Few photography subjects are as mesmerizing — or as challenging — as the aurora borealis. During a late-winter trip to Iceland, photographer Navaneeth Unnikrishnan found himself in the right place at exactly the right time when an explosive northern lights display erupted above the famous Black Church at Búðir.

In this edition of Behind the Shot, Unnikrishnan breaks down how he captured the image, from monitoring weather conditions and planning his composition to choosing camera settings that preserved the aurora’s vivid color and structure.

See how this story appears in the magazine: Outdoor Photographer Vol. 1 (Digital Edition).

The Scene

It was late winter, and we were staying near Snæfellsjökull National Park in Iceland. After sunset, the sky began to clear just enough to reveal a faint aurora dancing overhead. Light pillars shimmered on the horizon — a promising sign.

We monitored Vedur.is, Iceland’s weather forecast site, watching for breaks in the cloud cover. When a clear patch appeared near the Black Church at Búðir (often referred to a Budir), we didn’t hesitate. We quickly geared up and set out.

When we arrived, the aurora was already visible, though still faint. Then, almost as if on cue, it began to intensify — building slowly and deliberately. As we moved around the church, the corona shifted directly overhead and erupted into brilliant arcs of green and red. It was a breathtaking sight, almost overwhelming in its beauty.

The Gear

I used my Sony A1 paired with the Sony FE 14mm f/1.8 GM lens, one of my favorite combinations for nightscape photography and astrophotography. This lens is a go-to for both astro and landscape work; its wide aperture is crucial for gathering as much light as possible.

A sturdy tripod was essential. I used a Gitzo GT3541 carbon-fiber tripod paired with a Gitzo Center Ball Head Series 4. Iceland’s winds are no joke, and this setup provided the stability needed for long exposures.

No filters were used for this shot — I wanted to maximize light intake. To minimize camera shake from the shutter press, I also used a 2-second self-timer.

The Approach

My goal was to capture the grandeur of the aurora corona arching over the Black Church like an ethereal umbrella. The 14mm lens, while ultra-wide, made it challenging to fit both the church and the overhead display into a single frame. To solve this, I opted for a three-tile panorama, ensuring at least a 40% overlap between frames for seamless stitching.

Focusing was surprisingly straightforward. The Sony 14mm has a handy feature: when the camera powers on, the lens automatically focuses to infinity. I double-checked to confirm everything was sharp, but with the church more than two meters away, depth of field wasn’t a major concern.

My camera settings were 2 seconds at f/1.8, ISO 6400, with auto white balance. I shot in Raw format. I chose the relatively short shutter speed to preserve the aurora’s detail and structure — longer exposures can blur its dynamic, shifting forms.

The main challenges were the cold and the relentless wind. The church was lit by a floodlight, which I temporarily blocked with my jacket to avoid overexposure. Light pollution from other photographers at this popular location was harder to control. Once again, my sturdy Gitzo tripod proved essential for stabilizing long exposures in the gusty conditions.

The Final Image

I’m very pleased with the final image. It captures the “aurora umbrella” effect I envisioned, with vibrant greens and hints of red contrasting beautifully against the dark silhouette of the Black Church. The shape and color of the aurora are what make the image truly stand out for me.

Looking back, the biggest lesson was that it’s nearly impossible to both fully experience and perfectly capture such a dynamic event. There’s always a tension between being present in the moment and focusing on the shot.

If I could change one thing, it would be having more control over the light pollution from nearby vehicles. Shooting in complete darkness would have been ideal.

My advice to anyone photographing the aurora in Iceland — or anywhere similar — is to invest in a sturdy tripod and a fast lens. Be prepared for the weather; it can be harsh depending on where you are. And be ready to improvise. Sometimes you have to make quick decisions to get the shot, just like I did with the panorama.

See more of Navaneeth Unnikrishnan’s photography.

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The post How to Photograph the Northern Lights Over Iceland’s Black Church appeared first on Outdoor Photographer.

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