I had never realized before that a photograph of a partial solar eclipse behind lots of colorful clouds at sunrise looks so much like a shark attack. Especially if you’re watching it over the Pacific Ocean with about 40,000 other people in Cairns, Australia.
See the fin?
In my nine eclipse expeditions, I have never seen these unique atmospheric conditions before. Traditional knowledge suggests it’s best if your solar eclipse view is cloudless, with the sun’s corona surrounding the moon’s black disk at totality. But if clouds spoil that view, I discovered that dramatic images can hide in the cloud decks, especially if the clouds are thick enough to filter the sun’s light (effective neutral density of four or greater) and allow a camera to capture images without a solar filter. (Safety note: We kept solar filters ready at a moment’s notice if conditions improved. We also viewed only through the LED display of the digital camera, not through the viewfinder.)
The museum’s solar eclipse travelers had a front row seat from the balcony of their rooms on the 11th floor of our Australia hotel. Boats had anchored in the harbor below us, and eclipse watchers camped on the boardwalk by the water. The event became a dynamic interplay of clouds and the partially eclipsed sun. Sunrise began with decks of clouds drifting between the sun and us. We aimed cameras mounted on telescopes to the place where we knew the sun would appear when the clouds parted.
The view from out hotel balcony at 6 a.m., when the sun was just clearing the peninsula’s tallest peaks. The Takahashi FCT-76 is on the left and the FS-60 is on the right, riding on a Sky Patrol equatorial mount.
Rays of sunlight through cloud decks also showed the sun’s location. As the beams moved across the land, we knew it would soon be our turn to see through a tiny thinning of the clouds just before totality. As totality approached, the sky gradually darkened and the temperature dropped. The city lights below us had just turned off at sunrise and now flickered back to life. Flash bulbs blinked over the city as photographers hoped in vain to light a path through the clouds. For the two minutes of totality, the rays of sunlight vanished, the clouds became black shadows and a sunrise glow illuminated the horizon. Then daylight returned, and we looked to see if our cameras had captured anything our eyes had missed. That’s when we discovered the shark fin shapes of the partially eclipsed sun appearing to sail behind a fantastic display of pale hued clouds. Did we have the best view of totality? Maybe not. But in the interplay of thick colorful cloud decks, we were treated to a very rare unfiltered solar eclipse at sunrise.
Photographs tell the story better:
Here I’m focusing the Celestron 5 telescope. Next to me is the Takahashi FCT-76 and the Takahashi FS-60 is closest to the camera.
At about 6:20 a.m., the partially eclipsed sun peeks through the clouds. Photography through a Celestron 5 with focal reducer (focal length 800mm).
The shark’s fin is the sun’s disk, partially covered by the moon and by several banks of Earth clouds. Photography through a Celestron 5 with focal reducer (focal length 800mm).
At about 6:25 a.m., totality is just over 10 minutes away. The colors become more dramatic as the sunlight level drops. Photography through a Celestron 5 with focal reducer (focal length 800mm).
The camera cuts off most of this shark fin, but notice the sunrise colors lingering in the clouds. Photography through a Takahashi FCT-76.
At about 6:30 a.m., the clouds and colors become dramatic as totality nears.
Photography through the Takahashi FS-60 at 600 mm focal length.
Four and a half minutes later, as totality approaches, the clouds darken, with only the closest illuminated by the last rays of the sun’s photosphere and perhaps the first faint glows of the corona. Photography through the Takahashi FS-60 at 600 mm focal length
At 6:38 a.m., totality began and the clouds obscured the fainter corona. The sky became as dark as a full moon night with sunrise colors streamed across the horizon.
