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For a solar eclipse, the first camera setting is a properly fitted solar filter over the front of the lens: keep it on for every partial or annular phase, and remove it only during confirmed totality if you are inside the path of totality. For a lunar eclipse, no solar filter is needed. Once you know which event you are photographing, choose a simple composition and rehearse the focus, exposure, and timing before eclipse day.

Protect your eyes and equipment first

Never point an unfiltered camera, binocular, telescope, spotting scope, or telephoto lens at the Sun during a solar eclipse. A camera’s live view or electronic viewfinder does not make an unfiltered setup safe; concentrated sunlight can damage equipment, and an optical viewfinder adds a direct eye hazard. NASA warns against looking through an unfiltered optical device even while wearing eclipse glasses, because the optics can concentrate sunlight onto the glasses. Read NASA’s solar-viewing safety guidance and the American Astronomical Society’s advice on optical filters before setting up.

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  • Use a purpose-built solar filter explicitly intended for the optical device and imaging or viewing use in question. Attach it over the front of the lens or telescope objective, covering the entire aperture.
  • Secure it against wind or accidental movement. Inspect it for pinholes, tears, scratches, loose edges, and poor fit before use.
  • Do not substitute ordinary sunglasses, eclipse glasses placed behind a camera lens, or an unverified photographic neutral-density filter. Darkness alone does not establish safe transmission of visible, ultraviolet, and infrared light.
  • Follow the filter maker’s orientation and installation instructions. A filter intended for visual observing is not automatically interchangeable with one intended for photography.

NASA says safe solar viewers for direct viewing should comply with ISO 12312-2, but that does not mean any dark-looking camera filter—or any filter marketed for a different optical setup—is suitable. Check the maker’s stated purpose and specifications for the exact product.

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Identify the eclipse before choosing a plan

Eclipse type Solar-filter plan
Partial solar Keep a proper front-mounted solar filter on throughout. The bright solar surface is never fully blocked.
Annular solar Keep the filter on throughout. The Moon does not cover the Sun completely, so the bright ring remains visible.
Total solar Keep the filter on during the partial phases. Remove it only after totality is confirmed at a location inside the path of totality; replace it before the bright solar surface returns.
Lunar No solar filter is needed to photograph the Moon.

“Almost total” is not totality. If your location experiences only a partial eclipse, keep the filter on even at maximum coverage. NASA’s August 12, 2026 total-eclipse page describes an event that has already passed; consult current local timing and path information for the eclipse you plan to photograph.

Choose the image you want to make

A close view of the solar disk

A telephoto lens makes the Sun larger in the frame. Roughly 400–600 mm equivalent is a useful compromise for many setups, while 200–300 mm equivalent is easier to aim and track but gives a smaller disk. Longer focal lengths can show more detail but make it easier to lose the Sun as it moves. Sensor size and framing change the result; the focal lengths are planning ranges, not guarantees.

NASA’s older technical guidance cites about 500 mm as a common focal length for full-disk solar photography and cautions that very long lenses can be a poor choice for capturing the extended corona. Treat that as a starting point rather than a universal prescription: NASA’s technical photography guidance.

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The corona during totality

The corona extends well beyond the bright inner region, so a moderate telephoto or shorter lens may capture more of it than an extreme close-up. Because the corona spans a wide range of brightness, plan a bracketed sequence rather than expecting one exposure to show every detail.

Diamond ring and Baily’s beads

These bright, brief features occur at the transitions into and out of totality. Keep the filter in place until the solar photosphere is fully covered; remove it only during confirmed totality, then replace it before the photosphere reappears. Use an audible countdown or prearranged sequence, not an improvised menu search.

Landscape, people, and changing light

A wide-angle lens can show the eclipse in its setting: silhouettes, architecture, landscape, or people watching. The Sun will be small, but the image can communicate the event’s atmosphere. A wider field is also easier to keep composed than a tightly framed solar disk.

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Phone photographs

A phone is often most effective for the landscape, people, shadows, or changing light. For a close solar disk, the phone’s small sensor, limited optical reach, and digital zoom can be disappointing. If you attempt a filtered disk image, use a purpose-built filter securely mounted over the phone’s actual camera lens module. Do not casually hold eclipse glasses over the phone lens. NASA’s eclipse photography tips note that phones can contribute useful images, while emphasizing protection and preparation.

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Pick a simple, compatible camera setup

You do not need a professional camera. Choose equipment for the shot you intend to make, and favor controls you can operate without searching through menus during the event.

  • Camera: Manual exposure, manual focus, RAW capture, reliable battery life, and a quick way to switch between prepared settings are useful. A high-resolution screen and fast card writing help with focus checks and bracketing.
  • Lens: Use a telephoto for a larger solar disk or a wide-angle lens for the surrounding scene. Confirm the intended filter fits the lens housing.
  • Support: A sturdy tripod helps with long lenses. A remote release, cable release, or timer reduces vibration; use image stabilization according to your camera and lens maker’s tripod guidance.
  • Essentials: Bring spare batteries and memory cards, the filter, a lens hood or shade, and accurate local contact times. A second camera or phone lets you make environmental images without changing the main setup.

Choose and mount a solar filter carefully

Solar filters may be rigid glass, solar film, a universal slip-on design, or material fitted into a custom holder. Glass is generally more rigid and convenient but often heavier and more expensive. Film is light and flexible, but its holder must retain it safely and the material needs careful inspection. A custom holder can fit well when made correctly; a loose or improvised mount can expose the lens.

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  • Looking directly at the sun can be dangerous if proper precautions are not taken. Viewing the sun without a proper filter can cause permanent eye damage. Adequate eye protection designed specifically for viewing the sun is crucial and should be taken seriously.
  • Strictly follow the instructions for use: Ensuring that there are no risks during the observation process requires our joint efforts with you. Please cooperate and watch this magnificent astronomical spectacle together, because once missed, the next one will be decades away, which is very rare.

For a slip-on filter, check the outside diameter of the lens hood or objective housing—not just the lens’s threaded filter size—and ensure the filter can be secured against movement. Check the maker’s instructions for orientation and compatibility. A screw-in filter may leave the front element exposed or be awkward to remove quickly; the AAS explains the limitations in its optical-filter guidance. Do not assume that a filter labeled “ND,” “16-stop,” “100000,” or “eclipse” is suitable: verify the manufacturer, stated use, specifications, condition, and fit.

Rehearse before eclipse day

  1. Identify the eclipse type, your location’s local contact times, and whether the site lies inside the path of totality.
  2. Mount the filter and test its retention, including in wind. Practice installing and removing it without exposing the optics accidentally.
  3. Practice finding the Sun without looking through an unfiltered optical viewfinder. Compose on a distant object or use the filtered Sun, then switch to manual focus.
  4. Magnify the image to check focus, disable autofocus, and test the framing margin. Leave room for the Sun to drift between checks.
  5. On an ordinary sunny day, test exposures with the actual filter and camera. Make separate prepared camera modes for filtered phases, totality if applicable, and a wide-angle scene.
  6. Test your remote release or intervalometer, tripod behavior, and any custom controls. Practice the filter-removal and replacement sequence using timing cues.
  7. Pack spares and decide in advance when you will stop photographing to watch the event.

Exact control and menu names vary by manufacturer. The goal is to have the relevant settings ready before the eclipse, not to learn the camera while seconds of totality pass.

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Starting exposure for filtered solar phases

For a filtered partial phase, start in manual mode at ISO 100 or 200 and about f/8. Test shutter speeds beginning around 1/500 second and bracket toward faster exposures, roughly through 1/4000 second. These are starting points, not universal settings: the filter, lens, camera, and conditions affect exposure. The AAS gives similar starting guidance in its eclipse photography guide, and Nikon recommends practicing with the actual equipment in its solar-eclipse photography advice.

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  • Record RAW, with JPEG as an additional option if you want quick previews and have storage.
  • Use manual focus and consider a fixed white balance for consistent color.
  • Inspect the disk at high magnification. The crescent edge should be sharp, and the Sun should not be a featureless white blob.
  • Check the histogram for clipped highlights and look for uneven illumination that might indicate a shifted, poorly mounted, or unsuitable filter.

During totality: switch modes, bracket, restore the filter

Only observers physically inside the path of totality may remove the filter, and only while the Sun is completely covered. Confirm totality using your local timing cues; do not infer it from the appearance of a nearly covered Sun. Use a preconfigured mode, begin with a short exposure to retain bright inner-corona detail, then capture progressively longer exposures. Holding ISO and aperture steady while changing shutter speed makes the bracket easier to organize.

The corona’s brightness varies dramatically, and the useful exposure range depends on the camera, lens, atmosphere, and whether you want prominences, inner or outer corona, or a broader scene. There is no single correct shutter speed. Review images only after your planned sequence is secure, and replace the filter before the first bright solar surface reappears. NASA’s photography tips and technical guidance support preparation and multiple exposures for the corona.

Focus, tracking, and framing

  • Focus manually and verify at high magnification before the event; autofocus may hunt against a small, high-contrast disk.
  • Use a tripod for a long lens and a remote release or timer to limit vibration.
  • Check framing periodically during partial phases. The longer the focal length, the narrower the field and the easier it is to lose the Sun.
  • If tracking is unfamiliar, choose a shorter lens rather than adding a mount you have not practiced with.
  • Clouds do not end the photographic plan: switch to a wide-angle view of the landscape, silhouettes, or changing light. Do not remove a solar filter because clouds obscure the Sun.

Photographing a lunar eclipse

A lunar eclipse is a different assignment: no solar filter is needed for the Moon. A tripod, telephoto lens, and manual exposure help, but the Moon dims substantially during totality and may appear red or copper-colored. Bracket as it moves through the penumbral, partial, and total phases. Shorter exposures preserve sharper lunar detail; longer exposures brighten the Moon and surroundings but increase motion-blur risk. If the framing allows, include the surrounding sky or landscape rather than making every frame a tight disk.

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Troubleshooting on the day

  • The filter shifts or blows off: Stop photographing the Sun and secure or replace it before pointing the optics skyward again. Do not rely on friction alone if the fit is loose or conditions are windy.
  • The Sun leaves the frame: Use a wider focal length, leave more margin, and recheck framing at intervals.
  • The solar disk is white: Check that the correct, undamaged filter is fitted over the front aperture and reduce exposure. Do not continue with an uncertain filter.
  • Totality frames are black: The camera may still be using filtered-phase exposure settings. Switch to the rehearsed totality mode only after totality is confirmed.
  • You are outside the totality path: Keep the filter on for the entire solar eclipse; maximum partial coverage is not a reason to remove it.
  • Battery or heat problems: Bring spares, reduce unnecessary screen brightness, and avoid leaving the camera pointed at the Sun longer than needed.
  • Diamond-ring timing is difficult: Keep the filter on until totality is confirmed and use a prepared sequence and audible timing cue; replace the filter before totality ends.

After the eclipse

For bracketed corona images, align and combine exposures carefully if you want to show both bright and faint structures. Adjust contrast and clarity conservatively, and do not use aggressive sharpening to imply detail that the image did not capture. Label composites honestly so viewers can distinguish a processed combination from a single exposure.

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