Three Legs to Stand On: Helping You Choose and Use Your Tripod

Tripods hold a singular place in the growth of a photographer. Often at first they’re considered an obstacle to working quickly—if they’re considered at all. Then eventually they’re considered a necessary evil, grudgingly worth in dollars maybe somewhere between a filter and a small lens. Then later, we realize the true value of standing on three legs.

Eventually most photographers come to appreciate how a tripod makes them better. It makes them more stable, sure—but it also makes them more deliberate, more calculated, more consistent, more creative. A tripod becomes an ally.

We begin to view lesser tripods as deficient, and we see quality tripods as worth double what we think we can afford to pay. A great tripod—a BMW tripod, a Lexus tripod, heck even a Rolls-Royce tripod—comes to feel essential.

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The investment is wise. A good tripod will last far longer than today’s in-vogue digital camera, and will even outlive the efficacy of many lenses. It will go places with you. It will be solid, it will be your rock. It will pick up scratches and scars, growing proudly haggard as your skills and artistry develop and flourish. It will be with you through the long and glorious haul toward becoming the photographer you are meant to be.

But that all needs to start with buying a good one. Whether entry-level or expert-level, a tripod must be reliable and must meet the task of supporting your collection of cameras and lenses and the way you want to use them.

That can be a hard charge in this world of more tripod options than we can count—not to mention the hundreds of heads, and the innumerable accessories. So National Parks at Night is here to help. We have put together a 71-page e-book titled Three Legs to Stand On: A Guide to Tripods.

In the book you’ll find:

  • a primer on how to choose a tripod

  • an article on how to get the most from your tripod

  • a personal story about a lost tripod that found its way home

  • tripod field tips from all the NPAN instructors

  • a buyer’s guide breakdown of over 60 tripods, heads and accessories

  • and more!

Just like our recent guide to photographing meteor showers, we’re offering Three Legs to Stand On as a pay-what-you-want publication. Feel free to download it for free, or to indulge us with payment of what the book is worth to you.

Either way, we’re happy you’re interested, and we’re thrilled if we can help you decide which tripod to buy next and how to best use it in the field.

You can download the e-book by clicking here:

Seize the night! Seize the legs?

Chris Nicholson is a partner and workshop leader with National Parks at Night, and author of Photographing National Parks (Sidelight Books, 2015). Learn more about national parks as photography destinations, subscribe to Chris' free e-newsletter, and more at www.PhotographingNationalParks.com.

UPCOMING WORKSHOPS FROM NATIONAL PARKS AT NIGHT

Live, in Front of an Online Audience: National Parks at Night!

In early March, Gabriel Biderman and I jetted over the Atlantic to run our first international trip of the year, to the Lofoten Islands of Norway. Two weeks later we returned to a very different life.

For the past two and a half months we haven’t been traveling for workshops—neither Gabe nor I, nor our business partners Matt Hill, Tim Cooper and Lance Keimig. We miss being in the outdoors at night, so much that we made a video about it. We also immediately missed interacting directly with the community of night photographers, both inside and outside the ranks of our workshop alums.

In an effort to reach out, and as part of the global collective effort to give us all something to do in the confines of our homes, we launched a series of weekly livestreams, as well as an online post-production course. Since March 23, we’ve been online at least three times per week, either on YouTube or Instagram, chatting with workshop alums and other night photographers, engaging in public Q&A’s with industry experts, teaching Lightroom and helping folks with their images, and more.

We’ve shared notices of these endeavors on our Facebook, Instagram and YouTube accounts, but have yet to mention anything in our blog. Today, that changes. Below you can see a rundown of all the online programs we’ve been offering this spring, along with our plans for the immediate future.

#BlogChat

Our #BlogChat livestream on YouTube is something that had been in the works for a while. Every week for more than five years we’ve published a post in this blog. But there is always so much more to say than can be fit into a thousand or two thousand words. So now we chat about it online, too, and we field questions from the live comments. Yay for more words!

On Tuesday nights, Matt sits down in his studio in Catskill, New York, and leads a conversation with whoever wrote that week’s blog post. We started with a week of five straight #BlogChats centered on posts from our archive, and since then have conducted a weekly online discussion of that week’s topic. We intend for this is be a consistent program, even when we’re back on the road.

Some topics we’ve covered so far:

You can see all our #BlogChat videos here:

To receive a notification from YouTube whenever we go live, be sure to subscribe to our channel!

(Yes, I am, right this minute, writing a blog post about a video program about our blog posts. It does not escape me that this is very meta. Is it possible that this week’s #BlogChat will be a video about our blog post about videos about our blog posts? We’ll see!)

Ask NPAN Anything / Conversations

Instagram is the social media service designed for photographers, so of course we have always dedicated a lot of time to our profile and image grid there. What we hadn’t done was engage via the platform’s live capability. Two months ago, that changed.

At the beginning of April we launched Ask NPAN Anything, a weekly Wednesday-night exchange between Gabe and one other instructor, and whoever was watching on Instagram could chime in with questions about … well, about anything. We’re always open books, happy to discuss all topics related to night photography, national parks and dark skies. We’ve been doing that for half a decade in our “Five Questions” blog series, and Instagram is the perfect alternative format for doing that live.

Each week featured a theme. One time Gabe chatted with me about national parks, another time he chatted with Matt about night portraits, another time he chatted with Tim about post-processing—and all of these were open to questions from anyone watching.

Then Gabe had an idea: What if we invite one of our friends to join us for a conversation? He reached out to JC Carey of Nikon, who was happy to come online and talk about Nikon cameras and lenses, his amazing work with strobes and his adventures photographing at night.

The next guest was Art Suwansang of BenQ, and everyone was able to ask great questions about monitors, calibration, etc. Then photographer Susan Magnano joined us to chat about being “stuck” living in an RV in the wilderness of Moab for two months during the COVID19 lockdown. This past week Ralph Lee Hopkins, a National Geographic photographer and the director of photography expeditions for Lindblad Expeditions, joined for a groupwide conversation about his amazing travels.

Because format and “the feel” of this livestream has changed a bit, we are announcing a new name for it: NPAN Conversations. Gabe will still host this every Wednesday night at 8 p.m. ET, and other NPAN instructors will still often be guests. Here’s a peek at what we’re planning for the next few weeks:

  • June 3: Rafael Pons of PhotoPills

  • June 10: To be announced, talking about tripods

  • June 17: Lance Keimig, talking about night photography books

  • June 24: Sandra Ramos, aka National Park Patch Lady, talking about getting to know the smaller units of the National Park Service

We also have long-term plans for guests that include a national park ranger, an astronomer and a street photographer, as well as industry experts in the fields of lighting, printing, lenses and more.

For all of these sessions, the floor will be open for questions, so be sure to join us on Wednesday nights on Instagram (@nationalparksatnight) or npan.co/instagram.

The Night Crew Image Review

One of the most important activities on many of our workshops is the Image Review. We gather during daytime to go over the photographs we’ve been making at night. It gives the group a chance to celebrate its successes and to learn from its challenges.

Now we have brought that experience online with The Night Crew Image Review. Each week we’ve put out a call for images, and then we’ve met with participants on Zoom to go over their submissions. We’ve seen some great work, and we’ve offered suggestions on everything from initial capture to cropping to post-production.

Moreover, we have simulcast the meetings live on our YouTube channel so that other photographers can hopefully learn from the experience and join in the chat discussion. You can see all the Night Crew Image Review sessions we’ve done here:

As of June, we’re changing the schedule for this program to once per month, on dates to be announced. You can still submit images at any time by visiting npan.co/imagereview. We’ll reach out when it’s your turn for the livestream group review so that you can join us on Zoom, and we’ll announce the simulcast on our social media channels.

If you need more immediate feedback, that’s actually a service we offer! We run one-on-one sessions with photographers on a regular basis, on topics as varied as:

  • Catalog Clutter and Image Organization

  • Gear Consultation, Camera Settings

  • Image Review

  • Lightroom and Photoshop

  • Mentoring and Artistic Development

  • Monitor Calibration

  • Night Photography Techniques

  • Pre-Workshop Education

  • Travel Prep

This is a service we offer online as well as in-person when possible. For more information, visit our Tutoring page.

Lightroom Live

This is another idea we’d contemplated for a while, and this was the perfect time to launch it: an online course designed to teach Lightroom, the most important piece of software for photographers, focused on the two most important modules, Library and Develop.

You can see more about our Lightroom Live online course in this video:

We’ve run two sessions of Lightroom Live already, each with a full cohort of 12 participants who attended four two-hour classes. (We’re keeping these classes small to maximize the time that participants get with the instructors.) We recently announced two more sessions, each in June, each on weekends, each with seats available:

  • Session 3: June 5, 6, 12, 13

  • Session 4: June 20, 21, 27, 28

The course also comes with bonuses! When you register you’ll receive a download of our new video Lightroom: Correcting Your Catalog Chaos (which will be on sale to the public soon—stay tuned!), and at the end of the course you’ll receive an hour of one-on-one time with the instructor of your choice.

See our Lightroom Live online course page for more information and to register today.

Other Endeavors

During all this non-travel time, we’ve been busy with other projects as well. Of course, we’ve still been writing blog posts, on topics ranging from the new Nikon D780 to a new intervalometer to ideas for long exposures at home and more.

We also recognized that five years of blog posts, over 200 in total, are a little unwieldy to look through when they’re organized only by date. So we created a brand new page on our website where you can see all our posts organized by topic. That’s about 300,000 words of free night photography education. We hope you enjoy!

We’ve also been busy on the publishing front. In April we released an e-book titled Great Balls of Fire: A Guide to Photographing Meteor Showers. It covers everything you’d want to know about the subject:

  • which meteor events to target

  • dream locations to photograph meteor showers

  • how to scout, shoot and edit a meteor shower

  • a gear guide for being perfectly equipped in the field

You can get more info and download the e-book here.

(Psst, psst! Want to know a secret? We’re also in the final stages of publishing our second e-book of the spring. Want a sneak peek?)

Wrapping Up

Of course, we have some more plans too. We’ll let you know as soon as they’re ready.

In the meantime, we’re excited to see you online! For more information and to stay updated about all of our livestream programs, visit npan.co/live.

Chris Nicholson is a partner and workshop leader with National Parks at Night, and author of Photographing National Parks (Sidelight Books, 2015). Learn more about national parks as photography destinations, subscribe to Chris' free e-newsletter, and more at www.PhotographingNationalParks.com.

UPCOMING WORKSHOPS FROM NATIONAL PARKS AT NIGHT

Returning to Nature, Returning to the World: Where We’re Ready to Go

It’s official. We at National Parks at Night have broken all previous records of days without travel.

The current situation does remind me a bit of being on the road with a photography group. As challenging as staying at home or in one place can be, one positive personal experience for me is that each night, to honor the first responders and essential workers of New York City, my wife Nancy and I cheer and clap with our neighborhood in Brooklyn at 7 p.m.

These few minutes have been perfectly timed with the sun setting to the west, so I’ve seen more sunsets than in any other two months of my life. Meeting new neighbors and feeling the warmth and beautiful light have added to the incredibly uplifting moments. That all reminds me of the many moments and shared adventures we have on our workshops, and that kicks my wanderlust into high gear!

While we have been focusing on cleaning our catalog clutter and re-editing images from past adventures, all of us at NPAN have also been dreaming about where we want to go next when all the travel restrictions are lifted. More than ever we are craving large green spaces to roam as well as magical dark skies to envelope ourselves in.

We love turning dreams into reality. So to inspire you to envision where you’d like to go next, we created this video that features some of the amazing places in the world we have explored.

In that same spirit, below all five of us share a place that we’re dreaming about, a place we are looking forward to exploring in the near future—hopefully with you!


North Cascades National Park

by Chris Nicholson

North Cascades National Park. © 2016 Chris Nicholson. Nikon D810 with a Nikon 28-70mm f/2.8 lens. 10 seconds, f/2.8, ISO 3200.

I miss mountains. Pretty, snow-capped mountains. Especially ones reflecting in glassy alpine ponds.

I miss waking on foggy mornings and walking through grass damp with dew. I miss days warm enough for T-shirts followed by nights cold enough for coats. I miss thin, clean air, and how easy breathing is. I miss remote, quiet meadows centered among softly rustling forests, and I miss the trickling sounds of delicate cascades and the thunder of tall waterfalls.

I miss how rock feels beneath my trail shoes: thousands of feet of rock that don’t budge even a smidge under my step as I climb to reach heights to see over the endless miles of valleys and lakes below.

I miss Washington state’s North Cascades, and the national park that bears their name. The beauty there is at once still and dynamic, at once present and ancient, at once silent and alive. The mountains rise around in all directions. Layers and layers of peaks and ridges that recede toward the horizon. And above that horizon at night, the glorious Milky Way that floats among a million stars.

I’m feeling one with John Muir. Those mountains are calling, and I can barely wait to go.

All the Islands of Scotland

by Lance Keimig

Sligachan, Isle of Skye, Scotland. © 2017 Lance Keimig. Nikon D750 with a Tamron 15-30mm f/2.8 lens. 1/200, f/11, ISO 100.

I’ve always had a thing for islands. Perhaps it’s because I’m a sucker for all things romantic––and what’s more romantic than a mist-shrouded shoreline, crashing waves and quiet fishing villages? Maybe it’s because I’m a bit of a rebel and an island has clear boundaries to push up against, be they geographical or cultural. Regardless, if you give me a map, my fingers will quickly find the coastline, searching for those offshore land masses just out of reach.

I had the good fortune of spending the month of August 1995 in Scotland. I was there for the glorious cacophony colloquially known as “The Fringe,” one of two concurrent arts festivals that take over the city of Edinburgh every summer. After almost three weeks in the city, I signed up for a jump-on/jump-off mini-bus tour and found myself making a loop around the country with extended stops on the Isle of Skye and Orkney. One is a very traditional and conservative island off the west coast, and the other an archipelago of islands off the north coast that is steeped in history yet is very modern and cosmopolitan. Two worlds equally fascinating and distinctly different.

That was a life-changing journey for me, and it marked the beginning of my career as a professional photographer. Three years later, I began teaching night photography workshops in San Francisco, and five years after I led my first photo tour to Scotland––to Skye and Orkney.

The rest is history, but I have a long way to go to visit All the Islands of Scotland. I doubt that NPAN will offer a trip to each of them, but you can know that I am scouting them all and will be planning trips to the very best to share with you in the coming years.

South Island

by Tim Cooper

South Island, New Zealand. © 2017 Susan Magnano. Canon 5D Mark IV with a Canon 17-40mm f/4 lens. 30 seconds, f/2.8, ISO 6400.

Where do I want to explore in the near future? New Zealand’s South Island. I find the landscape there to be simply awe-inspiring.

In many ways it’s like North America in miniature. Starting in the east you have gentle coastlines that rise up into low country, and then farming plains like our eastern and central United States. Then the plains rise up to the Southern Alps, which easily rival our Rocky Mountains. On the western downslope, glaciers flow into rain forests much the way they do in Alaska and British Columbia. All of this on an island that you can cross in less than a day.

Similar as it may be, everything is just a little different. A little more green. A little more remote. Even the trees have a mystical quality about them. From the fjords in the south to the parks of the north, you’ll find magnificent and rocky coastlines, tree ferns twice the height of a human, mountains that rise straight up and spill glaciers into magical forests. It truly is a landscape lover’s paradise.

My first trip to South Island was nearly 20 years ago when on assignment for a magazine. While the magazine work came off fine, my efforts at personal photography failed miserably. I had taken an extra nine days to shoot for myself using my Wisner 4x5 camera loaded with a new type of holder for preloaded sheets of film. I shot nearly 100 sheets during my time there. Upon returning home I found that every sheet was blank. The new system had not been working properly and I didn’t know because I had never tested it before leaving! Ughhh. Talk about heartbreak. I must return!

Theodore Roosevelt National Park

by Matt Hill

Theodore Roosevelt National Park. © 2019 Matt Hill. Nikon Z 6 with an Irix 15mm f/2.4 Firefly lens, light painted with Luxli Cello and a Coast HP7R. 2 minutes, f/5.6, ISO 500.

If I could go anywhere, I’d really like it to be someplace that has lots of things I enjoy. This park in North Dakota checks off lots of those boxes. And it was a total surprise to visit. Chris and I drove there last summer after learning that the elevator had broken at Wind Cave National Park. And boy, was the detour worth it. 

Roosevelt’s South Unit features a wondrous, windy river (the Little Missouri) with excellent lookouts, plus herds of bison and wandering wild horses. Outnumbering them all are the prairie dogs—watch your step or you’ll turn an ankle in their holes. Not to mention the badlands landscapes and the petrified forests.

Drive toward Polaris, and the North Unit has more wildlife, plus the cannonball concretions and even more views of another section of the Little Missouri.

Easily drivable, this less-known park is an ideal place to spend some quality time in nature and with stunning night skies. 

Easter Island

by Gabriel Biderman

Rapa Nui National Park, Easter Island. © 2019 Tim Cooper. Fujifilm X-T2. A series of stacked images shot at 2 minutes, f/4, ISO 400.

When Nancy asked me 14 years ago where I wanted to go for our honeymoon, I didn’t skip a beat and said: “Easter Island.” As luck would have it, the enigma that is Easter Island had also been at the top of her bucket list since seventh grade. But then we did the research and realized Easter Island is a challenge to get to. It is 2,200 miles away from Chile and in the middle of the Pacific Ocean. Remote is the understatement. So unfortunately the time and financial commitments didn’t make sense (however we had one heck of a honeymoon driving across the U.S. and visiting 14 baseball stadiums).

That was 2006. I can’t remember the first time I became aware of the mysteries of the moai, but I always loved ancient history, mythology and photographing sacred places. When Lance suggested our first Easter Island workshop that we offered in 2019, I quickly raised my hand to assist. But again, timing was not on my side. The workshop was a huge success and we decided to keep running more trips there as long as people are interested in going. And I’m going next! Even though our second Easter Island workshop isn’t until January, I have already starting thinking ahead and packing accordingly.

Most of Rapa Nui, as it’s known to the locals, is a national park. We have worked very closely with the park and local guides to get rare access to the moai at night. Most trips to Easter Island are a brief 2 to 3 days, but I’m looking forward to fully immersing ourselves on our 8-day adventure. I’ll be loading up infrared film for our day hikes and for photographing the moai under the Milky Way.

They say the third time is a charm, and Nancy already said she is coming on what she is calling part two of our honeymoon. If you can’t join us next year, stay tuned—2022 isn’t that far away!

Wrapping Up

So, that’s where we’re dreaming of going when we can travel again. Where are you dreaming of going? Share in the comments section, or on our Facebook page!

Gabriel Biderman is a partner and workshop leader with National Parks at Night. He is a Brooklyn-based fine art and travel photographer, and author of Night Photography: From Snapshots to Great Shots (Peachpit, 2014). During the daytime hours you'll often find Gabe at one of many photo events around the world working for B&H Photo’s road marketing team. See his portfolio and workshop lineup at www.ruinism.com.

UPCOMING WORKSHOPS FROM NATIONAL PARKS AT NIGHT

A Better Intervalometer: The Phottix Aion

Most night photographers struggle with the most basic requirement to make long exposures: an intervalometer. I believe I’ve found the solution: the Phottix Aion.

What is an intervalometer?

The object of my study (some call it an obsession) is a tool called an intervalometer, which is essentially an external cable release on steroids.

Example of a simple external shutter release.

A standard external cable release is simply a switch. Press the button, the shutter opens. Let go, it closes. Sometimes it has a lock that can hold that button down.

What an external cable release cannot do is execute timed intervals between exposures. This, along with programming shutter speeds, is necessary for goals such as star-trail stacking and time-lapses. For whatever the purpose, an intervalometer can make multiple programmed exposures.

Note: Some cameras now include this as a firmware feature. Hooray for progress! If yours does, then you may not need an external intervalometer. But before deciding, test it out. Many internal intervalometers can be confounding to configure, and most can’t overcome the camera’s native maximum shutter speed, which for most cameras is way too short for long exposures.

The Problems I Have With Intervalometers

So why do I care about this hard-to-pronounce camera accessory? It affects me when it does not work as expected. And it affects all our workshop attendees in the same manner. And it affects all night photographers in general. Here is a list of common issues:

The Cable Connection Breaks

This applies only to wired intervalometers, which is what most people own. Where the camera cable meets the body of the intervalometer, there is a “stress relief” molded into the cable. Despite that, all the rigors this connection goes through—bending back and forth during normal use, living all wrapped up in a backpack or bag, hanging off a camera or tripod—will eventually break the solder inside.

Then when we are inevitably someplace remote and interesting, suddenly the intervalometer stops firing the camera, and we start trying to hold the cable at just the right angle to reseal the connection and make it work. Which is does … sometimes.

Vello dedicated wired Shutterboss for Nikon DC2 connection.

The Cable Connection is For Only One Camera

Again, this applies only to wired intervalometers. You are locked into the cable that works with your camera. Which is good—unless you switch systems, upgrade to a new model or rent a different body.

I understand this makes it easier for manufacturers to sell to people looking for something specific, to not waste resources and to give people only what they need. But not all manufacturers make it easy to order a replacement cable or a different cable.

The Backlight Lasts Only 10 Seconds

This is exactly one second less than it takes to make an adjustment. Just kidding. But seriously, the light should last longer. Ten seconds is hardly ever long enough to adjust a programmed setting, and never long enough to create one.

The Status Indicator Light Ruins Photographs

The little red light blinks to tell you an exposure or sequence is running, which is a nice gesture. But if the cable twists forward to where your lens is pointing, you can ruin your image and others’ around you. Yes, that little LED can shed enough light to be picked up on a long exposure.

There Can be Too Many Modes

This is particularly true of wireless intervalometers. Many that I’ve used default to a mode that has nothing to do with night photography. Right?! How dare they pander to daytime photography. Geesh.

Joking aside, you may have to cycle through modes to get to the classic “intervalometer mode” we require for night photography. Every … time … you … turn … it … on.

I do not Want to Use My Phone

There are some very interesting exposure controllers out there that require your phone’s computing power to perform programmed exposures or sequences. I have tried many, and none are for me. I want to be “present” during my night photography experience, I want to preserve my night vision, and I want to save my phone battery.

The Phottix Aion transmitter (left) and receiver.

So What is the Best Option?

After much testing and firsthand experience with many, many manufacturers’ intervalometers—both in my own photography and by playing with what people bring to workshops—I affirm that the Phottix Aion is the best intervalometer you can buy. Here’s what I love about it:

You Can Set Exposure Durations in Tenths of Seconds

This matters when you are using the NPF Rule to determine star-point exposures, which can be very precise. Let’s say your NPF exposure is 11.72 seconds. With a standard intervalometer, you would have to round down to 11 seconds. Seven-tenths of a second doesn’t sound like much, but in this case it’s nearly 10 percent of the exposure. With the Aion, you can open the shutter for 11.7 seconds.

NPF exposures (seen here in PhotoPills) are almost always precise into the tenths (and hundredths) of seconds.

It Comes with all The cables for Nikon, Canon and Sony

Well, not all the cables, but if you have a camera that uses one of these connections, you are covered:

  • Canon 2.5mm sub-mini

  • Canon 3-pin

  • Nikon 10-pin

  • Nikon DC-2

  • Sony Multi-Terminal

(Sorry, Fuji, Pentax and Olympus owners.)

The Aion connectors.

It Remembers Its Mode

If you turn the Aion off and on, it will return to the last mode you used. Yay for efficiency and time management!

The Crosspad Buttons are Separated

One of the most frustrating things to watch is when someone new to night photography is trying to make an adjustment to the exposure or interval settings on a traditional intervalometer. A big part of the issue is that due to the control button’s one-piece construction, the difference between side-to-side and top-to-bottom adjustments is so minute that photographers easily change to the next setting instead of changing the value. Heck, it happens to me too. And I hate it.

The Aion fixed that—thank you! It features four separate buttons for up, down, right and left.

Most intervalometers have one main “arrows” button to press multiple directions; the Aion has the improved feature of four different arrow buttons, so you always know what direction you’re pressing.

You Can Use it Wirelessly or Wired

This is not a new feature to wireless intervalometers. But I still enjoy it.

Here are some examples of when it’s ideal to have a wireless trigger that is also an intervalometer:

Group shots that you’re in. (I’m sitting in the middle. Hi!)

Creative portraits that require many tries to execute.

Light painting far from the camera with short exposures.

The Countdown Time Shows Quantity of Exposures Remaining

This is not very important, but is good to understand. The Vello Shutterboss shows the exposure number you are currently on. The Phottix Aion shows how many remain. I prefer the latter. It lets me know not how much work is done, but rather how much work is left to go.

You Can Disconnect the Pieces

The issue with stressing the connection by continually wrapping up the cable and eventually breaking it is completely avoided. How? With the Aion, you can disconnect the cable when stowing the units. That alone will guarantee many more nights of photographing under the stars.

The cable plug pulls out, eliminating the biggest stress point of traditional intervalometers.

Selfies are Easier

Since you have a wireless transmitter with on-screen countdowns, making self-portraits under the stars, or including yourself as a human element in the scene, is easy. Doing so wirelessly is also safer than running back and forth to and from the camera in darkness.

Half-Press for Focus

The large button is for normal “Bulb” exposures: Press and hold to open the shutter then release to close it. But the button also has a two-stage functionality similar to the shutter release on your camera. You can half-press the button to autofocus. Combined with the wireless capability, you could focus on yourself in the scene!

What Could be Better

As much as I love the Aion, I’d love to see a few improvements in the next model. A few things I can nitpick:

  1. It doesn’t include batteries. Four AAAs are inexpensive and easy to source. Not all wireless receivers use standard batteries.

  2. The Mode button is where the backlight button is on other intervalometers. I am still re-training my fingers to find the backlight button without having to look for it, or to return to the “delay” or top-most mode.

  3. The crosspad buttons are smaller than traditional intervalometers. And the keys are slick and rounded. (But the separated buttons are still better than the single crosspad button of other intervalometers.)

Video

If you’re more of a watch-what-I-mean kind of person, please enjoy this video comparison:

(And don’t forget to subscribe to our YouTube channel!)

Wrapping Up

The Phottix Aion is a big improvement over our previous intervalometer of choice, the Vello Shutterboss II.

Yes, the Aion costs nearly twice as much (actually on par with the Vello Wireless Shutterboss). So you can choose to carry two wired Shutterboss units for the same money, or one Aion that is likely to be more reliable.

Sadly, this is not the perfect solution. That still does not exist. I am not saying this to throw shade on any manufacturers. Night photography, despite its popularity, is still a niche. And perhaps the opportunity to make the right tool is too small for many manufacturers.

(If you are a manufacturer reading this post and want to collaborate with NPAN to make the ideal intervalometer, we are ready. In fact, we have begun the long-term process of defining the ideal solution. Ping us to start the conversation.)

For all of you night photographers out there, we hope this helps you make better star-point stacks, star trails, time-lapses, portraits, and whatever genius and creative ideas you realize with your cameras.

Let us know what you think in the comments or on our Facebook page, especially if you own or an Aion.

Matt Hill is a partner and workshop leader with National Parks at Night. See more about his photography, art, workshops and writing at MattHillArt.com. Follow Matt on Twitter Instagram Facebook.

UPCOMING WORKSHOPS FROM NATIONAL PARKS AT NIGHT

Five Questions: Moonrises, Laowas, Acadia National Park and More

For every person who asks a question, a good hundred more probably had the same question and didn’t ask. So we like to share the questions we get and the answers we give.

This installment of our “Five Questions” series features inquiries about moonrises, Laowa lenses, the Nikon D780, night panoramas and Acadia National Park.

If you have any questions you would like to throw our way, please contact us anytime. Questions could be about gear, national parks and other photo locations, post-processing techniques, field etiquette, or anything else related to night photography. #SeizeTheNight!


1: Rad Moon Rising

Supermoon over Death Valley National Park. Nikon D500 with a Nikon 80-200mm f/2.8 lens at 200mm. 1/200, f/8, ISO 800. © 2016 Lance Keimig.

Q: Last year when driving home I passed a small lake that had a huge red/pink full moon rising over it. I tried to find out when this may happen again. Unfortunately I did not see how to get an easy answer to when there would be another full moon rising while the sun is setting, so I reverted to tedious data lookup. How can I plan this easier? And when will the moon still have a pinkish glow—when it beats the sun in rising, or when the sun beats it in setting? — A.B.

A: The full moon always rises near sunset, never at sunrise. The full moon does, however, set at sunrise. (The opposite, for both cases, is true of the new moon.) Either way is a good way to shoot the moon near the horizon during soft light.

The exact times vary quite a bit—by up to as much as an hour, depending on the exact timing of the full moon. In some months, the best timing may be one day before or after the full moon. The moon rises about 45 to 55 minutes later each day during its 28-day cycle, but the sunset time varies by only a minute or two. 

You can use PhotoPills or a website like TimeandDate.com to find out the date of the full moon each month, and then check the sunset and sunrise times within a couple of days of the full moon.

The “best” time for moon photography depends on the effect you are looking for, and the landscape where you are photographing. If you want a warm glow on the landscape, look for a moonrise that’s just before sunset. But I generally prefer a moonrise about 10 to 15 minutes after sunset, when the exposure balances nicely between the moon and the soft light on the land. By about 20 minutes after sunset, the exposure difference between the moon and the landscape is too great to capture in a single image.

The color in the moon is completely dependent on atmospheric conditions––the amount of dust, moisture or pollution in the air. The more particulates, the more color. When the moon is just rising, you are viewing it through hundreds of miles of atmosphere. When it is high in the sky, you are viewing it through a single layer of atmosphere, which is why it is almost always white. — Lance

2: Learning About Laowa

Q: I have the Nikon Z 6 and am looking for a wide-angle lens that I can use for night photography. I saw this lens on the B&H Photo website: Venus Optics Laowa 15mm f/2 FE Zero-D for Nikon Z. What do you know about this lens/company? Quality? Performance? Any info? — Terry K.

A: Summary: It’s a yes.

Why? Four reasons.

  1. It’s an incredibly small, light, fast and sharp lens.

  2. At f/2.8, the coma almost disappears, and at f/4 it’s totally gone. To see a technical test I did, download and open these files in Photoshop and zoom to 100 percent. The star-field boxes are 100 percent crops. The gray zoom boxes are exaggerated zooms at 800-plus percent to show the actual shapes of stars. (Note: These are totally unedited photos. The chromatic aberrations can be easily removed, but I chose not to remove them for what were just test images.)

  3. The metal lens hood is reversible.

  4. It beat my Zeiss Distagon (gasp!) in regard to coma. Wow. And I have an extra stop of light when I need it. And it’s half the size.

So, yeah, the Laowa is fab.

There is one major downside, however, which may or may not matter to you: It does not have electronic contacts. So you will not have the metadata in Lightroom that identifies the lens or which aperture was used for the photographs. — Matt

3: Switching from Canon to D780

Q: My Canon 6D has been pushed to its limits and I’m seeing too much ISO noise, so I’m looking into changing over to Nikon. Have you used the D780? — J.M.

A: The short answer: I’ll definitely be buying one. The image quality seems similar to or better than the Nikon Z 6, which is noticeably better than the D750 I’ve been using for several years. The D780 image quality at 12,800 is outstanding, and is definitely usable at 25,600. The camera also has extended shutter speeds down to 15 minutes.

They moved a couple of buttons around––which shouldn’t be an issue for you coming over from Canon. Other than that, it feels very comfortable and familiar for a Nikon user. I also like that they stuck with two SD card slots and didn’t go for the expensive XQD, or worse, one XQD and one SD slot.

For the long answer, see our recent blog post “Best of Both Worlds—The Nikon D780 Combines the Advantages of the D750 and Z 6.”

My suggestion is: Yes, jump on it! It may just be the last camera you’ll buy. — Lance

4: Night-Pano Follow-Ups

Bear Lake, Rocky Mountain National Park. Nikon D750 with a Sigma 35mm f/1.4 Art lens. Sixteen stitched frames shot at 10 seconds, f/2.2, ISO 6400. © 2018 Matt Hill.

Q: After reading your blog post on how to plan and shoot a panorama, I have a few questions:

  1. I have an Acratech GP-ss ball head, which can be mounted upside down and used as a leveling base. So I presume I wouldn’t need a separate leveling base—or would you recommend having one anyway?

  2. I want to rotate my setup exactly 30 degrees between each frame. How could I do that without turning on my headlamp?

  3. I’ve seen some photographers use a Nodal Ninja Advanced Rotator. It has different settings with click stops to confirm you’ve reached a pre-set degree. I believe it could be of help as I wouldn’t have to engage my red light. Are you familiar with these rotators? — Roger R.

A: I’m so happy to see you’re inspired to get out and shoot some night panos! My answers:

  1. I am a fan of having a separate leveling base (and I have the Acratech). It honestly doesn’t add much to the operating size and weight, and it benefits all my setups (not just panos). Leveling is simply faster with a leveling base than by adjusting tripod legs. That said, I have not attempted using the GP-ss inverted, but that’s a curious and wonderful thing it’s capable of doing!

  2. You may consider getting some glow-in-the-dark model airplane paint and making 30-degree ticks on your pano base, as well as making reference points (two, three or four) on the top part. Come to think of it, I may do that myself!

  3. I know two people I really trust who have used rotators, including Gabe. They require setup and calibration. But having those clicks is very helpful for confidence and maintaining your night vision.

    There are other options for indexing rotators that have detents—be sure to examine the intervals you can choose:

Keep in mind that all this gear is great to have for leveling up control over the process of shooting a pano at night, but it’s not required. The most important thing is the proper planning and technique that we covered in the original post. Have fun with your panos! — Matt

5: Acadia Aspirations

Eagle Lake, Acadia National Park. Nikon D3s with a 28-70mm f/2.8 lens, light-painted with moonlight and a Coast HP7R warmed with a 1/2 CTO gel. 20 seconds, f/8, ISO 3200. © 2017 Chris Nicholson.

Q: My husband and I are planning on going to Acadia. We’ve never been to Maine before. We started looking for places to go and stay mainly for night photography with ocean, rivers or lakes with views in or around the park. The area is huge! Was hoping you could give some suggestions on specific areas to stay and go. — Eileen M.

A: You could drive in pretty much any random direction, and you’ll be fine. 😊

Acadia is actually a pretty small park, relatively. But there’s a lot of diversity there for photography.

Anywhere along the Ocean Road will be great for coastal/ocean scenes, and if you’re up for a 20- to 30-minute walk, then I highly recommend Great Head at sunrise. Good spots more accessible from the car include Boulder Beach, Monument Cove and the cliffs in between; Sand Beach; and anywhere along the road between Sand Beach and where the road goes back into the forest.

For lakes, Jordan Pond and Eagle Lake are my favorites. And again, if you’re up for a hike, then I suggest taking the Jordan Pond loop trail all the way around (know that there is a short section that requires going over rocks). In that same area of the park, I recommend hiking up South Bubble for the views over Jordan Pond and the coast, then to Bubble Rock, then from there up to North Bubble, then along the ridge toward a beautiful granite overlook of Eagle Lake.

From late spring to early autumn, you can shoot the Milky Way over Eagle Lake from the main parking lot at the north end.

Also, if you want a quieter experience, check out the Schoodic Peninsula, which is the only part of the park that’s on the mainland. It’s about a 45-minute drive from Mount Desert Island. It has beautiful coastal scenery along almost the whole loop drive. At low tide you can walk out to Little Moose Island, which is beautiful as well. If there’s a storm while you’re in the area, the point of Schoodic Penninsula is where you want to be the next day to shoot the waves crashing on the rocks, in the last couple of hours of the tide coming in. (Just don’t get too close to the treacherous water.)

For more information, I can recommend two excellent photography guides: Photographing Acadia National Park: The Essential Guide to When, Where, and How and The Photographer’s Guide to Acadia, both written by photographer friends of mine, Colleen Miniuk-Sperry and Mike Hudson, respectively. You could also check out my book, Photographing National Parks, for some more general ideas on Acadia and for tips about scouting your shoot.

As for places to stay: Bar Harbor is the center of activity, and has restaurants, coffee shops, etc. It can also be “bustling” when a cruise ship is anchored. If you’d like a quieter experience, consider Southwest Harbor on the west side of the island (known locally as “the quiet side”).

Finally, it’s good to know that due to the current public health situation, Maine has instituted a temporary 14-day quarantine for visitors from out of state. The order is expected to expire sometime between July 1 and August 31, depending on the outcome of some pending regulatory decisions. You’ll want to confirm the status before traveling. — Chris

Chris Nicholson is a partner and workshop leader with National Parks at Night, and author of Photographing National Parks (Sidelight Books, 2015). Learn more about national parks as photography destinations, subscribe to Chris' free e-newsletter, and more at www.PhotographingNationalParks.com.

UPCOMING WORKSHOPS FROM NATIONAL PARKS AT NIGHT