Photographing the Northern Lights

A guide to photographing the Northern Lights

by Andy Keen.

Part 1: The Bare Essentials.

Hunting and photographing the Aurora is exciting, challenging, rewarding and, for many people, a once in a lifetime experience. These guidelines have been produced in order to help you to prepare for the great adventure that lies ahead and, hopefully, to reduce any anxiety that you may have regarding the thought of journeying to what some may consider to be an extreme environment.

Dressing for the occasion

As there is a high probability that you will be standing around on one spot for fairly long periods of time – in freezing Arctic temperatures – it is absolutely essential that you are dressed appropriately, and that you are kitted out with all the necessary equipment. This will not only increase your efficiency, but will also make the experience of photographing the Aurora a far more enjoyable one. Here is a list of the basic clothing and equipment that you will require:

Boots

A sturdy pair of winter boots is a must. They should not be too tightly fitting and, ideally, they should be waterproof and insulated. I use the North Face ‘Chilkats’, as they are rated down to -32C, and are not too bulky. They’re also extremely reasonably priced – approximately £70. In fact, I’ve tested these out against some £400 plus boots from various manufacturers and in terms of quality, efficiency, comfort and design, I have found them to be far superior. Do not bring Wellington boots, as they’re absolutely useless in this environment.

Jacket

It is extremely important that you are equipped with a warm and insulated jacket. I have found that down jackets work best. I use the North Face ‘Ice Jacket’ and, when temperatures really plummet (-40ºC), I resort to the bulkier RAB ‘Expedition Jacket’, which isn’t cheap but is a fantastic piece of kit. I believe that North Face also produce a parka called the ‘McMurdo’ which is a similar specification to the ‘Ice Jacket’, but is a couple of inches longer. This is worth bearing in mind, particularly if you suffer from a back problem. Whichever jacket you choose always bear in mind that we’re not going to be climbing mountains or, indeed, skiing through Alpine passes where ‘layering up’ is the done thing. This is a completely different activity and, as such, it requires a different approach. Loft and air are the key factors when selecting a jacket for viewing the Aurora. Choose wisely, and try not to be overly fashion conscious. Believe me, it’s far more important to be warm and comfortable than to look ‘cool’.

Hats and Balaclavas

We are all aware that most of our body heat is lost via the head therefore it is essential you wear a hat. I would suggest wool, and something that’s not going to get in the way of your photography. It may also be worth considering bringing along a balaclava and a neck scarf.

Socks

I would suggest that you bring along at least half a dozen pairs of socks – preferably made out of merino wool, or similar. Ideally, these will be padded underneath to provide extra insulation under foot. Don’t forget to try these inside your boots, however, to ensure that they are comfortable.

Trousers

Winter Bags are the cold-weather version of Rohan’s iconic Bags. I’ve worn these trousers on many an expedition and have found them to be extremely good quality, hard wearing, comfortable and warm. They are also available in extra long leg lengths which, for those of us that are over 6′ in height, is a blessing in disguise. Congratulations to Rohan for having the foresight to cater for all shapes and sizes.

Salopettes & Gaiters

It is a good idea to bring along a pair of salopettes to keep your legs warm. I would also suggest purchasing a pair of gaiters, as these will help to prevent snow from entering your boots and also protect the base of your trousers.

Base and mid layers

I would highly recommend using a merino wool base layer, as it is both warm and breathable. I would also suggest bringing along a good quality wool jumper and / or a fleece or two.

Hand Protection

It is vital that you give serious consideration to hand protection. Ideally the gloves that you choose should be waterproof and windproof. I would also suggest the use of glove-liners (possibly silk) so that, when you do take your hands out of your gloves (to make an adjustment on your camera / lens etc.) they are not exposed directly to the cold air which is not only uncomfortable, but can be potentially hazardous. It doesn’t take long, for example, for frost-nip or, worse still, frostbite to set in – and, needless to say, we want to avoid this happening at all costs.

Face and Lip Protection

Some hardy people may scoff at this suggestion but, never the less, it’s not a bad idea to bring along some face moisturiser, and some lip balm, both of which will help to protect your skin from the elements.

Additional equipment

Head-torch

An essential piece of equipment, particularly when setting up your camera and tripod or, indeed, moving through uneven terrain during the nighttime. Try to choose one that has a red filter attached to it, and that has variable brightness, as this will not only help to preserve your night vision but will also prevent you ‘blinding’ other people or, indeed, ruining their photographs. There’s nothing worse than returning home from a shoot, examining your photographs and realising that that there’s unwanted light in them. It is a good idea to familiarise yourself with your camera’s functions / buttons / settings etc. prior to going Aurora hunting, as this will help enormously when you’re out in the field. It’s amazing how quickly your eyes adjust to the light and, before long, you will find that you won’t need to use the head-torch as much.

Chemically activated hand and foot warmers

These come in really handy on extremely cold nights and, although not cheap, they are well worth consideration.

Thermal blankets

I always carry a thermal blanket with me. They’re not expensive, they are very light and, in an emergency situation, it could save your life.

Mobile Phone

Although we will be photographing the Aurora in fairly remote locations the mobile phone signal in this part of the word is generally excellent. In fact, although I don’t like admitting this as it’s a poor reflection on our own network providers here in the UK, I tend to get a better signal when I’m in Northern Lapland than I do when I’m at home in the Welsh valleys. Anyway, that aside, it is a good idea to carry a mobile ‘phone with you at all times just in case of emergency or, indeed, for when you get so excited about seeing the Northern Lights you feel the urge to call someone. Don’t worry, it’s a perfectly natural reaction, we all do it. One thing though – please make sure that you call your network provider and ask them to activate ‘roaming’, otherwise it won’t work.

Final thoughts

If you are even the slightest bit apprehensive about heading out to this beautiful part of the world in search of Northern Lights simply because you feel that you may not be able to cope with the cold, then don’t be. The bottom line is that as long you dress sensibly, and use a modicum of common sense, then you will be absolutely fine.

Part 2: Camera Equipment, Photographic Technique and Useful Tips

Stability: Tripods & Tripod-Heads

It’s one thing owning a top of the range camera and lens but if you haven’t got a sturdy base to mount it on then, without doubt, the overall quality of your images will suffer greatly. With this in mind, I really can’t overemphasise the importance of using a good quality tripod and tripod-head, particularly whilst photographing the Aurora. The main reason being that when you’re photographing this subject matter the exposure times tend to be fairly long – anywhere from several seconds to minutes, in fact, depending upon a number of factors including, for example, your camera’s ISO capability, the lens that you’re using and the intensity of the Aurora, which can vary quite considerably.

Another important factor to be taken into consideration is wind and, in particular, vibration. In essence, if your camera is mounted on a sturdy platform then it is less likely to be affected by vibration – thus ensuring your images stay nice and sharp. Furthermore, it also helps to reduce the risk of your equipment becoming unstable and, god forbid, toppling over and causing untold damage.

If you don’t already own a good quality tripod then it’s most certainly a worthwhile investment and, as long as you take good care of it, it will serve you well into the future and improve your photography no end.

I would also recommend the use of a ball-head as opposed to a tilt / pan head, as it allows for relatively quick and simple repositioning of the camera, and with a minimum of fuss. When you’re working at night, and at Arctic temperatures, the last thing that you want to be doing is fiddling about too much.

I would also suggest that you give careful consideration to the height of the tripod. Remember that your camera will be projecting upwards most of the time and the last thing that you want to do is to end up with a bad back or, indeed, agitate an existing one. For your reference I use a Gitzo tripod and a Kirk Ball Head.

Useful Tips: I always carry a couple of metres of para cord and a few pegs with me at all times when out photographing the Aurora. It comes in really handy as I am able to anchor the tripod to the ground, which not only aids stability, but also provides a little re-assurance should the wind suddenly decide to pick up. There’s nothing worse than nipping to the vehicle to warm up for a few minutes, and then returning to find your camera lying on the ground. Another useful tip is to place foam pads around the legs of your tripod, or one of them at least, as it makes it much more comfortable to carry around in cold climates.

Levelling

If, like me, you’re a stickler for straight horizons, then it’s well worth considering investing in a camera spirit level. I use the Hama camera spirit level, which sits comfortably in the hot-shoe, and is relatively inexpensive. If my memory serves me correctly, I paid approximately £12 for mine. I would advise you to avoid the battery operated ones, as they tend not to work at low temperatures and, if they do, then the battery doesn’t last very long.

Cameras

The most critical factor when when choosing a camera to photograph the Aurora is its’ low light capability. Ideally, what you’re looking for is a camera that has a high ISO performance, coupled with an ‘in-camera’ noise reduction facility. I use a Canon 5D Mark 2, for example, and typically tend to shoot anywhere between ISO 400 and ISO 800, depending upon the actual amount of available ambient light, and the effect that I’m trying to create. I also engage the in-camera noise reduction facility and then, if need be, I fine tune my images using external software. It should be mentioned that the higher the ISO setting the more noise that you will encounter, which is why the choice of lens is equally important. Remember – the wider the lens aperture the more light that will be allowed in and, thus, the lower the ISO setting that you’ll be able to get away with using.

A note about compact cameras and mobile ‘phones

I am often asked whether or not it is possible to capture the Aurora on a compact camera or, indeed, a mobile ‘phone. The simple answer to this question is yes, as long as the equipment in question has a manual focus function, a remote function or self-timer and, ideally, a relatively wide angle lens. Of course it’s far from ideal, and can be somewhat of a challenge but, never the less, it can be achieved.

Lenses

Ideally, you should use a lens that is wide, that is fast (an f-stop of 2.8 or greater), and that you are confident will produce sharp images with minimal vignetting. I use the Canon EF 24mm f/1.4 L as I’ve found that it lets bags of light in and I’ve been extremely pleased with the images that it’s produced over the years. If I were starting out from scratch again, however, I’d be tempted to go for the Mk 2 version, as I’ve seen images taken with this lens and there’s definitely a difference in quality – particularly in terms of sharpness. Of course there are many other lenses, produced by Canon and other manufacturers, that will do the job and you don’t necessarily have to spend a fortune. I would suggest checking out the reviews on the likes of fredmiranda.com as they tend to be unbiased and contain actual user images, and opinions. In fact, I always have a good read through these prior to purchasing any camera equipment.

Useful Tips: Don’t attach filters to your lens whilst photographing the Aurora as they cause ‘interference fringes’, which are extremely hard, if not impossible to remove in post production.

Batteries

It is important that you carry a few spare camera batteries, as they do tend to drain very quickly in the cold. Also using long exposures and ‘live view’ (if you have this facility on your camera) will have a huge impact on battery life. I normally carry 3 or 4 spares, and I tend to keep them in an inside pocket, and fairly close to my skin, which helps to keep them warm. I think that it’s fair to say that battery technology has come on leaps and bounds over the past couple of years and, to re-enforce this statement, I have found that the new Canon batteries, for example, that I use in my Canon EOS 5D Mk 2 are lasting much longer. In fact, a single fully charged battery will normally see me through the night, even at -40ºC. Useful Tips: It really is stating the obvious but, whatever you do, please don’t forget to take your battery charger, and a universal mains plug adaptor. It’s not so easy to purchase these items in the Arctic wilderness.

Camera Cards & Image Storage

As I shoot digital, I normally carry 4 x 16 GB CF cards. I could of course use higher capacity cards but the reason that I don’t is simply because if I were to rely on one or two high capacity cards – and they were to malfunction – then I would have a serious problem on my hands. Furthermore, when I return to base, I always back up the images as soon as practically possible to either a portable hard-drive or a dedicated image storage device.

Remote Camera Operation

If your camera has the facility to attach a wired remote switch, then I would highly recommend using one. Try to obtain a good quality switch, and preferably one that has a fairly thick cable, as the freezing temperatures can play havoc with it. I’ve seen mine freeze solid, and form all sorts of weird and wonderful shapes but, never the less, it’s carried on working. Once again, I’d try to avoid the battery operated ones as they tend to be less than reliable in this environment.

Technique

Okay, now that we’ve talked a bit about equipment it’s time to delve into the fun part, photographing the awe-inspiring Aurora Borealis.

The first thing to do is to attach your camera securely to the tripod. This is where the head-torch comes in really handy, as you need both hands at this stage. Once you have done this, you should now attach the remote switch to the camera, and insert your battery and card.

You should then set your camera to either manual or AV priority. I tend to use manual. Once you gain more experience of photographing the Aurora, and are better able to judge the intensity of light that’s coming at you, you can also make use of the bulb setting, which allows for even greater flexibility. The bulb setting also comes in handy if your camera is only able to take exposures of 30 second or less, and you need to increase this.

If you’re shooting on a digital camera, you should set your camera up to shoot RAW images or RAW and small jpeg images, whichever you prefer. Also, you may wish to activate noise reduction – if your camera has this facility.

And finally, depending on the lens that you’re using, you need to change the ISO and shutter speed settings on the camera. If you’re using an f/2.8 aperture lens, for example, then a good starting point would be ISO 800, at 15 seconds. These settings will inevitably vary according to the strength of the Aurora and, as previously discussed, the size of the lens aperture. Don’t worry, it may seem like a rather complicated procedure at first but, rest assured, you’ll soon get the hang of it. It’s like any other type of photography really – it’s simply a case of experience, experimentation, and getting the balance right.

Once you have set the camera up, it’s time to turn your attention to the lens. Firstly, if you have a filter attached to the lens, remove it and put it in your bag for safe keeping. Now switch the lens to manual focus and rotate the focus ring to ‘infinity’. At this stage, you should also set the lens to its’ maximum aperture. You’ll no doubt be pleased to hear that you’re almost ready to go. I say almost because there is one more vital step that you need to take, and that’s to achieve what’s referred to as ‘critical focus’.

In simple English, this means that we have to ensure that, although we have set the lens to infinity, that the images that we take are going to be sharp. There are several ways to achieve critical focus – in my case, as I’m using a camera that has a built in ‘live view’ facility – I simply point the camera at a bright object – the moon for example – and rotate the focusing ring until I find the ‘sweet spot’. If you do not have a live view facility on your camera then you can do exactly the same thing by looking through the viewfinder. Once the sweet spot has been established, it’s a good idea to tape the focusing ring to the non moving part of the lens so that you don’t accidentally knock it out of place. Alternatively, if you decide not to tape it, then you should check it at regular intervals to ensure that it hasn’t moved. Tape’s best though, as it means that you’re using your head-torch less often which, to be perfectly honest, can prove an irritation to other photographers – not too mention ruin your own night-vision.

A few final thoughts

It is an excellent idea to familiarise yourself with the equipment that you’ll be using prior to heading out on tour. Believe me, the last thing that you want to do is to get out of a vehicle at night, in sub zero temperatures, and not have a clue what goes where, and what does what. As the old saying goes ‘preparation is half the battle’. Also, remember to check your histogram on a regular basis to ensure that your exposure is okay. It’s very tempting to rely solely on the LCD preview but when you’re photographing at night, things look brighter than they actually are. And, whilst I’m on the subject of the LCD preview screen, I tend to de-activate it whilst I’m shooting in order to conserve battery power. I only use it when I have to.

Above all else, good luck, enjoy yourself and, if you have any questions, then please don’t be afraid to ask!

If I think of anything else, I’ll update this page so please don’t forget to bookmark it.

Suppliers

Outdoor Kit (Jackets, Boots, Gloves etc.) Click here to visit their web site >>

Rohan (Trousers – ‘Winter Bags’) Click here to visit their web site >>

Lyon Work and Rescue (Head Torches etc.) Click here to visit their web site >>