear night before a warm front was predicted to cloud the skies for several days. I took a nap in the

Dublin Lake & Too Distant Monadnock

early evening and then got out to my isolated spot at about 12:30 AM. After fumbling my way through the pasture's irregular ground I was where I wanted to be, next to my Apple tree. For once I prepared myself perfectly. I had clothing that was sufficiently warm, I used my Overshoe Boots to protect my feet from the damp and the ticks and I made sure that my flashlight had fresh batteries. I use a flashlight that is equipped with a red filter to preserve my night vision as I work the controls. Before I left home I had mounted my 16-35mm lens, set it to its max wide angle and adjusted the focus to where long experience has shown me that infinity lies. The stars are definitely at infinity but they come into sharpest focus slightly short of the lens' max position. It takes a bit of experimentation to find the right spot. An especially bright star, the lunar surface or even a distant light can be used to discover the best adjustment. Once set I used gaffer's tape to fix the adjustments in place.


In the Field

Walpole Apple, We'll Call It Sunrise

The night was lovely. With the exception of a few clouds on the southern horizon, the sky was crystal clear and peaceful, although, as always, it was a bit spooky standing alone in the inky dark with nothing but the hooting of owls and the howling of distant (hopefully) coyotes to keep me company. Fortunately I was too busy to spend much time thinking about being stalked by ravenous preditors, or shambling zombies. The Milky Way was beautiful and easily visible to the unaided eye allowing me to position the camera to capture the Apple tree nestled under the arch, but even when maximally dark adjusted my eyes could not remotely appreciate the intensity and depth revealed by the camera sensor. After a few experimental shots, I settled on ISO 2500, f2.8 and a 20

Cosmic Apple, Walpole, Light Painted

second exposure. I made sure that my camera was set for Mirror Lock-Up and Long Exposure Noise Reduction. With the extra time required for noise reduction, each exposure took close to one minute, a duration which seemed much longer when trying to stand perfectly still in the dark. I grabbed a few single shots near the tree, including experimenting a bit with light painting, and then settled into shooting several series of images across the sky for eventual reconstruction into panoramic studies. I shot 6-7 images for each panorama. Without clear references, the greatest challenge was in keeping the camera level through the series of images. It is at this time that keeping my eyes fully dark adjusted was critical to pick up on key landmarks. After expending so much effort to place myself in a special location at the perfect time, I felt reluctant to leave. I wanted to make sure that I had captured all the necessary shots, but the howling seemed to be getting closer, so I stumbled my way back to the car and headed for home and the welcoming arms of Photoshop.

Light Painted Apple, Walpole, NH

Connecticut River, Chesterfield, NH

I reached home at about 3AM and as always, instead of heading immediately to bed, I had to upload my images and apply some preliminary edits to get a sense of what rewards I had received for the my sleep deprivation. I'm still experimenting with post-processing techniques for star field images. My current approach includes preliminary adjustments in Lightroom and final localized tweaking in Photoshop, but it would be best to save that discussion for another blog. Besides, every time I come back from a night under the stars, I seem to take a different approach in the digital darkroom.

I hope this discussion provides a helpful overview of how a relative new-bee might approach star field photography. With just a little care, the technical aspects are actually quite simple. The biggest challenge is to haul yourself out of bed to get to the right place at the right time with the right weather.

And watch out for the Zombies!


Other Articles From My Blog:

Night Time Photography, Searching for the Milky Way 
April 2013

Look to the foreground in Milky Way Photography
June 2014 

Valuable References:
Night Sky Photography, Aaron Priest

Aim for the Stars, Mike Blanchette,
New England Photograhy Guild


Jeffrey Newcomer
Partridgebrookreflections.com

My "New" $30 Tripod

Sturdy Tripod

 

Stability on the Cheap

Of all the equipment available to supplement your photographic efforts and empty your wallet, there is probable nothing as

Focus Stack

important as a good tripod. A tripod is obviously critical to stabilize your camera when conditions do not permit sharp, hand-held images, but perhaps more importantly it makes you slow down.  It enforces a level of care in the framing of your images and permits the precise collection of multiple images when attempting focus or exposure stacking. A heavy tripod can also serve as a vicious and readily apparent cudgel when wandering alone in sketchy neighborhoods.  A good tripod can be expensive.  You may pay $400-$900 for a high quality carbon fiber tripod and the ball head will add an additional several hundred dollars. Aluminum tripod legs are cheaper and their increased weight can actual provide enhanced stability.  If you don't have to lug them for miles into the back-country, they can be a good choice.  There is no single perfect choice, but have I have just fashioned a "new" tripod for only $30, that allows me to combine the best of both worlds.

 

 
There are Few Things More Expensive Than a Cheap Tripod

I am sure that at some point I have pontificated about the importance of a high quality tripod. I distinctly remember saying, "You can buy a cheap tripod and end up replacing it every few years, and all you will ever have is a cheap tripod. Or you can spend the money for a good tripod and have a good tripod for the rest of your life".  Although obnoxiously smug, I have taken this commandment to heart and  discarded several flimsy tripods before settling on a sturdy Manfrotto (3021BN) and a Manfrotto ball head. The tripod was not the most expensive I had seen, but it was solid and although a bit heavy, I was happy with its performance. A few years later I decided to invest in a lighter carbon fiber Gitzo Tripod

L-Bracket

with a Kirk, Arca Swiss, ball head. The new "sticks" were easier to manage on my backpack and the Arca Swiss head accommodated the new L-Bracket that I had attached to my camera. L-Brackets allow easy switching from horizontal to vertical camera positions with improved stability. The addition of Arca Swiss L-Brackets to my cameras meant that my Manfrotto tripod, with its incompatible head, was immediately relegated to the dust at the back of the closet. 

Gitzo with L-Bracket

 

My lite but sturdy Gitzo tripod has served me well for the last seven years. but there have been occasions when I would haveappreciated the greater weight and stability of my old Manfrotto. This has become a significant issue when using my 2x Extender on my 100-400 Zoom. When fully cranked to 800mm, it is a challenge to keep the camera steady, especially when wind is an issue. That sad Manfrotto kept calling to me and I finally decided that I had to do something. I looked at a number of possible approaches to adapting the tripod for Arca Swiss. The most expensive would be to buy a new Arca Swiss Ball head, but I didn't want to spend the several hundred dollars that would be required for a decent head. A search yielded various Arca Swiss adapters that might replace Manfrotto's proprietary system, but they all involved brutally removing the current clamp from the ball with the potential for damage or destruction of the head. 

 

 

 

 

A Simple Solution

 I finally settled on the simplest solution. I found an Arca Swiss clamp that I could attach to the Manfrotto plate. If it worked I could always go back to the Manfrotto system if needed. The only question was whether this Stacked plate arraignment would be sturdy and stable enough for my gear. I decided that if this didn't work I could always go to plan B and force the Manfrotto Plate from the ball. I chose an Arca Swiss Plate that was not the cheapest available and had generally good reviews. Happily, the $29.95 plate attached firmly. The only modification required was that I had to mount the plate backwards on the Manfrotto system to keep the quick release lever from interfering with the Arca Swiss adjustment knob.

 

 

 

Super Moon 800mm Stable

 

 

 

 

 

 

I have been generally thrilled with the results, using my Manfrotto routinely when I'm shooting within easy range of my car and the Gitzo when packing my gear into the woods. So far my modified Manfrotto has be stable and flexible. Camera stability is a critical factor for obtaining sharp images and the combination of a light packable tripod with a more massive set of legs, to be used when stability is more challenging, is a perfect solution. It is especially perfect when the "solution" costs only $30.


Jeffrey Newcomer
Partridgebrookreflections.com

Simple Gear to Improve Your Photography

Pemaquid Light

 Sue and I are getting ready to head off to Camden Maine for a few days at the beginning of next week.  Hopefully we will catch some nice color, but as a result, this week’s blog will be a short equipment recommendation.  It great to talk about the latest cameras or big lens’, but some of the most important gear are not the most expensive, but things that fit, almost invisibly, into your everyday process.  For me one of those simple but essential pieces of equipment, which I use on every shot, is my L Bracket.


Gearing up at the Maine Media Workshop

Marshall Point Light

Back several years ago I took a wonderful workshop at the Maine Media Workshops with Vermont landscape photographer David Middleton.  Early fall was a perfect time to explore the Maine coast with a small group of enthusiastic photographers.  I had been attracted to David’s workshop after reading his book on photography in Vermont.  It was a helpful guide but what really interested me was David’s no sense approach to photography.   Over the course of a week we had a wonderful and exhausting time shooting the coastal icons including Marshal Point Light, Rockport Harbor, Stonington, and   Pemaquid Light.  I had a great time and caught some wonderful shots, but the most long-lasting part of the workshop came at the end.  It was just a wrinkled piece of paper.




Throughout the week David gently critiqued, both our
photographic technique, and our equipment.  He kept coming up with recommendations about how I could up-grade my kit.  Among other things, he suggested a new, sturdier tripod and ball

David Middleton hard at work

head, a set of variable neutral density filters and an L-Bracket.  It was a substantial list and I told David that I would need a note for my wife justifying the purchase of this essential equipment.  And he came through.  On a crumpled piece of paper he scribbled the list of gear along with his assurance that the acquisition of these items would make me a more proficient and satisfied photographer and therefore a much more pleasant spouse.  Surprisingly Susan went for it and didn’t crumble as I gleefully went on a  B&H shopping spree.  Off all the equipment that David recommended the L-Bracket probably had the most significant impact on my day-to-day photography.

 

The L-Bracket
Simply stated an L-bracket looks like a roll cage added to the outside of your camera.  It allows the camera to be quickly attached to a tripod in either the horizontal or vertical position and makes switching from one orientation to the other a very simple and fluid procedure.

 

Walpole Town Hall Color, Landscape

Portrait Orientation

The L-bracket has a number of important advantages over a fixed attachment to a tripod.  After taking shots in the horizontal (or landscape) position, I often want to grab the same scene in the vertical (portrait) mode.  With the camera fixed to the plate, I have to flip the body over to the side of the tripod.  The result is that the framing changes as the camera moves

Miss Aligned
& Unbalanced

down and to the side of its original position making recomposing necessary.  Additionally, with the camera hanging off to the side, the tripod becomes less stable and more subject to accident and vibration.  With the L-bracket, the camera stays centered stably over the tripod legs and the framing of the image is not altered.  The difference is especially noticeable when photographing subjects which are close to the camera.  You will be surprised what a difference this makes in capturing the exact composition that you want. 

 

L-Bracket Aligned & Stable

The L-bracket also provides some protection to the camera. This is an unintended benefit and the bracket doesn't cover the entire body, but this "roll-cage" has saved me a few times from drop-related damage.  Besides it  looks cool.

 

Engulfed, Portrait

L-brackets are available for a range of cameras.  They are generally custom designed for each body to allow access to all the important
buttons and connectors.  Arc-Swiss is the most common connector and you must have a head which takes this system, but older tripods can usually be adapted for this connector.  L-brackets are widely available.  Mine came from Kirk photo, but really Right Stuff is also a reliable source.  Depending on the camera they range in price from $125-nearly $200.  It may seem like a lot of money for a piece of metal, but it is well worth the expense.   This is something you will use on every shot, so don't skimp on the quality. I typically order my L-Bracket at the same time that I order a new camera. 

Bracket Custom Cut for Connectors

If you don't have one already I would strongly suggest that you consider getting an L-Bracket for your camera.  You will find it makes a simple but persistent improvement in your work.

Really Right Stuff has a nice video which demonstrates the use and benefits of L-brackets.

 Jeff Newcomer
partridgebroo0kreflections.com

Protecting the Equipment

From many painful misadventures, I have learned some basic rules to protect my photographic equipment when out shooting in the field.

A couple of years ago I was leading small group on a photo hike in Chesterfield's Madame Sherri Forest. I led the more dedicated and crazy photographers on a scampered down a steep embankment to a secluded waterfall. Its one of my

Madame Sherri Cascade.  The Lens eater.

favorite spots, but it is a little tight and precarious. I decided to switch to my wide angle lens. As I was struggling with my footing my Canon 24-105 L lens flew out of my hands and into the lovely brook. I was horrified and, as I lunged for the lens, my 70-300 somersaulted from my bag and plopped into the water as well. I salvaged both lens, but the 24-105 was irretrievable fried. My 70-300, which was a cheaper, non-Canon brand, actually dried out over about a year and is now functional. I still use it on occasions when I want to bring a lighter Telephoto on a trip. I had camera insurance and ended up using the disaster as an excuse to buy a much heavier Canon 100-400 (the beast). Somehow I convinced my wife that the best way to replace the 24-105 was as the kit lens on a new 5d Mark II. My reason for telling this story is not to encourage you to throw all your old glass into the lake, but to make it clear that my understanding of the care and protection of camera gear comes, not from exhaustive study, but from repeated and painful experience.

Portland Head Surf

Over the years I have dropped or dunked, one camera body, 3 lens', one cable release, and numerous lens caps and filters. Remarkably, I have never lost a memory card, but now that I have mentioned that, it is only a matter of time. It is all very tragic, but cameras are only tools, and, if instead of hiding at home, you want to go where the beauty is, accidents will happen. But there is much that you can do to reduce the risk of disaster and all it starts with two basic rules.

 

Two Rules

First, most of the best shots are seen from difficult to reach locations, where your equipment will be at risk of loss or damage. Start by assuming the worst WILL happen.

Second, a few simple precautions, faithfully followed, can substantially reduce the risk of disaster. The key is to slow down and focus on your gear. Generally, the beautiful stuff will still be there once everything is secure.


The Threats
Damage can occur at any moment, but the critical times

Table Rock, Balsoms, Dixville Notch
Disaster Awaits

include: taking the camera from the bag, attaching or detaching from the tripod, SECURING AND adjusting the tripod, changing lenses, changing filters, changing memory cards, and falling off cliffs. The falling off cliffs thing may seem obvious, but it is worth stressing that protecting your body should always be your first priority. Mostly. Self preservation aside, I’m sure that, during my plummet to oblivion, I will be thinking about how to protect the camera from damage on impact. Last autumn, while tumbling into the icy waters of Harvey Pond, my two thought were, “You idiot!” and “Keep the camera above your head !!”. I have to admit that, in all non-lethal situations, my mantra has always been, "My body can heal itself, my camera cannot".

Slow Down
The key to all of these precautions is to slow down and think before you put your equipment at risk. Before you act, take a breath and anticipate what could go wrong. Move slowly and deliberately, and focus on the task, not on the gorgeous scene that lies before you. 

 Get a Grip


When holding my camera, I try to focus on the grip and consciously squeeze tighter. As I move, I also try to watch for snares that might rip my camera from my hands. It is often a stray branch or even the tripod that can knock the camera away, and the strap seems always to wants to snag on something. Again, the key here is to move slowly and concentrate on what you are doing.

Two Points of Control
From the moment I reach into my camera bag, I try to keep at least two points of control on my camera. Two hands are not always practical, but the neck strap is often the best insurance you can add. Although at times it can feel awkward, while setting up a shot and adjusting lenses and filters, I keep the strap around my neck for as much as is practical. If I can't keep the strap around my neck, I often wrap it around my arm. Once the camera is firmly attached to tripod, and before I focus on the landcape, my attention shifts toward the security my Gitzo.  Whenever possible, and especially in risky locations, I will still keep myself tethered to the camera.



False Security, the Tripod
Trust me; I know from painful experience, even the most substantial tripod is not secure. All it takes is a gust of wind or a patch of slippery ground, and your tripod, along with your, firmly attached, camera, will be shattered at the bottom of the ravine. Never leave your camera unattended on a tripod. Once I have set up for a shot, my next routine is to check the balance and security of the position. Next, I re tighten the camera attachment and all the leg segments. I try to follow this routine regardless of the weather or location. These things need to be practiced continually to become automatic. With all these precautions, I still avoid leaving the tripod unattended. A few years ago, I was shooting along a stream in Harrisville, New Hampshire. I turned away for a second to find a filter in my bag and PLOP. A leg slipped on the damp leaves and my camera was soaked. Now when I move away, even for a second, I take the tripod down and lay it gently in a secure area. A pain, but well worth the effort.


Changing Lenses and Filters
It seems a rule of physics that when I am removing a filter the thing always let's go when I release my hand between turns. All I can do is focus on the flight of the precious little disk and try to see where it eventually comes to rest. Too often that resting place is somewhere down stream. I've learned not to lunge since I am usually strapped to my camera and tripod at the time. Again, in this situation, the two points of contact can be a life-saver. When changing a filter or a lens I first assumes that there will be an accident and orient the camera over safer ground. With filters, I place my hand or the filter case under the filter as I unscrew. I actually prefer to use the case because I can keep the new filter in the other side, making the exchange quicker. Polarizing filters provide an additional challenge, since, based on the direction of the light, we are constantly adjusting their orientation to get the desired amount of effect. Even if the filter is initially firmly attached, it can easily come loose with continued rotations. More than once, I have had a polarizer come off unexpectedly as I was adjusting the filter. The solution is simple. Make a habit of only adjusting the polarizer by rotating in the clockwise direction. If you go too far, keep going around, rather than making any but very small, fine tuning, adjusts counterclockwise.

Lens changes are a little trickier. I'm ashamed to admit that I often find myself removing a lens with the new lens resting precariously in the crook of my arm. BAD PHOTOGRAPHER! We all hate to expose the delicate underbellies of our precious

Bad Katie

lenses to the elements, but, especially in dangerous locations, it is best to take the lens off, put it away and then take out the new glass. Ok, but in the real world, I start by pressing the lens release button and applying a tiny turn. I don't want to be searching for the button while juggling two lenses. I can then concentrate on firmly gripping both lenses as I make the change. I keep the camera under control on a tripod or with the strap around my neck.  I try to keep the camera aimed down to avoid getting dust on the sensor.  Again, I assume that I will drop one or both and position the camera accordingly. After the old lens is safely stored, I will often remove the new lens and blow out any dust that might have been sucked in during the transfer. My little Pocket Rocket blower is always in my bag.

Angry Sea, Kennebunkport, Maine

All of these precautions may seem self-evident, but unless they are followed as an unvarying routine, they will certainly be forgotten in the face of the next spectacular photographic opportunity. Spectacular opportunities are almost always at the edge of a cliff or next to a roaring brook, so take it slow, think about what you are doing and squeeze that precious camera.

Jeffrey Newcomer
Partridgebrookreflections.com

Who Needs a Tripod?

Hand-Held City Lights, Boston

I Do, but Sometimes I Have to Make Do



Basin Sails

I have been struggling to get out to enjoy and photograph the beautiful New England spring colors. This weekend has been consumed with moving our son Jeremy to New York

City. Two weekends ago we were visiting our daughter in Washington DC and much of the week after that I was tied down in a conference in Boston from dawn to dusk. I love Boston in the spring, but it was frustrating to be watching it from inside the Sonesta Hotel along the Charles River in Cambridge. I got out when I could, mostly in the evenings, and I was blessed with a couple of clear nights to play with city light photography.

 

One secret to good city lights photographs is to get there at twilight. You want to have a little light remaining in the sky. A completely black sky is uninteresting and also renders anything which is not illuminated hopeless dark. The smooth, deep blue sky provides a lovely contrast to the specular lights from the buildings.

The Light Won't Wait
On my way back from dinner one night, I realized that the light was perfect. Just enough color in the sky, with the lights of the Boston skyline shinning through and reflected in the Charles River Basin. The Longfellow Bridge, also known as the Salt and Pepper Bridge for its distinctive towers, stood out in nice relief. Thankfully, I had my camera with me, but I knew that if I ran up to my room for my tripod, the twilight would be gone. I had to make do with sources of stabilization that were at hand and then use all the available camera controls to get the shutter speed down to something that an old guy like me could reasonably hold steady. It is amazing how many control are available on a digital camera to optimize low light, hand-held images. On this night I needed all of them:


Making Do
I started by looking for something for external stabilization, and found a part of the railing that nestled the camera nicely.  If it wasn't so blustery and cold, and the rail wasn't so dirty I would have balled up my jacket to provide a "bean bag" effect to further damp vibrations. Nestled on the railing and using image stabilization, I decided that I could steady the camera for sharp exposures of no longer than about 0.5 seconds, preferably less.

Thankfully my 5D Mark II can do a reasonable job at higher ISOs, so I cranked it up to 3200. I didn't need crazy depth of field to keep the boats and skyline sharp. f 4.5 worked well and with that I achieved my 0.3 second shutter with reasonable detail in the darker regions.

Of course I didn't have my cable release and I knew that the shake

from pressing the shutter would be impossible to control. The solution was to set a 2 second shutter delay giving me time to steady the camera with both hands.

I held my breath and shot. It was important to take many images with the same setting, since, despite my best efforts, most of the pictures were still blurry, but a few were acceptably sharp.

Enjoying Mistakes
I got what I came for, but as I looked at the other failed images, I

Jittery 5 Second Exposure

discovered some were actually interesting. I especially liked the one that was probably my worst early attempt at stabilization. This one proved to me what I already knew. There is no way to hand stabilize for a 5 second exposure. The squiggles reflect my poor technique and the coffee I had after dinner. This is almost diagnostic of a three cup indulgence, but I swear I only had one. Regardless of the process I really like the festive, Christmasy appearance. So I decided to try a few on purpose.

Zoom 0.8 Seconds

I concentrated on trying to do zooms. The trick was to allow a longer exposure and to start zooming the lens before I hit the shutter. Here again, the lack of a tripod was a issue, but, in these free flowing images, the lack of precision was not much of an problem. 







I finished with a few more straight images pulling back to include
the railing and walk-way. Here I braced the camera into the side of a tree. Again, many failures and a few not so bad. I even caught one with a woman walking on the path. Happily, her movement created a ghost-like effect that blurred the lovely, but suspicious look on her face.

Ghost Walk, Charles River Basin

I would have loved to have had more time to capture Boston in bloom, but as always the challenged was to make the best of any situation. In a way it can be more fun to make do and the results can be even more rewarding.