First, it was shot at a reasonably short focal length of 24mm on a full-frame camera. There are a few reasons why the sun did not do a lot of damage to the image here. Here is the first image where I put I put the sun right in the middle of the frame and stopped my aperture down to f/16 to create a “sunburst” effect: NIKON D750 + 24mm f/1.8 24mm, ISO 100, 1/5, f/16.0Īn image like this is the “best case scenario” when photographing the sun, because the resulting damage of ghosting and flare is very minimal – as you can see, there is only a single ghost present on the mid-lower portion of the frame, which can be easily fixed with a spot healing tool in Photoshop, Lightroom or any other software that has such capability.
Let’s take a look at some image samples where I purposefully included the sun in the frame for artistic, composition and other reasons. The Solution – “Finger the Sun” Technique.So what do you do when you have a beautiful sunrise / sunset moment and you want to capture it with the sun in the frame without traces of ghosting / flare? I have been using a “finger the sun” technique for many years and today I want to explain how this technique works and how you can use it to create stunning, dramatic landscape images. Since every lens reacts differently to bright sources of light, with some having special coatings and optical optimizations in place to reduce such effects, the effect of ghosting and flare and its damage are not something that can be easily predicted – there are too many variables involved, like focal length, optical design, coating, light source angle and even dust within the lens. Although seeing lens flare is quite normal in both images and video (in fact, videographers and movie makers often purposefully add ghosting and flare to their footage to make the scene look more natural), sometimes the effect can heavily harm images. When photographing landscapes and including a bright source of light like the Sun, we often end up getting quite a bit of ghosting and flare in images.
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