Your ultimate guide to taking photos of the Northern Lights
What gear do I need?
Camera versus smartphone
The first decision you’ll need to make is whether you plan to take a camera or rely on your smartphone. Not so long ago, this was an easy decision to make, as no phone could ever match the kind of image you could achieve with a camera. Grainy, fuzzy images were the norm and looking back at them afterwards would have been a disappointment.
However, smartphone technology has come on in leaps and bounds and these days the camera that’s built in to your phone will produce a really good shot if you know how to use it properly. We put together a separate guide to show you how to achieve the best results with your smartphone.
However, where a DSLR or a mirrorless camera really comes into its own is the way that you can adjust the aperture, shutter speed and ISO settings to suit the conditions that you’re experiencing on the night. Clearly, just as with a smartphone, you need to know how it works, so we’ll go into detail about that a little later. Remember, though, if you plan simply to set the camera to auto-mode then you won’t see the benefit.
The importance of keeping still
Camera shake can ruin even the most carefully composed shot, so it’s crucial to think about how you might choose to keep the camera or smartphone steady while you take your pictures. One of the easiest ways to achieve this is by using a tripod, preferably one that has spikes you can push into icy ground or gravel surfaces. These tripods vary according to the make and also the price.
If you’re trying to capture the aurora borealis in Reykjanes then you’ll need to factor in the wind. Opt for the sturdiest tripod you can find, though be prepared for this to weigh more than the more portable, lightweight options. If you can’t or won’t carry this kind of equipment, then consider a GorillaPod or something similar which you can twist onto something robust such as a fence or a bridge.
Some mirrorless cameras now boast a feature called In-body image stabilisation (IBIS). Using integral gyroscopes and accelerometers, this stabilises the sensor so that when you are shooting without a tripod the end result will still be sharp. However, such technology doesn’t come cheap and you might not wish to make such a significant investment in your gear if you don’t plan to spend a lot of time on your photography hobby.
Don’t use your finger
One of the mistakes some people make when trying to take a photograph of the Northern Lights is forgetting that they might jolt the camera. As you press down on the shutter and let go, it’s hard to keep the camera absolutely still, even if you are using a tripod. What might be imperceptible on the night can still show up on the final image. So how can this be avoided?
One of the easiest fixes – and inexpensive too – is to use a shutter release. This works using a cable that plugs into your camera. At the other end of the cable is a remote control. Instead of pressing the shutter on your camera directly, you press the remote control instead. Though you can also get remote, cord-free versions, these rely on batteries. If it’s a cold night, the temperature can drain the batteries pretty quickly, so this may not be ideal.
Using the camera’s in-built timer is another way of making sure that you don’t move the camera unintentionally. You can set the timer for 2, 5 or maybe 10 seconds, giving you time to take your hands off the body of the camera and let it do its stuff. It goes without saying that you need to have figured out the tripod issue already, or any wind might shake the camera regardless.
Additional gear you should consider popping into your camera bag
Along with the camera, shutter release and tripod, there are a number of other things you’ll be glad to have slipped into your camera bag. Firstly, and most importantly, are spare batteries. Given that there’s a strong likelihood you’ll be photographing – or waiting for – the aurora borealis for extended periods of time out in the cold, batteries are likely to drain quickly. You won’t want to miss the perfect shot because your battery has already gone flat.
A small torch will also be incredibly useful. To get the best shots of the Northern Lights you’ll have chosen somewhere dark away from light pollution and ideally you won’t be shooting on a moonlit night either. That means it can be tricky to see the settings on your camera dial. The light from a small torch will be sufficient for you to be able to see what you’re doing without creating a distracting level of dazzle.
If the weather is likely to be changeable, then figure out how you’re going to keep any stray spots of rain off the lens. Though of course you won’t be able to see the Northern Lights through thick cloud, if conditions include thin, patchy cloud and drizzle, then it’s feasible that you might choose to wait it out. A rain cover can also help protect from frost forming on a very cold night. Lens wipes are a boon in case you get a speck of dust or ash on the glass.
What to wear
The trick here is to keep yourself warm and cosy without impacting how you’re going to use the camera. Check the weather forecast before you set out to make sure you’re dressed for the conditions and don’t underestimate how the cold can seep in over time. Take care of your extremities with a snug hat and thick-soled boots in which you can wear warm socks without them pinching your toes.
Hands can be a little more complicated. After all, the dials on a camera can be fiddly. Yet, if you have bare hands it’s not going to be long before your fingertips are feeling numb. Some seasoned pros swear by hand warmers; others use mittens that can be flipped over or buttoned up as necessary.
If you need to be able to tap the screen of a smartphone, you might consider purchasing specialist gloves that work without the need to take them off. Their fingertips are made out of a conductive material. This means they can absorb the electrical current produced by capacitive touch screen devices and you can take your shots without having to take the gloves off first.
The settings
Practice before you set out
The importance of knowing your camera and its settings inside out cannot be underestimated. It’s like any piece of equipment. You could have the best, most expensive camera in the world in your hands, but if you don’t know how to use it, then it counts for nothing.
Have a practice with your camera at home before you leave for Iceland. Try some night shots to get used to what settings and which combinations work best. If you live in a brightly lit city or too far south to see the aurora, no matter. Try snapping some other kind of night scene where lights play against a dark sky.
Watching some You Tube videos to get some tips can help immensely, though when it comes to learning, nothing compares to actually doing it yourself. If this is likely to become a serious hobby, book a course of lessons or consider joining your local camera club. In the company of like-minded people you can significantly improve your own skills.
Use your camera to its greatest potential to help you see the Northern Lights
It’s often a surprise to novice aurora hunters that they have to be quite strong to be able to see them with the naked eye. We’re so conditioned to seeing excellent photography and videography online and on the television that we don’t always appreciate the reality and the work that goes into producing such professional imagery. Often the images we admire most have been edited to intensify the colours and alter the contrast.
Faint auroras can look like grey ribbons or wispy clouds. If you’re expecting a strong showing of the Northern Lights according to the forecast but can’t see anything green in the sky, it’s worth pulling out your camera or smartphone. Switch it on and view the sky through the viewfinder or screen. You might be lucky and find that the aurora borealis has already showed up.
Opt for a wide angle lens. When photographing the Northern Lights on the Reykjanes peninsula or anywhere else, the sky is your focus. Choosing a wide angle lens means that you’ll be capturing what’s happening over a larger area than if you are zoomed right in. So if the Northern Lights are dancing right across the sky, you’ll capture more of them with a wide angle lens.
Also, make sure you are shooting in what’s called RAW mode. This is ideal if you intend to process your shots later on. Many cameras have this, particularly DSLRs and mirrorless cameras. Even the best photographers like to adjust their images, so there’s no shame in doing the same. But it’s not a deal breaker if you can’t shoot in RAW mode.
Setting up the shot: technical
- Manual focusing
One of the trickiest aspects of night photography can be achieving a crisp, sharp image. The first thing to do is to switch from auto focus to manual, then set it to focus on infinity (∞). Look for a subject that’s on the horizon, a tree for instance, and get it as sharp as you can. It can actually be easier to do this while it’s still daylight and then tape the camera to prevent movement.
If you are doing it as you arrive, see if you can find a bright light or even a star – you can always move to a new location when you’re ready to capture the aurora itself. Twiddle the focal ring until you get it into focus. If you don’t have perfect eyesight, you might ask a companion to double check afterwards and see if they think it’s in focus.
- ISO
ISO is a measure of how sensitive the sensor in your camera is to light, so when attempting to capture the Northern Lights a larger ISO number is often preferable. Set the ISO to something like 1600 to begin with. If the Northern Lights show up and are bold and bright, this will need to be brought down. Conversely if the aurora is dim for a while, increase the ISO.
You’ll need to play around with it and check the images in your viewfinder or screen until you get a result with which you’re reasonably happy. Take a few shots using different settings; this will give you the most flexibility and something to play around with during post-production.
- Aperture
The aperture is the opening in the lens that allows light to enter the camera and onto the sensor. In effect, it works in a similar way to the pupil in our eye. A low f-number allows lots of light in, while a high f-number does the opposite. In this way you can prevent too much light washing out your picture or too little leaving it dark and gloomy.
When photographing the Northern Lights, you’ll need to experiment as various factors can influence the amount of ambient light there is. The lens design can also have an impact. Try using a low f-number such as f/2.8 or f/4 and adjust accordingly from there until you find an exposure with which you’re happy.
- Shutter speed
Altering the shutter speed changes the amount of time light is able to enter the camera. One of the reasons a sturdy tripod is such a critical piece of kit is that shutter speeds for Northern Lights photography tend to be relatively long – certainly more than you could hold a camera steady in your hands.
Typically, aurora photographers might start with an exposure of 25 to 30 seconds. Checking the shot is vital; if the aurora is curling and twisting quickly, you might knock that down to as little as a ten second exposure or less. As the aurora itself brightens and darkens, don’t expect that conditions will be the same all night even if you remain in the same location.
Setting up the shot: composition
There’s no end to images of the Northern Lights online, so what makes some of them really stand out? So, finally and perhaps most importantly of all, let’s talk about the basics of composition. The way you compose your shot, adding interest without too much clutter, can really make a difference. Scope out potential locations in advance; there are plenty of suitable places across the Reykjanes peninsula.
As well as being pin-sharp, the most eye-catching images make the most of other things in the landscape to give the shot its wow factor. This could be a church, house, trees, bridge, lake or even an upturned boat – capitalise on anything that creates form or structure. Foreground objects are often really useful as they provide interest.
Photographers also refer to something called the rule of thirds. Imagine four lines being drawn over the image to divide it into nine equal squares. Aim to put the focal point of your image to the left or right rather than the middle, or at the bottom. For example, imagine you are photographing the Northern Lights above still water, like a lake or even a puddle. The water would work well in the bottom third of the picture, while the rest of the image would be the sky.
Mirroring shapes can help – such as if the aurora roughly follows the outline of a mountain. If you can, make use of leading lines – the Northern Lights is perfect for this as a vertical aurora will lead the eye up through the shot. Zoom out so that you give a diagonal aurora ribbon space at the end of it before you cut off the image. If the landscape falls short, use people to create interest.
Be warned, though, photographing the Northern Lights can be addictive – once you’ve caught the bug you may never get rid of it.