22 Tips for Photographing a Lunar Eclipse

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Before you venture out to photograph your first lunar eclipse, you should get some practice taking photos of the moon. If lunar photography is varsity-level stuff, lunar eclipse photography is all-pro. There are some unique challenges to the art, and great ways to get creative results, but the basics of lunar photography apply. Unlike solar eclipse photography, you do not need gear to protect your cameras, lenses, or eyes. However, like solar eclipse photography, having the right accessories may help you get the best images.

If you are new to lunar photography and you missed the link above, or did not get the hint, pause here and head to this link with some tips for photographing the moon.

It should be known that you can take a "casual" and successful photo of a lunar eclipse with just about any camera, including your smartphone. But, if you want the know-how to grab a truly epic keeper, keep reading.

One personal note before we dive in: I have photographed several lunar eclipses and, as you will see in the illustrations (read the captions) for this article, I have not always gotten the best results. Honestly, I learn more about how to do it better every time, and I am going to pass those lessons on to you here. And, if you keep reading I will tell you why, the next time I am lucky enough to see a lunar eclipse, I am going to nail it!

Photographs © Todd Vorenkamp

The October 27, 2004, lunar eclipse, photographed with a Nikon D1x and a Nikon Reflex-NIKKOR 500mm f/8 N lens and Nikon TC-201 teleconverter. Image softness courtesy of the lens, teleconverter, and 1/20-second slow shutter speed. With a tracking mount and better optics, this photo would be much sharper. Go Red Sox!

3 Varieties of Lunar Eclipse

The Earth orbits the sun, and the moon orbits the Earth every 27.32 Earth days (the phase cycle is 29.53 Earth days). A solar eclipse occurs when our moon passes directly between the Earth and the sun in its orbit. A lunar eclipse is the opposite; the moon passes through the Earth's shadow as it orbits the planet on the opposite side of the sun. Because the moon's orbit is offset from Earth (5º), we do not get a lunar eclipse during every full moon. It is this same tilted orbit that keeps solar eclipses rare, as well.

Depending on what portion of the Earth's shadow the moon passes through determines the type of lunar eclipse we experience. If the moon passes through the penumbral (partial) region of the shadow, we get a penumbral lunar eclipse. Sometimes, the effects of the darkening of the full moon during a penumbral eclipse are so slight that you might not notice the eclipse. If part of the moon, but not all, passes through the umbral (inner) shadow, you get a partial lunar eclipse. And, finally, when the entire moon passes into the umbral shadow, we witness a total lunar eclipse.

And, opposite from the solar eclipse that happens only during the new moon phase, the lunar eclipse only happens on full moon nights.

The winter solstice of December 21, 2010, lunar eclipse, photographed with a Nikon D300 and a Leica APO-Televid 77 spotting scope (1500mm, 35mm equivalent); f/13; 1-second; ISO 800. Here you can see the sunlight is still striking a sliver of the moon's surface.

Why is the total lunar eclipse moon a red moon?

During totality, the monochromatic moon will appear red because our own atmosphere acts like a colored photographic filter by bending red sunlight into the Earth's shadow and filtering out blue light. This is called Rayleigh scattering and is the same phenomenon that causes the deep red sunrises and sunsets that get all the Instagram likes. Also—fun fact—the next time a young someone asks you, "Why is the sky blue?" you can answer: Rayleigh scattering.

The February 20, 2008, lunar eclipse. The moon is about to slip fully into the Earth's umbral shadow here, but the surface shows a bit of Earthshine-like illumination. This image was taken with a Nikon D200 and a Nikon Reflex-NIKKOR 500mm f/8 N lens and Nikon TC-201 teleconverter. With the fixed f/8 aperture, I was still able to get a respectable 0.5-second shutter speed at ISO 200, but, as you can see, a faster shutter speed (or a tracking mount) is needed to avoid motion blur.

How bright is a lunar eclipse?

Not all lunar eclipses are created equal. Due to atmospherics (humidity, clouds, dust, volcanic ash, pollution, etc.) and the moon's relative size and position within the Earth's shadow during the eclipse, you can get an eclipse that varies in its red hue and you can also witness blue banding at the edge of the eclipse. French astronomer André-Louis Danjon created the Danjon Scale, with five values total lunar eclipse of brightness:

  • L=0 — Darkest. Moon nearly invisible.
  • L=1 — Dark red/brown eclipse. Lunar details are difficult to make out.
  • L=2 — Orange/brown color with darker center. Possible bluish color at shadow's edge.
  • L=3 — Bright red/orange moon. Darker center and very bright border.
  • L=4 — Brightest. A very bright orange eclipse.

LUNAR ECLIPSE EXPOSURE SETTING GUIDELINES

(Extrapolated from Mr. Fred Espenak’s Lunar Eclipse Exposure Guide)

ISO200

Aperture (f/stop)

f/2.8

f/4

f/5.6

f/8

f/11

Shutter Speed

Full Moon

1/8000

1/4000

1/2000

1/1000

1/500

Penumbral Lunar Eclipse

1/2000

1/1000

1/500

1/250

Partial Eclipse

Magnitude 0.00

1/4000

1/2000

1/1000

1/500

1/250

Magnitude 0.30

1/2000

1/1000

1/500

1/250

1/125

Magnitude 0.60

1/1000

1/500

1/250

1/125

1/60

Magnitude 0.80

1/500

1/250

1/125

1/60

1/30

Magnitude 0.90

1/250

1/125

1/60

1/30

1/15

Magnitude 0.95

1/125

1/60

1/30

1/15

1/8

Total Lunar Eclipse

(Danjon Scale Value)

L=4

¼ sec

½ sec

1 sec

2 sec

4 sec

L=3

1 sec

2 sec

4 sec

8 sec

15 sec

L=2

4 sec

8 sec

15 sec

30 sec

1 min

L=1

15 sec

30 sec

1 min

2 min

4 min

L=0

1 min

2 min

4 min

8 min

15 min

The winter solstice of December 21, 2010, lunar eclipse photographed with a Nikon D300 and a Leica APO-Televid 77 spotting scope (1500mm, 35mm equivalent); f/13; 1/180 second; ISO 200. At first glance, it looks like a quarter moon but, upon closer inspection, the terminator is not as drastic as the "normal" waning or waxing moon features. Yep, this is a lunar eclipse.

Why is lunar eclipse photography more difficult than "standard" lunar photography?

In the first paragraph above, I mentioned that photographing the moon is beyond varsity-level stuff when compared to the exercise of lunar eclipse photography. Why is this the case? Simply, it is the lack of light. Look toward the bottom of the exposure chart above. During a dark total eclipse, your shutter speed for an image might be a minute or more—a recipe for a blurry disaster of a darkened moon.

Once the moon starts to enter the Earth's shadow, it reflects less sunlight to the point where, to get a decent exposure, you must open your aperture all the way, cranking up your ISO, and slowing your shutter speeds. The open aperture leads to a lack of sharpness, the high ISO gives you digital noise, and the slower shutter speeds, with the Earth spinning below and the moon moving at approximately 2,290 miles per hour in the sky above, creates motion blur in your image.

A red moon. The October 27, 2004, lunar eclipse, photographed with a Nikon D1x and a Nikon Reflex-NIKKOR 500mm f/8 N lens and Nikon TC-201 teleconverter. Image softness courtesy of the lens, teleconverter, and very slow 2-second shutter speed because the moon is now completely eclipsed. With a tracking mount and better optics, this photo would be much sharper. I could have also used a higher ISO but, hey, this was the Nikon D1x and high-ISO shooting wasn't really the specialty of any camera of that era.

So, how do we combat these enemies of good lunar photography?

A lens is rarely sharpest at its widest aperture, so, when the light goes dim, it will be helpful if you are starting with wide-aperture glass. A lens with a maximum aperture of f/2.8 will usually be sharper at f/4 or f/5.6 than a lens that has a maximum aperture of f/4 or f/5.6. Starting with big glass can help maintain sharpness when it gets not-so-bright.

With high-ISO digital noise, technology is the best way to battle this. Newer cameras have much better high-ISO noise performance than older digital cameras. Know your camera's tolerable high-ISO limits and try not to go past those settings. Also, temperature matters. The warmer the ambient temperature, the more digital noise can build up. Winter lunar eclipses will be better than summer ones when it comes to digital noise—but maybe not the comfort of the spectators!

Although the distance is great, so is the relative speed of the moon. I have found that 1/125 of a second is the floor when taking telephoto lunar shots. Anything longer, and you run the risk of getting (sometimes subtle) motion blur. Once you hit this limit, you can open your aperture to allow more light in, or dial up your ISO to increase the sensor gain. Sometimes neither of these two options is desirable, so your next best option is to be photographing the event from a tracking rig that automatically pans at the same speed as the moon. I recommend trackers like the iOptron SkyGuider Pro EQ, iOptron SkyTracker Pro, Vixen Optics Polarie Star Tracker, or the Sky-Watcher Star Adventurer Mini EQ camera tracking mount head.

The October 27, 2004, lunar eclipse, photographed with a Nikon D1x and a Nikon Reflex-NIKKOR 500mm f/8 N lens and Nikon TC-201 teleconverter. Image softness courtesy of the lens, teleconverter. The 1/100 shutter speed is in the ballpark of what is needed for a sharp lunar photograph at that focal length, but the mirror lens, teleconverter, and maybe my focus kept the image from being super sharp.

4 Basic Varieties of Lunar Eclipse Photography and Tips

There are four basic types of lunar photography:

  1. Telephoto—A close-up view of the lunar eclipse where the eclipsed moon dominates the frame.
  2. Wide-Angle—A wide view of the night sky that may or may not include terrestrial scenery in the frame.
  3. Star Trail—A wide view of the night sky with a long exposure that allows the stars to trail in the frame.
  4. Multiple Exposures—Capturing different phases of the eclipse to later combine into a single image.

Moon bow! The lunar eclipse gets a rainbow halo during the winter solstice, December 21, 2010, lunar eclipse. Photographed with a Nikon D300 and a forgotten manual focus NIKKOR AIS lens. 20 seconds; ISO 200. One big difference between the solar and lunar eclipse is the duration of the entire event and totality. The much slower lunar eclipse gives you a lot of time to change lenses, focal lengths, and exposures, as well as the opportunity to be a bit more creative with your images. A "regular" full moon would be likely too bright to show nearby stars during a 2-minute exposure, but the Earth's shadow dims the lunar surface enough to get some starscape action. See the constellation of Orion in the bottom right corner.

General Tips

  1. Tripods are required. A good tripod is mandatory.
  2. Use mirror lockup on an SLR.
  3. Use a wired or wireless cable release, threaded release, or trigger the shutter with your smart device.
  4. Bring fully charged batteries. A lunar eclipse takes hours to progress and the cold(er) temps of the nighttime air drain batteries fast. Bring extra batteries and keep them warm.
  5. If you are going to be shooting a lot (not required for an eclipse), make sure you have enough memory cards. Lunar eclipses always happen at night, when B&H Photo is closed.
  6. Most autofocus systems will have no issues locking onto the full moon. However, once that moon goes dark, the focus might lose its lock. Before that happens, switch over to manual focus and don't touch that focus ring!
  7. Be patient. Unlike the relatively short-derationed solar eclipse that creates a frantic minute or two of photographic craziness, the lunar eclipse is a much slower event, giving the photographer time to experiment with settings to get the best result.
  8. Bracket your exposures. If you're shooting digitally, each photo is free. Bracket, bracket, and bracket some more. Try different apertures, ISO settings, and shutter speeds to maximize your results. Later, take notes on what works best for you so you won't need to do as much experimenting the next time.

The winter solstice, December 21, 2010, lunar eclipse, photographed with a Nikon D300 and a Leica APO-Televid 77 spotting scope (1500mm, 35mm equivalent); f/13; 1/250 second; ISO 200. Again, at first glance, it looks like a waning or waxing moon, but, with closer inspection, the terminator is not as drastic as the one we see on a non-eclipsed moon.

Tips for Telephoto or Telescopes

  1. Choose your focal length. It goes without saying, but the longer the focal length, the larger the moon will be in the frame. And, the longer the focal length, the more you need to be concerned with camera shake. Prevent this with a sturdy tripod and remote release.

135mm

300mm

750mm

1500mm
  1. As you can see from the exposure chart above, on the darkest eclipses, the shutter speeds drop to very long exposures and the moon is going to start getting motion blur. This is where a tracking mount like I mentioned above might make all the difference.
  2. Speaking of exposures, use your camera's spot meter and place it on the lunar surface. There is no need to make the camera try to balance an exposure between the black of space and the "relatively" bright moon.
  3. Bracketing is most critical here, especially during the partial phases of the eclipse. The start of the lunar eclipse resembles a waning or waxing moon, but once the shadow starts to close over the entire moon, you are left with a very (relatively) bright sunlit section of the moon and what looks almost like "Earthshine" over the rest of the moon. So, be ready to adjust exposure and metering to get the results you seek.

The winter solstice, December 21, 2010, lunar eclipse, photographed with a Nikon D300 and another long-forgotten Nikon AIS manual focus lens. 4.8 seconds; ISO 1600. That is one dimly lit moon floating among the stars above. Betelgeuse is the large red star at the bottom third of the frame—the top of the constellation Orion.

Tips for Wide-Angle Shooting

  1. Planning required. Unlike just pointing a telephoto lens at the moon, if you want to shoot a wide-angle photo of the lunar eclipse with an interesting foreground, you will need to do some pre-planning to ensure the eclipsed moon is in the frame when you want to capture the image.
  2. Each day/night, the moon is about 50 minutes late to the position it was near the previous night, so, if the eclipse starts on Saturday at 0000 hrs, check the sky at 2310 hrs the night before to see about where it will be in the sky.
  3. If it is cloudy the night (or nights) before, use a celestial observing app or a photo planning app to do your armchair calculations.
  4. When choosing a foreground, make sure it adds something to the image as far as aesthetics and/or by serving to provide location context.

The winter solstice, December 21, 2010, lunar eclipse, photographed with a Nikon D300 and another forgotten Nikon AIS manual focus lens. 8-minute exposure at ISO 200. For the next lunar eclipse I photograph, I am going to bring two bodies and two tripods. One camera will do the long-exposure work, and the other will do the telephoto. Here we see 8-minute star trails and a nice reddish moon streaking through the frame over Orion. The breaks in the star trails are from clouds, and the lens flare at the bottom right is from rain drops.

Tips for Lunar Eclipse Star Trails

  1. Planning is required here as well—more than the wide-angle planning. Why? Because you are going to have both the stars and the moon moving through the frame. You wouldn't want the Earth to spin the moon off the edge of your image, so do some planning to ensure this will not happen by giving the moon room inside the frame.
  2. Plan the start and end points of your exposure to capture the period of the eclipse that you wish to get on the single frame. Also, consider the length of star trails you want to see. Generally, shorter trails aren't as cool as longer ones!

The February 20, 2008 lunar eclipse. The moon is about to slip fully into the Earth's umbral shadow here, but, unlike the image earlier in the article, I metered to show only the brighter part of the moon, sacrificing the Earthshine-like illumination of the part of the moon in the darker shadow. This image was taken with a Nikon D200 and a Nikon Reflex-NIKKOR 500mm f/8 N lens and Nikon TC-201 teleconverter. With the fixed f/8 aperture, I was still able to get a respectable 0.5-second shutter speed at ISO 200, but, as you can see, a faster shutter speed (or a tracking mount) is needed to avoid motion blur.

Tips for Multiple Exposures/Composite Images

  1. Decide if your image is going to contain a foreground or just be a sequence of moon photos. If you have a foreground planned, refer to the tips for the Wide-Angle and Star Trail images. If you are just stitching together shots of the moon, use the telephoto tips.
  2. Use the total duration of the lunar eclipse to figure out the interval of your images or shoot at a set interval (1, 2, 6, etc. minutes between shots) and then choose the number of moons and interval after the event. The latter option is your best for partly cloudy skies that may block the eclipse at the exact moment of one of your pre-planned interval shots.
  3. If you do shoot at a relatively short interval, you will have the option of creating a time-lapse sequence after the show.
  4. Be ready to adjust exposure throughout the event. For consistency, you may want to let the darker moon get darker in the frame so that your mosaic of moons shows a visually accurate portrayal of the event.

The winter solstice, December 21, 2010, lunar eclipse, photographed with a Nikon D300 and a Leica APO-Televid 77 spotting scope (1500mm, 35mm equivalent); f/13; 1 second; ISO 1600. A bit noisy and soft. A tracking mount and lower ISO would have solved that issue. There is always next time!

What questions or tips do you have for lunar eclipse photography? Let us know in the Comments section, below.

Thanks for reading and, thanks in advance for not being overly critical of my lunar eclipse photos.

Here is my $0.02 on sharpness of solar, astronomical, and lunar images:

The sun is a mean distance of approximately 93 million miles away and the moon is a mean distance of 238,855 miles away. Neither the moon’s cratered surface nor the sun’s explosive surface make them perfectly smooth spheres.

When I pixel-split my solar images, be it the ones captured with a sharp Nikon 300mm f/4, a sharp Leica APO-Televid 77 spotting scope, or any other optic, regardless of whether I am using a glass or metal-type solar filter, the sun is only, at its best, "kind of" sharp.

The same applies to images of the moon. I get sharp images, but never as sharp as I really, really want to get.

This got me thinking.

When you photograph something outside of our atmosphere, there is a fair amount of air between you and the subject. The thickness of Earth’s atmosphere is approximately 300 miles, with most of the dense air in the lower altitudes (obviously). Light is transmitted from the sun (or stars) or reflected from the moon (and planets) and it travels through the vacuum of space until it reaches earth. Once it arrives in the atmosphere, all your sharpness bets are off.

If you took a photo of a building, mountain, or person miles and miles away, especially on a hazy day, you probably wouldn't really expect a super-sharp image, right? Now, think about an image of something captured on the far side of dozens of miles of air. Sharp? Probably not.

So, if you are wondering what lens or filter is the sharpest to photograph distant things, or if you are wondering why your lunar craters or sunspots are not tack-sharp, even though you spent a ton of money on a super-sharp lens, just be grateful that earth has a protective shield around it that gives us air to breath and protects us from the harshness of outer space. And, also remember that there is a reason they try to put telescopes in dry places at high altitudes—or in orbit above the atmosphere!

The October 27, 2004 lunar eclipse, photographed with a Nikon D1x and a Nikon Reflex-NIKKOR 500mm f/8 N lens and Nikon TC-201 teleconverter. Image softness courtesy of the lens, teleconverter. The 1/205 shutter speed is plenty fast for what is needed for a sharp lunar photograph at that focal length, but the mirror lens, teleconverter, and maybe my focus kept the image from being super sharp.

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Hi, We had a lunar eclipse last night in Australia and whilst I wasn't intending to be awake at 4am, I was, so got busy with my Nikon D20 and 200mm telephoto. The eclipse took about 1 hr from the first crescent to totality and I got some great shots every few minutes. In the first half hour I was getting a double image, the moon + a negative blue image of what appeared to be the earth. The camera was braced on a fence post, so reasonably stable but there may have been some movement. It crossed my mind it would be better to unscrew the UV filter from the lens and immediately the double image disappeared. Can anyone explain this phenomenon?

Hey Simon,

What you were experiencing was simply "lens" flare caused by the filter. Even with exotic coatings, filters and lenses can flare, especially when pointed at bright objects surrounded by the blackness of space. Even without a filter, this can happen if the bright object is off-axis with the lens. I experienced this during the total solar eclipse last year and even when shooting Mars last weekend.

With good glass, you are unlikely to notice this flare during day-time shots, but night really tests the optics of your setup. Good call on removing the filter! Just know that filter removal doesn't always work...depending on the lens and subject/scene.

Thanks for coming to B&H to solve the mystery! If anyone else has a hypothesis and solution, I would love to hear them.

I am curious of what you think of this approach to a total lunar eclipse timelapse.

I have done astronomical timelapse photography for years. In a shooting I can take hundreds of individual exposures and create a video in Light Room. I have learned that if the subject changes in brightness the only setting on the camera that can be changed between exposures and not create flickering is the shutter speed. I have done this successfully a number of times but the jump from one shutter speed to next can become noticeable in the video. I use a small but accurate equatorial mount drive to keep the moon centered. My approach for this lunar eclipse is to use a variable neutral density filter. I will set up the Fstop / ISO and shutter speed to be what it needs to be when the moon is fully eclipsed with the filter fully open. Then at the start of the shoot when the moon is full I will stop down the filter to an appropriate level. Then as the moon slides into the umbra I will gradually open the filter through the partial phase until totality when the filter will then be fully open, leaving all camera settings alone, then reverse the process. For something this long I will probably set my intervalometer to about 10 seconds between exposures, giving me ample time to make the filter adjustments.

Hey William,

Interesting idea.

I am trying to visualize what this might look like. I guess that your goal with the VND filter is to keep the brightness of the moon relatively unchanged throughout the progression of the eclipse. My concern (if that is the right word) is that the brightness of the moon changes throughout the process, and by evening your exposures, it might kind of defeat the purpose of showing the time-lapse.

Another thought...during totality, the moon is super dark...you may not want to have a VND filter on board, even if it is dialed back. You might be cranking your ISO to unacceptable levels even with the tracking mount.

It might be worth a try. Keep in mind that lunar eclipses are not super rare, so if you don't pull this one off, you will likely have another opportunity in the future....less than 2 years in the future...on 20/21 Jan 2019. :)

I'm happy to keep talking this plan out...let me know!

Hi Todd,

Thanks for great article.  I live on the east coast but am traveling to Joshua Tree CA to photograph the January 31st eclipse.  My equipment includes a Nikon D810 and D750 with Nikon 500mm F4E lens for telephoto close ups and either Nikon 24-120 F4 or Sigma 12-24mm for wide angle shots. I also have TC-14E II and a TC-17E II converters. I have cable releases and will use mirror lockup etc. and I have a great tripod/ballhead, but I am still worried about getting sharp images with the 500mm during totality.  With this equipment in mind, could you recommend which camera for totality (D750 or D810 for best low noise with higher ISO) and aperture/ISO/shutter speed settings for best results.  Also, would you use the converters or go with the wider aperture for sharpness and shorter shutter speed, and just digitally enlarge the moon?  Would really appreciate your input.

Hey Vanessa,

I am glad you enjoyed the article. Thanks for the compliment!

Wow! You are fully equipped!

As far as the D810 vs D750....my guess is that the D750 might be slightly better with noise...a bit newer and less megapixels. I would use that for totality. Also, you don't need a lot of resolution during totality. Remember, you are photographing an object in shadow a couple of hundred thousand miles away.

Regarding teleconverters, I have never been a big fan. Maybe I just never had good copies, but I always regretted the loss of sharpness when using teleconverters. If yours are super-sharp, then go for it. Remember that, even in the clear airs (hopefully) of Joshua Tree, you are going to be battling atmospheric turbulence.

And, as you alluded to, you are going to be getting longer shutter speeds with the teleconverters...not always a recipe for good shots of the lunar eclipse. I might be tempted to skip them, keep your shutter speeds and sharpness up, and crop in post production if you want to "get closer." 

Lastly, unlike a 90-second solar eclipse, you will have a lot of time to mix things up and experiment during a lunar eclipse, so come up with a plan and shoot at different settings and with/without the teleconverters. You could actually swap bodies and lenses, too. Need an assistant? :)

Good luck! Let us know how it turns out!

I ended up using the D810 with the 500mm Nikon F4 no converters to save light.    Would I have preferred to use a D5?  Of course yes but I think we got the job done.  I tried to upload a composite that I put together, but I guess this page doesn't permit.  Looking forward to January 2019!!

Hey Vanessa! I'd love to see the results. Are you posting them anywhere on the web? You can email me through my personal website or find me on social media with a quick Google search!

Sorry for the delay...was on vacation last week!

Hi Todd,

Thanks for the information and tips.

In 2012, I had a "moon project" where I photographed the full moon rising and setting. I didn't have a cable release or a wireless release for my Canon A-1, so I used the self-timer to trigger the shutter; I now have a cable release and a wireless release for the motor drive. I did some research and found the "Sunny 16" rule was recommended for full moon photography. As the months progressed, I learned of the "Loony 11" rule; but I was already locked into using the Sunny 16 rule for consistency. I used an 80-205mm f4.5 lens at 200mm and a 400mm f6.3 lens. Since 2012 was the year that I shot B&W, I used the B&W contrast filters, yellow, orange, and red, on my 80-205; I adjusted the f/stop to compensate for the filter factor. I used ISO 100 and 400 B&W film for the series. I bracketed -1, 0, and +1 for each 200mm/filter combo and the 400mm for a total of 12 photos per rise and fall. Rain totally skunked me once where I couldn't photograph the moon, so I had to delay the shoot to the next night.

During the low humidity months of winter and the high humidity months of summer, I would leave the camera and lenses in my car to get them acclimated to shooting outdoors.

I recall photographing a lunar eclipse back in the 80's, but I'd have to go through boxes of film to find the eclipse.

Hey Ralph,

Always welcome! Thanks for reading and sharing your Loony 11 experience! Its time to update the metadata with keywords on those images from the 80's! :)

Yea, I have decades of film to scan to convert to digital. I tagged Paula in the #BHWishList contest with a Plustek scanner. She didn't buy me the scanner and I didn't win the B&H contest. But I need a workhorse of a scanner to convert the film that I shot into digital. When I started photographing, it was Intel 8080 personal computers and CP/M.

Sorry you didn't win the contest, Ralph! Bummer!

Thanks for the tips, but you are using the term "earthshine" incorrectly.  Earthshine is a phenomenon whereby sunlight is reflected from the earth and illuminates the moon at times near new moon phases.

Hi Frank,

You are 100% correct and I was 100% incorrect. I am running a diagnostic on my brain immediately and will have the text changed to remove the error. Thanks for checking on my alternative facts!

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