Category Archives: Focus

Focus at Night? Here is a powerful trick

I have addressed the night focus bugaboo before.  It was a singular topic of a post (I can’t focus at night) and it has been a running thread including a sub topic of problems with long exposures.

But I finally broke down and tried a strategy invented by astronomers, specifically a Russian astronomer named Pavel Bahtinov


Here is Jupiter and it’s four moons as seen through a Bahtinov mask in a 2 second exposure.  Notice how the spikes are all radiating from the center. If you look closely, however you’ll see that the horizontal central spike is just slightly below the center. This indicates the focus is slightly off.

How do you get the above spikes? You use a mask that is placed over the end of your lens, lens hood (or if a telescope your dew shield). The mask looks like this:

To use you just snap a photo, zoom in as much as possible on the LCD to check the alignment of the spikes. Tweak the focus and repeat until the spikes are all well aligned. Not hard and doesn’t take very long!

You can read my review of this mask here. The cost, including shipping is about $20.

If you’re bold, you can create a template and cut your own mask. I say bold because there is a LOT of cutting needed.  I gave up after trying to make just a few dozen cuts in some thin black plastic.

If you’re interested in other focusing techniques at night, you can read Jerry Lodigruss’s column on the subject.  It’s geared toward astrophotographers, but don’t let that stop you from applying the principles to terrestrial sources too.

Will it be a little clunky to carry around yet one more thing? You betcha. Especially since you may be able to get autofocus to work just fine on either Jupiter or the Moon. But those bright light sources aren’t always available – and autofocus is not always accurate, either.

The Bahtinov mask should work even if your only source of light is a distant street lamp.

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Trouble with Long Exposures – Part 1 of 2.

I administer a group on Flickr called “Star Trails” and moderate a group called “Best of Star Trails“. The good news is there is a constant source of new exciting photography there… and a fair number of beginners facing some common problems. Some of the problems are due to limitations in the camera, and some are due to the selection of exposure time, ISO, f-stop or focus. Some are due to cockpit errors of the kind I described in my August 13th article: Many Paths to Failure regarding unattended shooting with an intervalometer. This list is in addition to those problems and in a way is a bit more fundamental.

Common problems are:

  1. Poor Focus
  2. Dim Stars (low contrast)
  3. Strange Colors
  4. Purple or Pink Glow
  5. Gaps in Star Trails – see part 2.
  6. Lots of Noise (Colored Speckles) – see part 2.

Let’s tackle those one at a time.

Focus is Poor

Poor focus is a topic unto itself which I covered in My Camera Can Not Focus in the Dark – And Neither Can I! But there are a few other causes besides having an incorrect focus. Additional problems that may create noticeable lack of sharpness:

  • An unsteady tripod (often noticeable when there is wind). And it may not just be the tripod. Check the quick mount plate and the tension on the knobs.
  • Condensation (that is dew) on the lens. Use a lens hood (helps), and if really bad a lens heater.

Stars Are Not Very Bright

Often the lack of stars is due to an unnecessarily small aperture. Selecting a smaller aperture can help with your image, too. Here are some examples. First is an example from Miguel Leiva:

Photo 1: f/18, ISO 100 for 30 minutes.

???? Trails of Moon, Venus & Jupiter over the Nepean River 30/11/08

Photo 2:  f/20 ISO 400.

In Photo 1 a small aperture allows greater depth of field so that focus is sharp from the foreground to infinity but that small aperture also diminishes the contrast in the stars. Taken to an extreme a high f-stop (tiny aperture) with stars can produce an effect like that in Photo 2 by Vincent Miu which was a runner up in the 2009 Astronomy Photographer of the Year contest.  The very small aperture, f/20, eliminates all but the brightest elements from the night sky.

While a tiny aperture reduces the number of stars captured, a large aperture (small f-stop number) and/or a high ISO results in many more visible stars especially when the sky is dark. Compare these shots:

Cone Heads STILL in Awe [22012-2362]

Photo 3: f/3.5 at ISO 640: A lot of stars make for a pleasantly dizzying image.

(son of) Bristlecone Pine Star Circle

Photo 4:  f/4 ISO 100

Photo 3 was shot at f/3.5 ISO 640, while Photo 4 was f/4, ISO 100. Both  include about the the same star field but  many more stars are present in the higher ISO shot.  Even if you are not trying to reduce the number of stars in the field, you might be forced to use a smaller aperture to get more depth of field.  Another common problem that causes reduction in contrast is sky glow. When the sky itself begins to lighten you can be sure that the stars will not contrast well.  The best way to control this is to take shorter exposures and later at night – or on a clearer night (cold winter nights produce the clearest skies). The moon is also a huge source of glow. Treat the glowing moon just as you do artificial light glow – reduce your exposure length (and ISO) to take pictures when the moon is strong. But do not give up just because you can barely make out stars in your night sky – the camera can see them better than you can!  Photo 6 is a perfect example. The city glow made it impossible to see more than 8 or 9 stars toward the north and yet the star trails are quite present.

Colors are Strange

Many people are surprised to see that the stars in their photos are different colors: red, orange, yellow, blue and white. Those are the natural colors of the stars. People are also surprised to see a blue sky however even modest amounts of moonlight or a very long enough exposure will result in blue sky! Unfortunately sometimes the stars or the sky are unnaturally colored. Usually the culprit is one or more of these factors:

  1. Incorrect white balance setting (I recommend “Daylight”)
  2. The presence of artificial light.
Pleasanton Circular File [5_018700-20]

Photo 5: White balance problem due to different types of light. In this image I compromised to keep the colors on the land as natural as possible.

Getting the white balance right is not hard except when there is lot of artificial light – streetlights, city glow, etc. Unfortunately there are many different types of lights each with their own color characteristics. The popular low pressure sodium vapor lights are nearly monochromatic yellow-brown in color. There is really no way to get a naturally colored look when sodium lights predominate the scene. Florescent, tungsten, LED, and other light types all differ in their color profiles and when several different sources are in play for a scene it gets harder to keep a natural looking scene.

Sometimes when handed lemons you can make lemonade as in Photo 6. I could not correct for the predominate sodium vapor lights so instead of fighting I adjusted the color temperature to make the foreground elements look as natural as I could and did not worry that the stars became white – most people think of them as white anyway. It certainly helps that the image also includes a portion of twilight illumination to help keep the scene realistic looking.

A City and A Mountain. Part A [5_024371-434g]

Photo 6: When corrected for the sodium vapor lights the mountain looks almost natural, but the stars have lost their color.

And there is yet one more way to solve the color problem; but you will have to do some editing. To fix different color lights you can color balance each element separately and then combine the elements into one image. For example using “Daylight” white balance for the star trails and “Tungsten” for the street scene may produce a natural and pleasing looking photograph. Photo 6, above was manipulated in a similar way. Once it became completely dark the glow from the city lights caused flaring and ghosting. The solution was to choose one properly exposed frame from twilight and layer that on top. Layering like this is easier if you have an overexposed daylight shot that you can use as a mask. More on that in the Night Photography Workshop

There is Pink or Purple at the Edges

Some cameras, particularly older models may suffer from “amp noise”. The glow or noise is usually visible at the corners or edges of the photograph and usually only with longish exposures (over 8 minutes). Here is an example from Ethan Doerr of what “amp noise” may look like.

star trails

Photo 7: Amp noise is prominent in this photo taken on a Nikon D80 with a 572 minute exposure at 100 ISO. Nikon: D80, D90, D40, D200, D3000, and possibly other cameras may exhibit similar anomalies. Photo by Ethan Doerr – used with permission

If your camera is subject to amp glow there are some tactics you can try. The simplest is to keep your exposures short and stack them. Or perhaps allow the camera to cool down from time to time. Or only shoot in Antarctica ;-).

For more Trouble with Long Exposures see Part 2.

My Camera Can Not Focus in the Dark – And Neither Can I!

Original Publish Date: Sep 20, 2010
Updated: November 15, 2017

A common and vexing question is “how do I focus when it is too dark for the camera to auto-focus, and too dark to manually focus?”

There are five strategies that I commonly employ, but before I describe those strategies, it is important to understand a little bit about what focus is and is not. There is no such thing as perfect focus. How to achieve focus will depend on several factors especially the focal length of the lens, the lens speed, the clarity of your viewfinder, the accuracy of the markings on the lens (if any), whether your camera has live view, and whether there is any bright object that can be used to focus.

It might sound silly, but you should start by thinking about what you WANT to be in focus. Usually for a star shots everything should be in focus from the foreground to the stars in the sky.  The stars do NOT have to be perfectly focused, however – more on that in a moment.

Why does focal length matter?

More than anything else the focal length of the lens dictates the depth of field. A long focal length (200 mm for example) results in less depth of field while a short focal length allows a greater depth of field. The depth of field matters quite a lot if you are trying to get a foreground object against a background of stars. The longer the focal length the farther away your foreground must be to keep both the foreground and the sky in focus. The ideal point to work with is your “hyperfocal distance”. Keep your foreground at or beyond your hyperfocal distance and all will appear as sharp as the lens and conditions will allow.

Hyperfocal Distance

Hyperfocal distance decreases as you stop down and increases as you open up the aperture. Shorter focal length lenses have shorter hyperfocal distances. Indeed a 17mm lens at f/5.6 has a hyperfocal distance of about 15 feet (2.8 meters) while a 200 mm lens at f/5.6 has a hyperfocal distance of 1,250 feet (381 meters). That is quite a difference! These numbers assume you are working with a 1.6 crop factor. When using a full-frame (35mm) sensor the distances drop to  1.72 and 238 meters respectively.

But… How DO I Focus?

Ok, with those details out of the way the question remains: how do I get good focus when it is too dark to see to focus.  Here are the methods I recommend. Start by turning OFF auto focus. I am embarrassed to say how many times I have carefully focused only to discover that I did not turn off autofocus!

  1. Do not wait until dark to focus. Focus on your foreground when there is still enough twilight to see clearly. Put gaffers tape, or a lens band across the rings so that focus does not change accidentally.
  2. Use “Live View” and zoom-in to sharpen focus if your camera allows it and there is sufficient light.
  3. If not enough light, find a bright light source in the area and focus on that. The moon, is a good choice (though a closer focal point may work a little better). Try  a nearby streetlamp, sign or other bright object.
  4. Bring your own BRIGHT light source and use it to focus on something at or beyond your hyperfocal distance.
  5. Take high ISO images to confirm your focus and then make minor tweaks to the focus. The High ISO image will be grainy but it will also help you verify what is within the frame of your photo. Tweak the focus and shoot again.

Before you invest a tremendous amount of energy getting the sky in focus consider that the stars are point sources of light anyway. Perfect focus at infinity will improve the contrast of the stars against the night sky, but sharp foreground against a slightly out of focus sky is preferable to a sharp sky and out of focus foreground… at least in my opinion.

One last comment about focusing at night.  You will find more success focusing most manual lens and high-end lenses than autofocus lenses – especially the less expensive ones. Why? Autofocus lenses are cheaper and easier to make if the lens does not stop at the infinity setting and if focus can be achieved with less movement of the lens elements. Autofocus lenses, after all are designed to focus quickly. A manual (or higher end) lens might allow a half or full turn for the focus adjustment range while an autofocus lens may have a mere 1/16th of a turn to tweak with. Curious what other characteristics make for a good night photography lens? We have an article on that.

Topics such as this are covered hands on and in more detail with our students in our Star Circle Academy Workshops.

Are there any other focusing tips, techniques or apparatus?

Why of course!  See here, and here.