The Best SIGMA Lenses for Astrophotography

This article was published December 16, 2022 and reflects products available at the end of the 2022 calendar year.

Deciding which lens is right for you isn’t always an easy choice, and when you consider the precision required for astrophotography, that decision can be even more challenging. Fortunately, I’ve been able to shoot with a large selection of lenses in the SIGMA lineup over the years. So, if you’re looking for the next astro lens in your bag, or if you’re considering a lens and you’re curious how it performs under the stars, look no further.

The below galleries contain some of my favorite astro images captured with SIGMA gear, plus my thoughts on my personal experience with each specific lens, and links to even more images and useful information. Hopefully this guide will help you decide which lens (or two!) is the right one for you.

Jump to learn more about each lens

14mm F1.8 DG HSM \| Art	40mm F1.4 DG HSM \| Art
20mm F1.4 DG DN \| Art	50mm F1.4 DG HSM \| Art
20mm F2 DG DN \| Contemporary	105mm F1.4 DG HSM \| Art
24mm F1.4 DG HSM \| Art	14-24mm F2.8 \| Art (both versions)
28mm F1.4 DG HSM \| Art	16-28mm F2.8 DG DN \| Contemporary
35mm F1.4 DG DN \| Art	24-70mm F2.8 DG OS HSM \| Art

SIGMA fp & fp L Cameras

Before we get into lenses, it’s worth talking about the SIGMA fp and it’s 61-megapixel sibling, the SIGMA fp L. When you’re searching for dark skies, packing light and being able to rely on your gear is extremely important, and this is the smallest, most robust series of full-frame mirrorless cameras you can get.

Admittedly, I don’t own one (yet), but I’ve loved getting to bring one along whenever possible. Pairing one of these camera bodies up with any of the all-metal SIGMA I series lenses (I personally love the 20mm F2 DG DN | C) makes for an incredibly compact combination, but Art lenses are equally at home on these tiny camera bodies.

I’ve shot the Milky Way under totally dark skies, bioluminescence under moonlight, and video in some crazy wind and snow in Iceland with the fp. Writing this has definitely made me realize I need to work on adding one to my bag full time.

SIGMA fp (24-megapixel)

SIGMA fp L (61-megapixel)

More images and info on jackfusco.com

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14mm F1.8 DG HSM | Art

The 14mm F1.8 DG HSM | Art lens has long been one of my favorite lenses. The widest lens in the SIGMA Art line, it’s probably the lens that leaves my bag the least. Whether I’m shooting a timelapse of the Northern Lights, or trying to capture a huge view of the stars, this lens has been my go-to on countless nights.

SIGMA 14mm F1.8 DG HSM | Art

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20mm F1.4 DG DN | Art

Without a doubt, the 20mm F1.4 DG DN | Art was designed for astrophotography. I had the good fortune of being one of the first people to take this lens out under the stars, and it immediately earned a permanent place in my bag.

In addition to being incredibly sharp in the corners when shot wide open, there’s a new Manual Focus Lock feature that you’ll want on every single lens you take under the stars.

SIGMA 20mm F1.4 DG DN | Art

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20mm F2 DG DN | Contemporary

The 20mm F2 DG DN | Contemporary might go down as the lens I least expected and most wanted to keep. The SIGMA Contemporary line might go overlooked for the more popular Art lenses, but it might be one of the best kept secrets that needs to be shared loudly. From the second I had one of these I series lenses in my hand, I was instantly impressed with its all-metal construction. Pair that with great optics and incredibly small footprint and it’s a lens that will win a spot in many bags.

SIGMA 20mm F2 DG DN | Contemporary

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SIGMA 24mm F1.4 DG HSM | Art

One of the first SIGMA lenses I ever took into the field, the 24mm F1.4 DG HSM | Art has long been a favorite. Along with the 50mm (more below), this fast aperture duo instantly won me over. The 24mm focal length is great for both single photos and for shooting massive panoramic images.

SIGMA 24mm F1.4 DG HSM | Art

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SIGMA 28mm F1.4 DG HSM | Art

In my opinion, the 28mm F1.4 DG HSM | Art one of the most overlooked lenses in the Art line. This lens, along with the 40mm Art (more below), was built alongside their equivalent SIGMA CINE lenses. So, it’s slightly larger in size, but insanely sharp and high quality.

SIGMA 28mm F1.4 DG HSM | Art

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SIGMA 35mm F1.4 DG DN | Art

The 35mm F1.4 DG DN | Art is an update to one of the most iconic lenses in the SIGMA Art line. The DG DN (DG = full frame, DN = mirrorless exclusive) brings a new level of sharpness to the 35mm focal length.

The HSM version (which is still a great lens) was long one of my favorites to head out under the stars with. So, it made perfect sense that an updated version of this lens would fit perfectly into that slot in my bag. While I personally use this lens under the stars, it’s also a great focal length for portraits and daytime landscapes, making this a great choice for any photographer.

SIGMA 35mm F1.4 DG DN | Art

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SIGMA 40mm F1.4 DG HSM | Art

Like the 28mm mentioned above, the 40mm F1.4 DG HSM | Art was designed with ultimate sharpness in mind to coincide with its CINE counterpart, and it shows. For amazing image quality with a more natural perspective – making it a pretty versatile lens for more than just dark skies – the 40mm is hard to beat.

SIGMA 40mm F1.4 DG HSM | Art

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SIGMA 50mm F1.4 DG HSM | Art

The SIGMA 50mm F1.4 DG HSM | Art, along with the aforementioned 24mm F1.4 DG HSM | Art, was one of the first two Art line lenses that I took into the field. It’s the lens that pushed me to start using tighter focal lengths under the stars and is still responsible for some of my favorite images nearly 8 years after first using it. The sharp corners and massive amount of light let in from the fast aperture are the classic astro traits needed in a lens.

Whether you’re using this lens to fill your frame with the Milky Way, or using it for a portrait session, you can’t go wrong with a 50mm lens in your bag.

SIGMA 50mm F1.4 DG HSM | Art

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SIGMA 105mm F1.4 DG HSM | Art

The 105mm F1.4 DG HSM | Art, aka the “Bokeh Master”. This lens has a reputation and for good reason. Insane optics that hold nothing back. You can take a look at the corners of the images below shot at F1.4 to judge the incredible quality of this lens.

Responsible for one of my favorite images of Comet NEOWISE from Joshua Tree National Park, this lens does nothing but impress with its results. That said, to achieve that super fast F1.4 at 105mm, the optics were not restrained at all in terms of size and weight, so while it might make your arms tired, the “wow” from the results will more than make up for it. Of course, the benefit of using this lens for astro is that it’s always on a tripod 🙂

SIGMA 105mm F1.4 DG HSM | Art

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SIGMA 14-24mm F2.8 DG HSM | Art

SIGMA 14-24mm F2.8 DG DN | Art

The beloved 14-24mm focal range, maybe the most traditional and often used focal range within the astrophotography and landscape genres. Being able to capture the ultra wide field of view through the tighter 24mm at a constant F2.8 aperture makes this lens an exceptional choice to head out with.

The 14-24mm F2.8 DG HSM | Art (for DSLRs) and 14-24mm F2.8 DG DN | Art (for mirrorless) are wide zooms that produce incredible results under the stars. If you’re looking to save space, weight or looking for a solution to cover those wider focal ranges, look no further.

SIGMA 14-24mm F2.8 DG HSM | Art

SIGMA 14-24mm F2.8 DG DN | Art

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SIGMA 16-28mm F2.8 DG DN | Contemporary

A newer lens in the growing and impressive Contemporary lineup from SIGMA. Coming in at just 15.9 ounces (450g), the 16-28mm F2.8 DG DN | Contemporary makes for a fantastic travel option in your bag. While at face value, it may seem very close to the 14-24mm in focal range, you might be surprised by the difference. You’ll give up a small bit on the ultra-wide side, but the added reach from 24 to 28mm gives a lot of options, and the reduced size and weight (and price) makes it a more accessible wide-angle zoom for even more photographers.

SIGMA 16-28mm F2.8 DG DN | Contemporary

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SIGMA 24-70mm F2.8 DG OS HSM | Art

This lens will be no stranger to many photographers of every genre. That is, maybe aside from astrophotography. It’s not a super common focal range to use for astro, but it’s just as versatile at night as it is during the day. I set out with the 24-70mm F2.8 DG OS HSM | Art lens across a number of scenarios to prove just how well this lens can perform at night, and the results speak for themselves. I haven’t used the 24-70mm F2.8 DG DN | Art version for mirrorless yet, but I’m looking forward to giving that one a try as well!

SIGMA 24-70mm F2.8 DG OS HSM | Art

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Shot with SIGMA – People, Power, and the Sun: Honnold Foundation x Adjuntas, Puerto Rico

Last January, my creative partner, Rob Zawistowski, and I partnered with the Honnold Foundation to document the progress of Adjuntas Pueblo Solar, a unique community-based project dedicated to building a solar microgrid system that will power the town of Adjuntas, Puerto Rico.

A bird’s eye view from *People, Power, and the Sun: Honnold Foundation x Adjuntas, Puerto Rico*.

We spent most of our time connecting with and interviewing the business owners of Adjuntas. Seventeen of these businesses will be providing solar energy to the town through the newly installed solar panels on their roofs and extra battery storage. The aim of Pueblo Solar is to completely power these businesses so they can have reliable energy during cases of natural disaster and help serve as a place of refuge for the community.

A worker runs cable during the installation of new solar panels

We utilized a range of different SIGMA Art line focal lengths and a telephoto Sports lens to feature several of the key community members involved in the project. I especially loved working with the SIGMA 85mm F1.4 DG HSM | Art and the 50mm F1.4 DG HSM | Art to capture incredibly sharp-looking interviews.

Interviews with the 50mm and 85mm Art lenses were sharp, and backgrounds didn’t distract.

The SIGMA 14mm F1.8 DG HSM | Art enabled me to get wider perspective shots featuring the town of Adjuntas. Capturing those key moments, such as the subtle sun glare through the trees and the sweeping shots of the solar panels, helped add to the cinematic feel of our story.

The wide angle 14mm F1.8 DG HSM | Art made it easy to frame larger scenery.

Utilizing the 70-200mm F2.8 DG OS HSM | Sports lens was also important for us to capture interactions between community members, while keeping a safe distance from our subjects.

Using the SIGMA 70-200mm F2.8 DG OS HSM | Sports lens provided versatility and necessary distance.

Overall, I am super pleased with all of the lenses we used. This video was shot entirely with SIGMA lenses, minus the aerial shots we took using the DJI MAVIC Pro.

To learn more about Adjuntas Pueblo Solar and the impactful work that the Honnold Foundation is doing across the globe, visit their website at honnoldfoundation.org.

For more information about filmmakers Isabela Zawistowska and Rob Zawistowski, please visit chayofilms.com and rzcinema.ca.

Filmmakers Isabela Zawistowska (chayofilms.com) and Rob Zawistowski (rzcinema.ca)

Video: How to Edit Underwater Photos (Lightroom Tips)

Put on your board shorts and join SIGMA Ambassador Ben Ono from his editing room / coffee bar in Oahu for a quick lesson on editing underwater photos! Learn how to quickly correct colors, improve contrast and clarity, and help your images spring to life.

While we can’t realistically get to the beach right now (let alone travel to far-off tropical locales with crystal clear blue waters), let’s be ready to capture future adventures with some sweet editing techniques!

See more of Ben’s work:
https://www.instagram.com/silkymerman/
https://onocreative.co/

Bioluminescence Tips and Images

Taking a photo you’ve been chasing can be the result of months’ worth of planning and preparation. In order to capture that perfect image, we try to have as many elements planned for as possible. Still, with all the planning in the world, there will inevitably be elements that don’t line up or work out how we hope. In most cases, that leaves us scrambling to make the best out of the situation we’re in. A bit more infrequently, the elements shift not only in a way that we weren’t expecting, but also in our favor. When it comes to shooting the night sky, there are a couple things that could mean. If we’re far enough North, we might get a slightly unexpected showing of the Northern lights. Although that’s still something that can be forecasted. So, what about the completely unpredicted? Of the six times I’ve shot bioluminescence, half of the were completely be surprise. The other half were nights shortly after those surprises.

Shot on SIGMA 14mm F1.8 DG HSM | Art, Sony A7RII.

Each night started out with a plan to shoot the stars along the coast and shifted entirely once I saw the waves glowing blue. When it comes to forecasting or predicting bioluminescence or red tide, your only notification is generally a news article after it’s been spotted somewhere. In addition to being unable to predict when and when it might be seen, there’s also no way to determine how long it will be around. In my personal experience, I’ve seen it last as long as 3 weeks and be as brief as 3 days.

Whether you’re heading out because you’ve heard about it being seen or just want to be ready in case you encounter it unexpectedly, these tips will help make sure you come home with a potential once in a lifetime image.

Pick the Right Lens

Much like taking photos of the night sky, you’ll want to let as much light in as possible during your exposure. The fast aperture of the ART series lenses make them the perfect choice. My go to lens for capturing those incredible blue waves has been the SIGMA 14mm F1.8 DG HSM |Art lens. Since the exact location of the waves can vary, I like being able to capture a wider field of view.

Bring a Tripod

Capturing a great photo of bioluminescence will require you to take a long exposure. That means all your photos will be taken from a tripod.

Shot on SIGMA 24-70 F2.8 DG HSM | Art, Sony A7RII.

Let Your Camera Find the Light

If the area you’re in has a fair amount of light pollution or if your eyes aren’t fully adjusted to the dark, the blue waves can be easy to miss. On a good night, there’s no mistaking it, but it’s possible for only a light glow to appear to naked eye. Still, in this situation, your camera will pick up a much more impressive blue color during the long exposure. If you know that the bioluminescence has been active and you’re out searching for it, this is a great way to help you find it. Point your camera down the shore line and take a couple long exposures and review each closely. Since it won’t glow in every wave, taking a few exposures over the course of a couple minutes will ensure you don’t move on, too quickly.

Keep Your Shutter Release Close

Once you’ve found your composition and the waves seem to be in the right place it’s all about determining the right amount of patience. Sort of like shooting lightning, each wave might be in a slightly different spot. You might be tempted to take a photo and move your camera right away, but it can be beneficial to try and capture a few different waves. As you pay attention to which waves are glowing more vibrantly, you’ll get an idea of where and when you’ll get the best resulting image. By placing your camera in a continuous shoot mode and using a shutter release, you can be sure not to miss that perfect wave. While one exposure may not capture any bioluminescence at all, the next could glow blue from horizon to horizon.

Be Ready to Change

Late last summer, I was planning a visit to Big Sur to photography the Milky Way over a giant rock formation just off the coast. Everything had lined up perfectly for my shot when I noticed the waves glowing just a bit further down the beach. In my ideal world, the waves right in front of me would have lit up blue and the composition I had been shooting would’ve been taken to the next level. Unfortunately, that didn’t seem like it was happening. Because I wasn’t sure how long that night the bioluminescence would be visible, I decided to abandon the composition I had lined up and find something else. It wasn’t an easy call to make.

I drove nearly 9 hours to shoot exactly what my camera was pointed at. Looking for something to anchor my image and show off the waves glowing blue, I kept an eye on the waves to see where they were most active and made my way further down the beach. After finding a large rock closer to the beach, I decided to place myself and my dog Kona in the shot as well. After that we just had to wait for the perfect wave with the right amount of bioluminescence. It didn’t look anything like the image I had set out to take that night, but it turned out to be one of my favorite images I’ve ever taken and something I likely won’t ever be able to recreate. That image ended up being featured as the NASA Astronomy Picture of the Day.

Capturing The World Around Me With The 14-24mm

As a travel and lifestyle photographer, I love being able to visit far flung destinations around the world and experience foreign cultures. Through it all, I try to create inspirational images that celebrate the local art and flavor. My main tools for all this is my trusty camera gear, a willingness to explore and create, lots of coffee for those early morning photo sessions, and my travel partner in crime Zory.

Continue reading Capturing The World Around Me With The 14-24mm

5 Tips for Photographing the Aurora Borealis

Photographing the aurora can be one of the most exciting opportunities a landscape photographer can come across. People most commonly travel to Northern locations from all over for a chance to see them in what can often be a once in a life time experience. Even if you’ve traveled to the far North, it’s never a guarantee you’ll see them. That just makes it all the more important that you’re ready to shoot them when you do. It’s worth noting that if you’re planning a trip in the Southern Hemisphere, all of these tips below will also be applicable if you’re fortunate enough to see the Southern Lights, the “Aurora Australis.”

Another example of catching the aurora in between the infamously unpredictable Iceland weather. This time, I was already at my location and just waiting for a clearing. It never totally cleared up, but there was just enough of a break to capture this panoramic image at this iconic location. Sony A7RII | SIGMA 24mm | f/1.8 | ISO 3200 | 5 sec x10

I’ve been fortunate enough to photograph the Northern lights a good number of times and recently contributed an entire section of a book focused on shooting them. I wanted to share some of my favorite tips here today.

Equipment – What to Bring and What to Know

Like most night photography, you’ll need to control all of your camera settings manually. A camera body that performs well in low situations will help produce the best results. When it comes to lens selection, I prefer a wide-angle lens (24mm or wider) with a fast aperture (f2.8 or faster). The SIGMA 24mm F1.4 DG HSM | Art lens, SIGMA 20mm F1.4 DG HSM | Art lens, and the SIGMA 14mm F1.8 DG HSM | Art lens are good choices for photographing the aurora. This will allow you to capture a large portion of the sky while letting in as much light as possible. Because the intensity of the Northern lights can change quickly it’s important to be familiar with all of the manual buttons on your camera. Remember, you’ll be shooting in the dark and ideally keeping all lights off to preserve your night vision. If the Northern lights are dancing, you also aren’t going to want to take your eyes off them!

Exposure Times

Unlike many other situations at night, you’ll often be using a very short exposure. If the Northern lights are moving fast and visible well above the horizon, an exposure time of 3.2-10 seconds will help keep the structure and detail in their movement. If they’re barely visible to your eyes, a longer exposure time between 10-30 seconds will help bring out color in the sky.

When an unexpected break in the weather reveals an incredible display of the aurora, sometimes you need to find a shot you didn’t plan to take. I had no idea how long the weather would hold out, so I pulled over on the way my destination and found just enough water to catch a reflection of the Northern lights as they danced through the sky. Minutes later, I was back in the car and on my way. Nikon D800E – | SIGMA 20mm | f/1.4 | ISO 3200 | 3.2 sec

Eyes on the Histogram

Not only are the Northern lights not a guarantee, but how they behave can also change quite quickly. While you’re shooting it’s critical that you keep an eye on your histogram. In a matter of seconds, you can find yourself completely blowing out the bright areas of the Northern lights that were previously perfectly exposed.

While visiting the Jasper Dark Sky Festival, you know there’s an incredible view of the stars waiting for you. If you’re lucky, you might just capture the Northern lights, too. While not the first time I’ve seen the Northern lights in Jasper, this was by far the most impressive. The weather was just warm enough to keep the lake from freezing which provided an amazing reflection. This is a single frame from a time lapse you can expect to see soon! Sony A7RII | SIGMA 14mm | f/1.8 | ISO 3200 | 3.2 sec

Know Your Limits

A great photo of the aurora can be tricky to pull off. You’re going to be shooting in a situation where you would normally expose for much longer to pull detail out of a dark landscape. If you’re trying to keep your exposure time down to capture the movement of the aurora (you’re sure you aren’t blowing out highlights), you’ll want to know how far you can push your ISO while keeping your image as free of noise as possible.

There aren’t too many places that can give you the perfect spot for viewing the stars just minutes outside of town. While waiting to see if the predicted solar storm would pick up, I made my way to Pyramid Lake in hopes of capturing this classic vantage with a bit of a twist. Barely 15 minutes after my arrival the Northern lights began to pick up in intensity and painted the sky with light hues of red and bright green. Sony A7RII | SIGMA 14mm | f/1.8 | ISO 3200 | 20 sec

Composition

While you may be overwhelmed with the beauty of a sky full of dancing colors, it’s important to keep your composition in mind. It can be tempting to point your camera straight up at the sky for a few images, but a strong foreground object can really elevate your Northern lights image. Scout locations during the day so you can return and hit as many as possible once it’s dark out. The more planning you do the more success you’ll have at night!

This photo pretty much sums up how it feels to chase and capture the Northern lights. These shoots normally end with sore cheeks from all the smiles and laughs at the pure amazement seeing the aurora provides. Nikon D800E | SIGMA 20mm | f/1.4 | ISO 3200 | 3.2 sec

Exploring Red Rock Canyon with Sigma Lenses

For many, the glitz and glamour of the Las Vegas strip make it the perfect destination. On the other end, many landscape travelers go to Vegas because it’s the nearest airport to Death Valley, Grand Canyon, Bryce Canyon and many well-knows national parks. Many photographers overlook the great landscapes Red Rock Canyon offers just outside of Vegas, perfect for a day trip.

14mm | 1/160 sec, f/11, ISO 100 | © Danielle Rischawy 2018
This image is shot with a Sigma 14mm Art lens. It was shot handheld while I was hiking through Red Rock Canyon. This vast landscape is captured beautifully with a wide-angle lens. I love the little burst of sun.

Continue reading Exploring Red Rock Canyon with Sigma Lenses

Hands-On: Sigma 14mm F1.8 DG HSM | Art

The world’s first full-frame 14mm F1.8 lens, exclusively from Sigma. Click the lens for tech specs, pricing, and availability info!

Earlier this year, we announced the world’s first full-frame 14mm F1.8 prime wide angle lens. Featuring the industry’s largest aspherical glass element, this ultra-fast, ultra sharp ultra wide lens is a game changer. Yes, it seems we find ourselves saying things like that a lot these days; but it is true. The Art lenses truly have redefined the lens landscape over the past half-decade, and the 14mm F1.8 DG HSM | Art lens delivers edge to edge performance, exceptional aberration correction, and swift autofocus while taking in a sweeping 114.2º angle of view on super-resolution full-frame DSLR cameras.

Goldenrod, dune grass, and Officer’s Row at Fort Hancock on Sandy Hook as seen through the Sigma 14mm F1.8 DG HSM | Art lens paired with a 6D at 1/200 F/8 ISO 100. Lightly tuned in ACR for web optimization.

This lens has been making huge waves in the astrophotography, landscape, and architectural arenas since it began shipping mid-summer. You can check out some of the amazing work Astrophotographer Jack Fusco has made so far with this lens and gather some night photo tips in this piece, and in this incredible video (check back Tuesday for the link!). Here, we are going to focus on the in-the-hands, and on-the-ground experience with this awesome new lens.
Continue reading Hands-On: Sigma 14mm F1.8 DG HSM | Art

Tips for Planning a Night Photo Shoot

With the release of the new Sigma 14mm f1.8 ART series lens, I thought this would be a great time to share a few tips for heading out to shoot the stars. Lots of elements all need to line up, so let’s get started!

Planning Your Night Shoot In Advance

Location: You’ll need to find an area as far away from light pollution as possible to capture a great image full of stars. Search for the name of the area you’re interested in shooting followed by “light pollution map” to asses if it will be suitable for shooting the night sky.

Once you find a general area with dark skies, keep searching to find something interesting for your foreground.

It’s always a good idea to arrive to your location before dark. This is especially important if you’ll be visiting dark skies for the first time. It can be surprisingly difficult to navigate and find your bearings if you’ve never been in an area free of light pollution. For example, when I would shoot in New Jersey, even if the skies were dark, there was always a bit of ambient light to guide me around. But, if I’m somewhere out in the desert or the mountains, that ambient light can be non-existent and travel is reliant completely on my knowledge of the area. Be safe and arrive in time to know where you’re going to be shooting and your path back out.

Sony A7RII – Sigma 14mm f/1.8 ART: f/1.8, 15 seconds, ISO6400 © Jack Fusco | 2017

Sony A7RII – Sigma 14mm f/1.8 ART: f/1.8, 20 seconds, ISO4000 © Jack Fusco | 2017

Gear: As with any shoot, it’s always a good idea to double check you know where everything is before head out. The difference this time would be searching around in the dark as opposed to during the day if you can’t find an item you need.

In addition to your camera body and your Sigma 14, here are a few other items you’ll want to have with you.

Sony A7rII – Sigma 14mm f/1.8 ART: f/4, 6 sec, ISO 2000 © Jack Fusco | 2017

Sturdy Tripod – You’ll be shooting long exposures, so you’ll want to keep your camera as still as possible.

Red Headlamp/Flashlight – A red light will help keep your night vision intact!

Sony A7RII – Sigma 14mm f/1.8 ART: f/1.8, 20 seconds, ISO3200 © Jack Fusco | 2017

Extra Batteries – All those long exposures and checking the back of your LCD might drain your batteries a bit quicker than you expect. Temperatures at night are often a bit colder which can also have an impact on battery life in some situations.

Extra Memory Cards – If you’re planning on shooting star trails, timelapse or even just shooting stills, your window for shooting is a bit longer than the typical sunrise/sunset so you may end up taking quite a bit more frames than you’re used to shooting.

Remote Shutter Release – This will allow you to start your exposures without having to physically touch your camera. The bit of pressure from your finger hitting the button can often cause a small amount of movement resulting in your image not being as sharp as possible.

Night Sky App – There are a number of great night sky apps for your phone that will not only help in pre-planning stages, but also when you’re out under the stars. They allow you to hold your phone to the sky and give a map of the stars so you know exactly what your camera is pointed at. There are a number of great options both paid and free. My personal favorites are PhotoPills and Star Walk (V1). Try a few out and find your favorite!

When to Shoot: This is another important factor to consider along the way and can make or break your shoot.

Moonphase: You’ll need to keep an eye on the current Moonphase for when you’re planning to head out. Even in the darkest locations, the light from a Full Moon can wash out most of the stars in the night sky.

Milky Way Location: If you’re intention is to shoot the core of the Milky Way, it’s a good idea to do a bit of research before hand. The Milky Way rises and sets at different times of the year and depending on that will also appear in different directions of the sky. Many of the night sky apps will let you change your time and location to see exactly when and where the galactic core will appear. This is a very helpful step in making sure everything lines up with your composition.

That should get you started and ready to head out! A lot goes in to planning these types of images, but when it all comes together it definitely makes a difference. After all, you want to make sure you’re able to enjoy the view of the stars you’re shooting instead of worry about how to get back to your car. So, plan it all out and make sure you leave some time to take it all in!

Top 3 Tips On How to Photograph Meteor Showers

With a outbursts that can reach up up to 200 meteors per hour, the annual Perseid meteor shower is not something you want to miss! The Perseids are typically active in late July through late August, with the peak of activity occurring in mid-August. Of course, there are other meteor showers throughout the year, but the Perseids are perhaps the most famous here in the US. Here’s a list of three top tips on how to photograph meteor showers:

Intervalometer / Remote Shutter Release – Perseid meteors are estimated to travel at 133,200 mph, so you’ll want to make sure your camera isn’t skipping a beat and keeps on shooting! Once you finish taking your test shots, set your camera to continuous or burst mode, and lock down the release button on the remote you’re using. This will have your camera take photos with as little space in-between as possible and help increase your chances of capturing a meteor. Skip in-camera noise reduction, too!
Lens Selection & Focus – A fast, wide-angle lens will be your best bet when heading out to shoot a meteor shower. Since your goal is to let in as much light as possible, you’ll want to select a lens capable of shooting at F2.8 or ideally F1.4 while still being super-sharp. My personal go-to lenses are the SIGMA 14mm F1.8 DG HSM | Art or SIGMA 24mm F1.4 DG HSM | Art.

NOTE: Since this article was published, there are even more amazing SIGMA fast prime lenses perfect for astrophtoography and capturing meteor showers, including lenses made exclusively for mirrorless cameras. Find them here!

When lining up your composition, you’ll want to focus the lens to infinity to help keep everything in focus. Be sure to take a few test shots and make sure both your stars and foreground objects are sharp before moving on.
Find Dark Skies & Let Your Eyes Adjust – The further away from light pollution that you can position yourself, the better your chances of seeing and capturing meteors. You can use sites like cleardarksky.com to look at light pollution maps and plan your location in advance. Be sure to arrive early so you can find an interesting foreground before it gets too dark.

Once you’re all set up, try to avoid using anything that will create artificial light. If you need to move around, try to only use a red light to protect your night vision. Letting your eyes fully adjust to the dark will help your odds of spotting meteors and make for a more enjoyable night.

These tips should have you well on your way to capturing some meteors. Good luck and be sure to stop back and leave a comment with your results!

Shop SIGMA Art fast prime lenses, ideal for astrophotography!