Category Archives: Astrophotography

Como astrónomo aficionado, los eclipses son fenómenos que me apasionan. Es difícil no emocionarse ante la contemplación de uno bien sea lunar o solar. Estos eventos nos brindan una oportunidad única de observar y aprender más sobre nuestro sistema solar. Pero ¿Qué es un eclipse? ¿Qué tipos de eclipses hay?

El fenómeno del eclipse se produce cuando un cuerpo celeste se interpone entre dos objetos, bloqueando parcial o completamente la luz de uno de ellos. En la Tierra se producen periódicamente dos tipos de eclipses: los eclipses solares y los eclipses lunares teniendo cada uno de ellos a su vez diferentes tipos.

Eclipses solares

Un eclipse solar se produce cuando la Luna se alinea entre la Tierra y el Sol, proyectando una sombra sobre nuestro planeta. La Luna orbita alrededor de la Tierra en un plano ligeramente inclinado, por lo que no todos los meses se producen eclipses solares. Solo cuando la Luna cruza la línea imaginaria que conecta la Tierra y el Sol (nodo) en el momento adecuado ocurre este fenómeno.

Hay 4 tipos de eclipses solares: Total, parcial, anular e híbrido.

Durante un eclipse solar total, la Luna bloquea completamente la luz del Sol, creando un fascinante anillo de fuego y permitiendo observar la corona solar a simple vista durante la fase de totalidad. También es posible observar el fenómeno llamado «perlas de Baily» que se produce por la orografía irregular de la Luna y el paso de la luz solar a través de los cráteres del limbo solar. Éste es el tipo de eclipse solar más espectacular ya que el cielo se oscurece, se puede apreciar un descenso de la temperatura, los animales se empiezan a comportar como si fuera de noche y podemos apreciar la sombra de la Luna proyectada en el horizonte.

En ocasiones la Luna no está lo suficientemente cerca de la Tierra (su distancia a nosotros varía ya que su órbita no es completamente circular) y en ese caso la sombra no llega a proyectarse sobre la Tierra, pero si lo hace la penumbra. En este caso decimos que se ha producido un eclipse anular y es que aunque la Luna puede pasar por el centro del disco solar no es capaz de eclipsarlo por completo y éste se muestra como un anillo, de ahí el nombre.

Cuando en diferentes zonas del planeta un mismo eclipse se ve como total en unos sitios y anular en otros decimos que se trata de un «eclipse híbrido».

Finalmente los eclipses parciales se producen cuando la Luna no tapa completamente al Sol porque no pasa justo por el centro del disco solar, quedando expuesta una porción de éste.

. Por otro lado, los eclipses solares parciales se producen cuando la Luna solo cubre parcialmente la cara del Sol, creando una fracción de oscuridad en el cielo.

Eclipses lunares

Los eclipses lunares se producen cuando la Tierra se interpone entre el Sol y la Luna, proyectando su cono de sombra sobre nuestro satélite natural. Como los tres astros tienen que estar perfectamente alineados un eclipse lunar solo puede producirse en fase de luna llena.

Mientras que los eclipses solares son menos frecuentes y solo pueden observarse durante una franja de terreno relativamente pequeña los eclipses lunares pueden verse prácticamente desde cualquier parte del mundo donde sea de noche y tienen una duración mayor.

Hay 3 tipos de eclipses lunares: totales, parciales y penumbrales

Durante un eclipse lunar total, la Luna es totalmente ocultada por la sombra de la Tierra y puede adquirir un tono rojizo más o menos oscuro debido a la dispersión de la luz solar en la atmósfera terrestre o puede casi desaparecer por completo ya que hay diferentes tipos de eclipses totales lunares en función de su oscurecimiento según la escala de Danjon.

En los eclipses totales asistiremos a diferentes fases o etapas:

• P1 (Primer contacto): Inicio del eclipse penumbral. La Luna inicia el contacto con el límite exterior de la penumbra.
• U1 (Segundo contacto): Inicio del eclipse parcial. La Luna toca el límite exterior de la umbra.
• U2 (Tercer contacto): Inicio del eclipse total. La superficie de la Luna entra completamente dentro de la umbra.
• Máximo del eclipse: Etapa de mayor ocultación del eclipse. La Luna está en su punto más cercano al centro de la umbra.
• U3 (Cuarto contacto): Fin del eclipse total. El punto más externo de la Luna sale de la umbra.
• U4 (Quinto contacto): Fin del eclipse parcial. La umbra abandona la superficie lunar.
• P2 o P4 (Sexto contacto): Fin del eclipse penumbral. La Luna sale completamente de la sombra terrestre.

Debido a la dispersión de la luz al pasar por las diferentes capas de la atmósfera y proyectarse ésta sobre la superficie de la Luna apreciaremos diferentes colores. Por ejemplo, durante la fase de parcialidad se puede notar una franja de tonalidad azulada correspondiente a la capa de ozono junto a otra amarillenta y finalmente una rojiza que se va oscureciendo.

Si la Luna solo es ocultada parcialmente por la sombra de la Tierra entonces estaremos antes un eclipse parcial. Una parte de la Luna se ve ocultada por la sombra y otra parte solo se verá afectada por la penumbra.

Existe la posibilidad de que la Luna solo se vea ocultada por la penumbra de la Tierra, en ese caso se producirá un eclipse penumbral que es el que produce un oscurecimiento más leve, a veces casi imperceptible.

Hemos hablado antes de la escala de Danjon, que mide el oscurecimiento de un eclipse lunar. Esta escala tiene 5 niveles:

• L=0: Muy oscuros, Luna casi invisible en el momento máximo del eclipse.
• L=1: Grises oscuros o parduscos, pocos detalles visibles.
• L=2: Rojizos o rojos parduscos con área central más oscura, regiones externas muy brillantes.
• L=3: Rojo ladrillo, frecuentemente con un margen amarillento.
• L=4: Anaranjado o cobrizo, muy brillante, a veces con un margen azulado.

¿Cómo observar un eclipse?

Si deseas observar un eclipse, aquí tienes algunos consejos importantes. En primer lugar, nunca mires directamente al Sol durante un eclipse solar sin protección, ya que podría dañar tus ojos de forma irreversible. Utiliza filtros solares adecuados para garantizar una observación segura. En el caso de los eclipses lunares, no se requiere protección especial, ya que la Luna no emite luz propia.

Asegúrate de estar en un lugar con un cielo despejado y horizontes sin obstáculos, en el caso de los eclipses lunares además no debes tener demasiada contaminación lumínica, la experiencia se aprecia mejor desde cielos oscuros. Si tienes la oportunidad, puedes utilizar binoculares o prismáticos para apreciar aún más los detalles de los eclipses lunares aunque no es obligatorio, el fenómeno se puede disfrutar a simple vista. En el caso de los eclipses solares insistimos en la necesidad de usar filtros homologados.

Abrígate bien. Durante los eclipses lunares que son largos pasarás bastante tiempo sin moverte y por la noche la temperatura baja bastante, incluso en verano sobre todo si estás en el campo. Tenemos un estupendo artículo sobre cómo abrigarte para una observación astronómica.

Lleva algo de comida y bebida (en el caso de los eclipses lunares se agradece un caldo o un café caliente). En el caso de los eclipses solares no te olvides la crema solar, pasarás bastante tiempo bajo el Sol y puedes quemarte. Una sombrilla o un toldo para la espera vendrán muy bien si no tienes otra sombra cercana.

Intenta disfrutar de estos eventos en buena compañía ¡Es mucho más divertido!

¿Cuándo se producirá el próximo eclipse?

Los eclipses se repiten con regularidad y gracias a los cálculos astronómicos podemos saber con precisión cuando se producirá el próximo eclipse.

Próximos eclipse solares

Fecha y Hora (UTC)	Visible desde España	Visible desde Mexico	Tipo	Magnitud
14/10/2023 17:59:27 TU	No	Parcialmente	Anular	0.375
08/04/2024 18:17:16 TU	No	Parcialmente	Total	0.343
02/10/2024 18:44:59 TU	No	No	Anular	0.351
29/03/2025 10:47:22 TU	Parcialmente	No	Parcial	1.041
21/09/2025 19:41:50 TU	No	No	Parcial	1.065
17/02/2026 12:11:52 TU	No	No	Anular	0.974
12/08/2026 17:45:52 TU	Si	No	Total	0.898
06/02/2027 15:59:32 TU	No	No	Anular	0.295
02/08/2027 10:06:34 TU	Si	No	Total	0.142
26/01/2028 15:07:42 TU	Parcialmente	Parcialmente	Anular	0.390
22/07/2028 02:55:22 TU	No	No	Total	0.606

Próximos eclipses lunares

Fecha y Hora (UTC)	Visible en España	Visible en Mexico	Tipo	Magnitud
05/05/2023 17:22:43 TU	Si	No	Penumbral	-0.04
28/10/2023 20:13:58 TU	Si	No	Parcial	0.13
25/03/2024 07:12:45 TU	Si	Si	Penumbral	-0.13
18/09/2024 02:44:12 TU	Si	Si	Parcial	0.09
14/03/2025 06:58:42 TU	Si	Si	Total	1.19
07/09/2025 18:11:43 TU	Si	No	Total	1.37
03/03/2026 11:33:37 TU	No	Si	Total	1.16
28/08/2026 04:12:50 TU	Si	Si	Parcial	0.94
20/02/2027 23:12:55 TU	Si	Si	Penumbral	-0.05
18/07/2027 16:03:11 TU	No	No	Penumbral	-1.06
17/08/2027 07:13:51 TU	Si	Si	Penumbral	-0.52
12/01/2028 04:13:03 TU	Si	Si	Parcial	0.07
06/07/2028 18:19:43 TU	Si	No	Parcial	0.40
31/12/2028 16:51:58 TU	Si	No	Total	1.25

Los eclipses son eventos asombrosos que nos permiten comprender mejor los movimientos y las interacciones en nuestro sistema solar. Ya sea un eclipse solar o lunar, estos fenómenos nos recuerdan cuán vasto y misterioso es el universo que habitamos. Disfruta de la maravilla de la naturaleza y la ciencia mientras te sumerges en la contemplación de un eclipse. ¡Feliz observación!

The first ever camera from OM Digital Solutions is also the last ever camera with the Olympus name on it and the OM System OM-1 also carries the weight of having the same model number as one of the most legendary cameras ever made.

Thankfully, the OM System OM-1 absolutely lives up to the pedigree of the original Olympus OM-1 film camera. It is, simply, the best all-round Micro Four Thirds camera ever made, doing the Olympus name proud in its final outing – and proving that OM Digital (new owner of the Olympus brand) is a serious player in the imaging industry. 

It packs a stacked, back-side illuminated sensor that delivers a maximum burst speed of 120fps, putting it on par with Nikon’s flagship-grade Nikon Z8 (with a couple of caveats). And while the sensor’s native resolution is 20.4MP, a High-Res Shot mode can shoot 50MP handheld or 80MP on a tripod (again, with caveats). 

It’s the best weather-sealed camera on the market, offering unrivalled IP53 certification. It also possesses the most rock-solid image stabilization there is, with 7 stops of in-body stabilization as standard and 8 when using the manufacturer’s specific Sync-IS lenses. And in terms of video, it can shoot up to 4K 60p in 10-bit 4:2:0 internally or 12-bit ProRes RAW externally.

A true general practice tool, it caters to every genre; it has dedicated Starry Sky shooting modes that make it one of the best astrophotography cameras, and blistering autofocus with animal detection makes it one of the best wildlife photography cameras as well. Thanks to the broader depth of field offered by Micro Four Thirds’ 2x crop factor, it’s even one of the most competent cameras for macro photography.

OM System OM-1: Design

Being a continuation of the Olympus OM-D E-M1 line, the OM-1 feels a lot like cameras such as the E-M1 Mark III. Which is to say that it is clean, compact, sleek and slim, but without being so tiny that it can’t be held by big hands – and it has a deep, chunky grip offering plenty of purchase. An optional battery grip increases the handgrip and doubles the battery life (to 1,000 shots) should you need it.

Unlike more junior EM / OM models it has a joystick, for quick focus point adjustments, and control dials recessed into the front and back of the body (rather than sitting on the top plate) for faster and more comfortable shooting. The rear screen is a fully articulating affair, offering ultimate versatility for both stills and video, while the electronic viewfinder is a high-speed, high-resolution OLED featuring a 120fps refresh rate (for blackout-free shooting) and 5.76 million dots.

The body itself is better weather-proofed than any other interchangeable lens camera available, certified to the IP53 standard. For context, that means it can still operate even with 3 minutes of continuous water being sprayed on it from a 60° angle. The magnesium alloy chassis is built to last, as is the shutter mechanism —which is good for 400,000 actuations. 

In terms of menu design, the much-maligned Olympus menus of old have been completely reworked to make them prettier to look at, easier to navigate, and more instinctive to find things — and the Super Control Panel quick-menus are still there to make shooting as simple as possible. 

OM System OM-1: Functionality

The OM-1 has so much functionality that it almost doesn’t seem real. Let’s start with some of the computational photography, which often gets overlooked in evaluating this camera.

We’ve already mentioned the High Res Shot mode, which uses the camera’s stabilization system to shift the image sensor incrementally while taking a series of shots, artificially increasing its surface area and, thus, its effective pixel count. This enables you to take 50MP or 80MP images, but the caveat is that your subject needs to be completely motion-free (otherwise movement will be captured between the multiple frames).

Then there’s the Live ND mode, which effectively gives you built-in ND filters of up to 6 stops. Want to take blurry waterfall photos without external ND filters or shrinking your aperture? Now you can. There’s also Starry Sky AF, which offers accurate astrophotography autofocus and an image-stabilized mode to accommodate handheld astro shots.

It achieves a first in autofocus technology, too, being the first camera to possess Cross Quad Pixel AF. You’ve probably heard of Canon’s Dual Pixel AF, used in cameras like the Canon EOS R5, which features two photodiodes per pixel for more accurate performance. The OM-1 has four photodiodes per pixel, which combined with the Deep Learning algorithms offers incredibly robust autofocus.

While it’s a stills-first system, the video capture here is still pretty impressive: 4K up to 60p and FullHD all the way up to 240p are on offer, with a log profile and HLG mode, 10-bit 4:2:0 using H.265 HEVC or 8-bit 4:2:0 with H.264. Long GOP and All-I are both available, and if recording to an external monitor you get the option of 12-bit 4:4:4 ProRes RAW.

OM System OM-1: Performance

The new back-side illuminated sensor in the OM-1 produces performance never before seen on a Micro Four Thirds camera, and counters many longstanding criticisms of the system. 

Dynamic range and ISO noise have both been dramatically improved, the former by about a stop and the latter producing much less noise when shooting at higher sensitivities. OM claims that the performance is on par with full-frame sensors, which isn’t strictly true in my experience — but having used Micro Four Thirds cameras for ten years, I can confirm that this is unlike anything the system has ever achieved before.

As noted, the camera is capable of 120fps burst shooting, but this is with locked AF/AE (and the buffer tops out at around 90 shots). That said, the OM-1 can shoot full-resolution 20.4MP images at 120fps, whereas the Nikon Z8 can only shoot low-res 11MP images at 120fps (though AF isn’t locked). For shooting with full autofocus, you can shoot bursts at 50fps — though only half a dozen M.Zuiko lenses support the full AF actuation speed.

As ever, one of the most important modes on the Pro OM / Olympus cameras is Pro Capture. This records up to 70 frames even before you press the shutter; when you’re sitting there with the shutter half-pressed, waiting for your subject to move, the camera starts buffering frames. When you fully depress the shutter, it saves the most recent 70 frames plus the 50fps (with AF/AE) or 120fps (locked) shots that follow it. So, if you’re shooting wildlife or sports, you’ll never miss that crucial moment by being a half-second too slow to press the shutter.

And, while it’s not quite up there with Canon’s impossibly good subject detection, the autofocus is snappier and stickier than all but the most advanced professional bodies on the market.

Should you buy the OM System OM-1?

With blistering speed, pre-shutter shooting, amazing autofocus, ND shooting without ND filters, handheld astrophotography, and 80MP imaging the OM-1 is the cleverest camera on the market right now. 

And the biggest selling point is the smallest: this is the most compact and lightweight pro-grade camera system you can buy, thanks to the small nature of Micro Four Thirds lenses. Consider this: The chunkier Nikon Z8 with the enormous Nikkor Z 70-200mm f/2.8 lens weighs a combined 5lbs, but the OM-1 with the M.Zuiko 40-150mm f/2.8 Pro (an 80-300mm equivalent) weighs almost half as much at just 2.8lbs.

If you want a powerhouse camera with the smallest footprint possible, look no further than the OM System OM-1. 

If the OM System OM-1 isn’t for you

The OM-1 does so many things, we’ll suggest some alternatives for different purposes. If you want another crop sensor powerhouse for wildlife and sports, look to the Canon EOS R7. With its 32.5MP sensor, 30fps bursts, oversampled 7K video and the best autofocus in the industry, it’s a monster for action photography. 

For an astrophotography camera, we’d recommend the Pentax K-1 Mark II with its dedicated astro features – including a red-screen night mode, illuminated buttons and Astrotracer tech that uses GPS and image stabilization to follow the stars! 

Finally, for another all-singing and dancing technological marvel, you can’t go wrong with the Canon EOS R5. 

Astrophotographer, film-maker and night-sky conservationist Josh Dury uses photography and film-making as a way to promote conservation and highlight the effects of light pollution.

Based in south-west England, Dury has traveled across the world taking photos of dark skies, with favorite subjects including the Milky Way, the Northern Lights, meteor showers and the Winter Circle – Orion, Taurus and Gemini.

Pro techniques for super astro shots

“Firstly,” says Dury, “set up your camera on a tripod with a geared head, so you can easily adjust for right ascension [which corresponds to longitude] or declination [latitude] – with astrophotography, you don’t want to consider a particular angle only to find that your equipment limits you.

“Next, look at the camera’s rear screen and check that it reflects the image you have projected in your mind.

“Now, using an intervalometer, take an interval image every three or four seconds – the amount of images required depends on the nature of the shot: for a Milky Way, you will need at least 20-30 frames to stack during editing.

“One of the most vital things to do is to balance out the signal-to-noise ratio; that’s why a camera that works well at higher ISO values, coupled with a wide-angle lens with a large aperture to let lots of light in, is essential.

“Depending on the nature of the shot, an acceptable ISO range is 800-21,000.”

You won’t go wrong if you…

“Plan ahead and know what your subject is going to be. If you want to take lots of different shots on the night – of the Milky Way, star trails and the moon – then you need to plan carefully for every scenario.”

“The most important aspect of landscape astrophotography is the weather. You need a clear sky, otherwise you won’t get the detailed shots you need. There must be no cloud interference whatsoever.”

“Allow for an appropriate amount of time to capture what you need. At least a couple of hours will be fine for the Milky Way but for star trails with definition, you’re looking at up to three hours or longer.”

“Be aware of light pollution. Shooting anywhere near towns or cities is a no-go because of all the light shining up. Check light pollution maps – you need to be anywhere between five and 10 miles away.”

“Take plenty of layers of clothing. You want astrophotography to be fun, and not have to struggle when the temperatures drop at night. Pack coats, hats and plenty of pairs of socks, because your feet will feel it first.”

“Recce the routes to your location so you can plan them beforehand and know what you’ll need to put up with along the way. Be conscious of health and safety and let someone know where you’re going and when – just in case.”

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Get ready for incredible astrophotography from the James Webb Space Telescope! Look for its unique signature – diffraction spikes in the shape of James Webb’s John Hancock. With six strong spikes and two horizontal ones, you’ll recognize Webb’s distinct telescope everywhere. Get ready to gawk at celestial wonders!

Transcript:

The James Webb Space Telescope will be the source of incredible astrophotography for decades to come. Gawk, but mind your drool, please.

But how can we tell Webb’s images from other amazing telescopes? Afterall, incredible observatories around the world have snapped some beauties.

Well, Webb has a signature that you could look for.

You might say, James Webb… has a John Hancock.

So what is this signature?

Well – ever seen an image of space and notice that the stars have thin spikes coming off em? Often they look like plus signs. These are called diffraction spikes.

And they’re complete artifacts of the telescope.

See, when light from a point source enters a telescope, the edges of the mirrors diffract light, so different shaped mirrors make different diffraction spikes.

And, the arms that help hold the telescope together also diffract the light.

Based on Webb’s unique design, it has six strong spikes and two lesser, horizontal ones. It’s Webb’s very own. Once you notice it, you’ll recognize its handwriting everywhere.

Este miércoles 30 de agosto puse el despertador un poco antes de lo normal con la intención de observar el cometa Nishimura desde ciudad, algo casi de locos aunque no es la primera vez que observo un cometa desde casa a pesar de la contaminación lumínica.

Tenía ya preparado el telescopio en el salón desde la noche anterior, que estuve observando un rato Saturno, y también me llevé la Canon para hacer alguna foto. Encendí el telescopio, el Mak127 sobre la AZ-GTi, y alinee con las estrellas Castor y Betelgeuse. Recientemente actualicé el firmware de la montura para ponerla en modo altacimutal ya que apenas la uso en ecuatorial, y en esta postura el buscador del tubo quedaba siempre en una posición muy incómoda (con firmware EQ el tubo se monta a la derecha del brazo).

Con el ojo puesto en el ocular de 32 mm me puse a escudriñar el cielo por la zona donde se suponía que estaba el cometa pero no dí con él. Tras sopesarlo y teniendo en cuenta que el tiempo corría en mi contra (el amanecer astronómico estaba a pocos minutos) decidí meter las coordenadas que encontré en heavens above en el mando. Inicialmente no vi nada pero en cuanto moví un poco el telescopio reparé en una pequeña mancha gris difusa. Usando un poco de visión indirecta salí de dudas, efectivamente ahí estaba el cometa C/2023 P1 Nishimura.

Se encontraba situado entre 3 estrellas, justo en el borde derecho del triángulo, próximas a 28 Cnc. Rondaría la magnitud 7.5. Como tal era visible únicamente la coma, no había núcleo ni cola. Sin duda la contaminación lumínica me privaba de detalles pero no voy a quejarme. No todos los días uno es capaz de observar un cometa desde casa. Lo que más me fascina es que ese cuerpo lleva vagando por el espacio cientos de miles de años y solo lo podemos ver durante un breve tiempo.

Recientemente he leído que nuevos cálculos han indicado que este cometa tiene un periodo de unos 519 años y que no se trataría de un cometa interestelar como se pensó en un principio. También se especula con que en realidad lo que estemos viendo sean los restos que quedan de un cometa que fue mayor años atrás y que ha ido desintegrándose con sus repetidas aproximaciones al Sol. Incluso se especula que pueda ser el causante de la lluvia de estrellas Sigma-hídridas.

Para poder observar algún detalle más me cubrí la cabeza con un paño negro que tengo para observación visual que siempre ayuda algo cuando estás en zonas con claridad. Tras dejar que mis ojos se acostumbraran a la oscuridad durante unos minutos ya me costaba menos encontrar el cometa y podía verlo con visión directa. Incluso me dió la sensación de poder apreciar algo de cola pero ya no se si era producto de mi imaginación.

Durante los próximos días el cometa estará más y más bajo en el horizonte y aunque cada día estará un poco más brillante será más difícil de observar por su proximidad al Sol. Además la meteorología va a empeorar durante los próximos días y la llegada de una DANA nos va a impedir observar por aquí este cometa durante los próximos 4 o 5 días.

De nuevo Júpiter ha sufrido el impacto de un objeto de grandes dimensiones, posiblemente un asteroide o un cometa. El evento fue registrado por varios telescopios a las 16:45 UT del 28 de agosto.

En las imágenes se puede apreciar un súbito aumento de brillo en una zona del planeta, un breve destello que solo se puede explicar por la colisión con otro objeto celeste. No es la primera vez que esto sucede, ya hemos visto con anterioridad eventos similares por lo que hay múltiples telescopios capturando constantemente imágenes del planeta y monitorizando si se producen destellos similares.

En esta ocasión el proyecto OASES (Organized Autotelescopes for Serendipitous Event Survey) y PONCOTS (Planetary Observation Camera for Optical Transient Surveys) publicaron una alerta sobre el evento y fueron varios los astrónomos aficionados, muchos de ellos japoneses, que confirmaron haberlo capturado.

Por el momento se desconocen más detalles sobre el tamaño y órbita del objeto que chocó contra Júpiter.

Another awe-inspiring magical image of deep space has been captured by the James Webb Space Telescope (JWST). Released on August 29, the latest high-resolution photo shows us a glimpse of a spiral galaxy that is found 27 million light years away from Earth in the Canes Venatici constellation.

Known as the Whirlpool Galaxy, or Messier 51a, it has been a central focal point for astronomers and astrophotographers for years (it was first discovered in 1773) but has never before has it been viewed in such fine detail.

The most recent image shows a red whirlpool galaxy with protruding spirals and a bright bluish-white core. While you might not be able to get such a high resolution even with the best cameras for astrophotography, this bedazzling galaxy is sometimes visible from Earth.

• Check out the best telescopes for astrophotography so you can capture stunning photos of the night sky from your back garden

Taken using the JWST main near-infrared camera (NIRcam) and a mid-infrared instrument (MIRI), the two separate photos have been combined into a composite to create a truly out-of-this-world galactic portrait. These incredibly advanced camera systems capture the infrared light that the eye cannot see and decode the data to create images scientists can study to unlock the secrets of our universe. It’s thought that the shape of M51 is due to its close proximity to the nearby dwarf galaxy NGC 5195 and its spiraling arms are formed through its strong gravitational influence.

Up until now, the clearest image we had of the M51 galaxy was taken by the Hubble Telescope in 2011 but it was nowhere near as in-depth and detailed as the JWST offering. The actual image has been colorized so we can distinguish areas of ionized gas created by recently formed star clusters (the orange and yellow buts) while the darker areas represent empty cavities necessary for the galaxy to maintain its spiral shape.

This latest image is part of a body of research known as Feedback in Emerteging Extragalactic Star Clusters or for east, FEAST. Since the James Webb telescope is 100 times more powerful than the Hubble Telescope, it enables scientists and astronomers to discover even more about deep space. The European Space Agency commented, “Webb is opening a new window into the early stages of star formation and stellar light as well as the energy of reprocessing gas and dust”.

Not only do these images enable us to develop a deeper understanding, but they are signs that the instruments onboard the JWST are still fully functional following some concern there have been some technical issues. While the NIRcam image and the MIRI image offer two different perspectives of the same galaxy, the combined composite offers exaggerates the remarkable wonders of this “grand spiral staircase sweeping through space” – a term that NASA has used to describe it.

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The Nikon Z8 is referred to by Nikon as both “a baby Z9” and “the true successor to the Nikon D850”. That’s high praise indeed, with the Z9 being the company’s cutting-edge, flagship mirrorless camera, and the D850 being widely regarded as the finest DSLR ever made. 

Both labels are wholly accurate, though, as the Nikon Z8 lives up to every inch of the hype. With 45.7MP resolution, 8K 60p video and up to 120fps burst shooting, this can handle almost anything you throw at it; its continuous shooting speed and ferocious autofocus obviously make it one of the best wildlife cameras on the market, but it’s also an absolute powerhouse for anything from astrophotography to portraiture. 

In fact, the Z8 is so good that it threatens to make the pricier, bulkier Z9 redundant. Unless you really need the vertical grip and beefier battery power (both of which are actually available to the Z8, if you buy an additional grip), there really isn’t much to justify the extra grand or so that the flagship will cost you. 

There are asterisks next to a couple of features, such as the fact that the 120fps bursts are limited to 11MP JPEGs, but all in all the Z8 can tackle any task – and it’s probably the best all-purpose camera that Nikon has ever made. 

Nikon Z8: Design

When Nikon calls this a “baby Z9”, it isn’t kidding: while it packs the exact same technology as its big brother, the Z8 eschews the integrated vertical grip to deliver a camera body that’s a similar size to the Nikon Z6 and Z7. 

Taking a cue from Sony, this is the first flagship from Nikon (or Canon, for that matter) to offer a pro body without the vertical grip – in turn, making it appealing to a much broader market. Sure, if you’re going to be using it with big bulky primes or long telephoto lenses, the Z9 balances better. But for everyday and all-purpose shooting, I’m a much bigger fan of this smaller footprint. Mirrorless is supposed to be smaller and lighter than DSLRs, after all!

As you’d expect from a Nikon, the ergonomics are sublime; the Big N really knows how to make a camera that fits your hand like a glove. The controls feel premium and are positioned just where your fingers and thumbs expect them, and shooting with the Z8 is a dream. It also features a great in-body image stabilization system that delivers up to 5.5 stops of compensation (6 stops with specific lenses).

My only complaint here is that the camera doesn’t feature a fully articulating touchscreen, instead opting for a curious four-way tilting option. This certainly gives more flexibility than a standard tilt-only screen, but not being able to flip the screen all the way round is a sore point when shooting video – and extra baffling, given what a video powerhouse the Z8 is. 

The tilting screen is fantastically bright and detailed with good color reproduction even when comparing it to our 99% Adobe RGB color monitor in the studio but it’s the restrictions of its tilting function which frustrate us a little.

Tilting the screen to the right and upwards from a normal shooting position we get around 180 degrees and about 200 degrees of movement respectively which is great for composing scenes with awkward shooting angles (such as framing foreground elements when capturing astrophotographs). However, the left and down tilt give little more than 30 or 45 degrees respectively. 

We’re presuming that Nikon’s thinking here is that it’s more awkward to hold a camera in those latter positions and trigger the shutter release button, but it’s a little confusing as to why they didn’t opt for a fully rotating vari-angle style screen that competitor models like the Canon EOS R5 have as default.

Nikon Z8: Functionality

In short, there is nothing the Z8 can’t do – it has been designed to conquer any and every shooting situation. The 45.7MP image sensor offers an incredible amount of resolution, and it’s back-side illuminated to offer greater light-gathering capability and cleaner performance. 

However, this is also a stacked sensor – meaning that it boasts lightning-fast readout speeds, delivering incredible results for stills and video. For the former, it gives you the ability to shoot at previously impossible continuous burst speeds of up to 120fps – though this comes with a few caveats. 

When shooting at 120fps, the Z8 can only capture 11MP JPEGs. However, it can still shoot full-fat 45.7MP JPEGs at 30fps, or RAW files at 20fps – all with autofocus and autoexposure. Thanks to its cutting-edge image processor, the camera can record more than 1,000 RAW images at 20fps before any buffering kicks in – which is frankly astonishing!

The quick-as-a-hiccup readout speed of the stacked sensor also means that the rolling shutter phenomenon is virtually eliminated when shooting stills and video. Indeed, it’s such a non-issue that Nikon hasn’t even bothered to include a mechanical shutter in the Z8. It’s electronic-only, boasts a blistering 1/32000 sec maximum shutter speed (which is 4 times faster than most high-end cameras!). 

The camera also boasts the same flagship autofocus system found in the Z9, with subject detection algorithms for everything from humans and animals to all manner of vehicles (in fact, it even beats its big brother by incorporating a new “aircraft” mode on top of the standard “airplane” tracking). 

And last but not least, the Nikon Z8 is one of the most capable cameras on the market when it comes to video, able to produce crystal clear 8K 60p as well as 4K 120p footage – all without the overheating issues and recording limits found in its rival, the Canon EOS R5. 

One exciting feature for astrophotographers is the night vision mode. Gone are the days of using a red flashlights and shutting our eyes every time a car goes past just to have the camera menu or image preview blast hot-white light into our eyes and ruining our night vision. Head into the custom shooting menu and navigate to d10 and we’re met with Warm display color. Within it are two programmable modes to keep specific color balance settings on the rear screen and electronic viewfinder which are, by default, both set to red and to keep the screen dim.

“But now we can’t see whether the color balance is true while shooting, everything is red!” we hear you say. Yes, but there are two caveats to this: one is that we should be shooting in RAW format anyway, so we can adjust this when image editing, and two, generally you’ll only be checking the rear screen when setting up a composition. This would involve checking things like aperture, shutter speed and ISO, as well as monitoring the histogram to avoid dark clipping on the graph. Plus, you can just turn it off again if you truly want to check the color or brightness of the image. 

Nikon Z8: Performance

The Z8 is an absolute home run for Nikon in just about every department. The 45.7MP files it produces are stunning, dripping with detail to use straight out of camera and packed with plenty of data if you prefer doing post-production. The RAW files in particular reveal just how clean the images are, coming off the new sensor; even when you abuse the ISO, you’re still getting beautiful images.

The 120fps continuous shooting is hilarious to the point of Schwarzenegger-like overkill. I can’t fault it, but there’s no reality in which I’m ever going to use it; the 11MP JPEGs are absolutely fine, but I’m not using a 45.7MP camera to take low-res photos! I’m also not going to sit flicking through thousands more images looking for another 100 versions of the decisive moment – the 20fps RAW shooting is more than enough.

However, the slightly lower resolution, super-fast burst speeds are honed for specific photographic disciplines. This includes action photojournalism and sports journalism where the camera would be rigged up to the internet to download a constant stream of images to a team of editors. These editors are then ready to make the perfect selection to publish online or in print, where every second counts when it comes to reader traffic and print deadlines.

Where things get a little bit tricky is with the autofocus. Now, compared to just about any other camera, the Z8’s AF is phenomenal. It finds, follows and focuses on subjects with spooky degrees of accuracy… 98% of the time. When I took this out to shoot wildlife, there were occasions where it faltered – and any other camera would have faltered on those same occasions. Except for the Canon EOS R5. 

I have yet to point the R5 at a single animal, whether the AF has an algorithm for it or not, that it hasn’t been able to focus on. That was not the case with the Z8, which struggled to find focus on some wild animals – and also completely failed to find a couple who were slightly obscured by foliage (in a way that the Canon doesn’t struggle). 

It was also less than true for me when photographing sports, as the AF is slightly twitchy and apt to jump from player to player rather than sticking on the subject you want it to. Still, we really are comparing Lebron James to Michael Jordan here – coming second is more a reflection of how good the GOAT is, rather than a failing on the part of the Z8.

The tables are turned when it comes to video, an area where the R5 has a few caveats. That’s not the case with the Nikon Z8; capable of 8- or 10-bit H.265, 10-bit Apple ProRes 4:2:2 HQ and 12-bit in-camera ProRes RAW HQ, video here is of the finest quality at all resolutions (unlike the uninspiring standard 4K of the Canon). You can also capture 120 minutes of 4K 60p footage, or 90 minutes of 8K 30p – again, a far cry from the limitations of the R5. 

The same AF limitations apply to video shooting, and again the lack of an articulating screen is a big misfire, but otherwise this is as much a monster when it comes to videography as it is to stills.

In low light photography we are all aware of just how much camera autofocusing systems struggle. As soon as twilight comes around, or when shooting in a dimly lit church or other low light venue, we boost up the ISO, slow the shutter speed and whack open the aperture just to have the autofocus hunt, whirring back and forth before giving up.

While mirrorless cameras on the whole are improving their low light AF, with some cameras dropping down to -6.5EV, the Z8 walks away with the prize offering a -9EV autofocus detection lower limit. To utilize this though, we have to turn on Starlight view (photo Lv) in d9 of the custom shooting menu. Once engaged it works both on the rear LCD screen and in the electronic viewfinder and it appears to ramp up the brightness of the screen to aid with composition in dark scenes as well.

Should you buy the Nikon Z8?

Do you want flagship level performance without flagship price or bulk? Do you want Nikon’s finest ever camera technology? Do you need high-res 45MP stills or 8K video? Then the Nikon Z8 is an absolutely fantastic option. 

Is it the best option, though? For my money, I would actually recommend the Canon EOS R5 unless you genuinely need 120fps stills, 8K 60p video or the ability to shoot more than 20 minutes of 8K in one go. 

The Z8 is a technological marvel and an unprecedented powerhouse. Were it not for a couple of gripes – namely the twitchy autofocus and the non-articulating screen – it might be the best camera I’ve ever used. It’s cheaper than rival flagships and outpunches them in almost every category; you won’t find this much power at this price anywhere else.

However, beginners and even most intermediates probably won’t be able to take full advantage of this camera. Sure, if they have deep pockets this camera will last them for years to come and is a worthy purchase. But there will be so many features and settings paid for and not used by beginners or intermediate photographers that a cheaper alternative will yield results that are just as good.

If this isn’t for you

The direct rival to the Z8 is the Canon EOS R5, which offers very similar specs – 45MP resolution, 20fps RAW + JPEG burst shooting, 8K 30p video – and combines them with the best autofocus system in the business. 

While the Z8 is its successor, there’s still plenty to love about the Nikon D850. It’s a DSLR rather than mirrorless, but boasts the same full-frame 45.7MP resolution along with fantastic ISO performance at a lower price. 

If you’re interested in the affordability and advantages of APS-C, the Canon EOS 90D is a great option. Its 32.5MP sensor is still packed with pixels, it’s pretty speedy at 10fps, and its 1.6x crop factor increases the effective focal length of your lenses – perfect for gaining extra reach when shooting things like wildlife!

People would agree that cameras are what separates the good phones from the best phones. That’s what makes an iPhone 15 Pro Max vs. Galaxy S24 Ultra camera face-off intriguing on so many levels, thanks in part to how they could be in line for the best camera phones around when they’re officially released.

Apple’s Wonderlust event is full steam ahead now that the September 12 date is official, and it’s where we’ll most likely be introduced to its iPhone 15 lineup — including the highest-end model of the bunch in the iPhone 15 Pro Max. Whether Apple decides to call it that, or perhaps switch the name to the iPhone 15 Ultra moniker, there’s no denying that this high-end phone is going to be accompanied by new cameras that could help it dethrone the Galaxy S23 Ultra, the current camera phone king.

We know that we’re still a good while away from the launch of the Galaxy S24 Ultra, which is typically held in February each year. Nevertheless, Samsung doesn’t intend on letting the competition come anywhere close to what its flagship phones have to offer with their cameras. The Galaxy S24 Ultra is no exception, and with plenty of leaks ahead of next year’s launch, there’s enough detail for a proper comparison.

In this iPhone 15 Pro Max vs Galaxy S24 Ultra camera face-off, we’ll dial into more of those details to give you a better idea of how their cameras stack up.

iPhone 15 Pro Max vs Galaxy S24 Ultra: Rumored camera specs

Without diving into all of the nitty gritty details, it’s worth pointing out that the Galaxy S24 Ultra could change up its arrangement so that it’s a triple camera system versus the quadruple setup in the current S23 Ultra. That’s because the new tipped to feature a totally new variable telephoto lens, which would do away with separate telephoto cameras. 

iPhone 15 Pro Max vs Galaxy S24 Ultra: Main camera

The most widely used camera in a smartphone is its main camera, due how it typically delivers the sharpest results and can make even the darkest setting turn out bright and full of detail. Even though the iPhone 15 Pro Max is expected to keep its main camera at 48MP, the more intriguing rumor centers around an upgraded sensor in Apple’s phone.

Most notably, the iPhone 15 Pro Max could be packing a new “state-of-the-art” camera sensor that’s nearly an inch across — a Sony IMX903. The sensor is believed to measure in at 1/1.4-inch (about 0.87-inches), which is roughly 11% larger than the current iPhone 14 Pro Max’s 1/1.28-inch (0.78 inches) IMX803 sensor.

So what does this mean? Well, the new “three-stacked” sensor would result in sharper images, brighter colors, and inherently improved low-light performance. We’ve seen how the iPhone 14 Pro Max trailed the other cameras we tested in our astrophotography comparison, so having a larger sensor with increased light sensitivity could help boost the iPhone 15 Pro Max’s performance in a bigger way.

Conversely, there are fewer details around what Samsung could have in store for the Galaxy S24 Ultra’s main camera. The current Galaxy S23 Ultra is already packing an astounding 200MP camera, which we should expect at the very least with the S24 Ultra.

However, one rumor suggests that the Galaxy S24 Ultra will be accompanied by an actual 1-inch sensor. We’re not talking about nearly an inch, but an actual 1-inch sensor much like the one found in the Xiaomi 13 Ultra. This would undoubtedly be a substantial upgrade to boost the Samsung phone’s low-light sensitivity, seeing that larger sensors draw in more light — and subsequently produce sharper details without being softened by noise.

iPhone 15 Pro Max vs Galaxy S24 Ultra: Wide angle camera

A lot of the attention paid to camera phones usually focuses on the main cameras, but we suspect that the secondary wide angle cameras should benefit from the new camera sensors. Beyond how they would inherently gain the same improvements as their respective main cameras, such as increased clarity and higher dynamic range, the only unknown is if Apple or Samsung will change up their field of views.

Both the iPhone 14 Pro Max and Galaxy S23 Ultra offer 12MPl ultrawide cameras with 120-degree field of views. There hasn’t been any sort of indication whether Samsung and Apple will be changing them up on future phones, but it would only benefit them to at least increase their field of view for wider coverage.

iPhone 15 Pro Max vs Galaxy S24 Ultra: Telephoto camera

Flagship phones are defined by their telephoto lenses, and it’s the area we’re certain to find the toughest fight. Apple has long trailed its rivals in this area, but a new 12-megapixel periscope telephoto camera is reportedly in store for the iPhone 15 Pro Max / iPhone 15 Ultra, and that improvement could really change things.

That’s because the zoom capabilities are rumored to jump to a 6x optical zoom, which is double the current iPhone 14 Pro Max’s 3x telephoto range. Even though there are smartphones with better telephoto cameras, another rumor paints that the iPhone 15 Pro Max could offer as much as a 10x zoom.

Then again, this is an area that Samsung has specialized in for a long time — but the phone maker actually might lean on a different implementation for the Galaxy S24 Ultra’s telephoto camera. Specifically, the Galaxy S24 Ultra could lean on a variable folded telephoto lens that would effectively combine the 3x and 10x zoom lenses on the S23 Ultra. This would eliminate the separation and could give users even more fluidity while zooming.

iPhone 15 Pro Max vs Galaxy S24 Ultra: Video capture

While both phones are expected to capture outstanding photos, we anticipate that they won’t disappoint with video either — more so when you think about the utility of how they cover all the range.

Video enthusiasts would probably gravitate toward the Galaxy S24 Ultra for a number of reasons. First and foremost, we suspect that video recording resolution will top out at 8K resolution at 30fps. Whether or not the Galaxy S24 Ultra uses the the upcoming Snapdragon 8 Gen 3 silicon or not, it could increase the phone’s slow motion speed at the very least.

Unfortunately, Apple has never been about having the highest video capture resolution or fastest frame rates in its iPhones. The iPhone 14 Pro Max tops out at 4K 60fps, which is the standard among flagships — but still a far cry from the Galaxy S23 Ultra’s 8K resolution. The Bionic A17 chip could potentially achieve 8K capture with Apple ProRes, seeing how leaked benchmark tests allege it’s a processing powerhouse.

iPhone 15 Pro Max vs Galaxy S24 Ultra: Camera software

Apple has slowly made the iPhone appealing for enthusiasts that want greater control for their compositions. We’ve seen that within how Apple added a few parameters that could be adjusted in the iPhone’s camera app, like exposure compensation, RAW files, and aperture adjustment in portrait mode.

Despite these small rollouts, the iPhone is still missing proper manual controls — something we can only hope to change with the iPhone 15 Pro Max. Considering how it’s tapped to feature some of the biggest camera upgrades in years, it would be great if the iPhone 15 Pro Max could be accompanied by a revamped camera interface complete with manual controls for photos and video.

This is exactly why the Galaxy S23 Ultra is so popular among videographers and enthusiasts. We anticipate the Galaxy S24 Ultra to follow suit with its robust set of shooting modes and controls, so the company doesn’t need to do a whole lot new because it’s already established itself for having one of the best camera software around.

iPhone 15 Pro Max vs Galaxy S24 Ultra cameras: Outlook

There’s already a lot of interest in an iPhone 15 Pro Max vs Galaxy S24 Ultra camera face-off. It would appear as though Apple’s trying to bridge the gap in the telephoto range to match its rivals, but it’ll be interesting to see if the new camera hardware accompanying the iPhone 15 Pro Max / iPhone 15 Ultra are enough to overthrow Samsung off the top spot in our best camera phones list.

Even if it turns out that Apple succeeds in achieving this, its reign would probably be short because the Galaxy S24 Ultra is expected to be announced near the start of 2024. As we near that time frame, you can almost guarantee we’ll have a more concrete idea about its new cameras.

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