Eugen Kamenew discusses the inspiration and techniques behind his unique blend of astrophotography and anthropology
“I inherited my fascination with astrophotography from my parents,” begins Eugen Kamenew, an award-winning photographer based in Germany. “My father introduced me to the world of star charts at an early age. He asked me to study and memorise the most famous constellation of the Northern Hemisphere, the Great Bear (Ursa Major), using a star atlas.
“In the early morning hours, as he was taking me to kindergarten, he stopped and asked me to look up at the sky. There, at the zenith in the blue twilight sky, I recognised the constellation of the Great Bear. Realising that the seven stars depicted in the astronomy book actually existed was a life-changing experience for me,” he recalls.
“On my 11th birthday, I received a special gift: an analogue camera. My mother had no idea her gift would determine my future path. The love of astronomy my father instilled in me, combined with the opportunity to take photographs, resulted in my great passion for astrophotography.”
Developing a style
From those initial moments of inspiration, Eugen’s eyes were opened wide to the wonders of the night sky. “Two major astronomical events profoundly impacted my life,” he explains. “In 1997, the spectacular Comet Hale-Bopp appeared in the night sky and, two years later, a total solar eclipse was visible across Europe. I felt a deep desire to capture these rare astronomical phenomena forever. Astrophotography was the way to accomplish this goal.”
To achieve this, Eugen committed to improving his grasp of photography. “In Honolulu, at Hawaii Pacific University, I studied photography and cinematography. And in Germany, I earned an academic diploma in sociology from Philipps University of Marburg. In my work as an astrophotographer, I often focus on indigenous people in a cosmological context.”
This aspect of Eugen’s work is what sets him apart from many of his peers. “For me, a good astro photo has its own narrative,” he asserts. “It tells a specific and unique story. Every human is a storyteller in their own way, which is one of the reasons why astroscape photography with a human element is essential to me. Deep-sky and star-trail photos are beautiful but they often feel soulless and lifeless without humans as a photographic motif.
“In 2014, I was awarded first place by the Royal Observatory Greenwich in the People & Space category for Astrophotographer of the Year. Since that moment, I have realised that ‘people and the night sky’ truly defines my photographic style.”
Astrophotography fieldcraft
“Astrophotography is hard work and requires discipline,” describes Eugen. “As a total solar eclipse chaser, I travel all around the world, which demands extensive planning, strategy, organisation, finances, time and energy investment. If everything goes well, I may stand in the moon’s shadow for only a few minutes to photograph a black sun.”
As with most outdoor photographers – and especially those who travel extensively – there is one commonly recurring issue. “The weather is always the main challenge,” Eugen notes. “To increase the chances of witnessing a unique astronomical event, I consult climate statistics before making decisions. Ideally, I rent a car so I can move to a more promising location if necessary.”
Choosing dependable equipment is another key consideration. “Many Fujifilm cameras and lenses are weather-resistant and can easily endure temperatures down to -10°C,” Eugen points out.
“During my expedition to the total solar eclipse on 20 March 2025 in Svalbard, temperatures dropped at night to -33°C. Even under such harsh conditions, the cameras functioned continuously in time-lapse mode. For all my lenses in sub-zero temperatures, I use lens heaters powered by power banks to keep the lens surfaces free of ice.”
A variety of other Fujinon lenses make it into Eugen’s kitbag depending on the specifics of his location and intended subject.
“In Swedish Lapland, I lead astrophotography workshops focused on capturing the northern lights. For the aurora borealis, I use wide-angle Fujifilm lenses such as the FUJINON XF8-16mmF2.8 R LM WR and the XF14mmF2.8 R.
“On the Canary Island of Tenerife, I conduct astrophotography workshops with a main focus on the Geminid meteor shower. To capture fast-moving meteors travelling at 35km/s, fast prime lenses are essential. My favourites are the FUJINON XF16mmF1.4 R WR and the XF18mmF1.4 R LM WR.”
Red sprites
“Comets are definitely my favourite celestial objects,” Eugen enthuses. “They are wanderers among the stars – unexpected visitors travelling through our solar system. Especially rare great comets, which are true gifts from heaven.”
However, it’s another rare spectacle that represented Eugen’s photographic white whale for many years.
“It took me nearly a decade to finally capture red sprites,” he explains. “These mystical phenomena are a type of transient luminous event (TLE), short-lived electrical phenomena occurring in the atmosphere. Red sprites reach altitudes of about 90km, almost at the edge of space.
“They are usually invisible to the naked eye from the ground and are best captured with low-light cameras, often by astronauts and pilots. I captured my first red sprite using a FUJIFILM X-H1 camera with a FUJINON XF23mmF1.4 R LM WR lens, working wide open at ISO 8000 with a two-second exposure.
“Once I understood how to photograph these phantoms of the night, it did not take long to capture the next one. This time, I used the FUJIFILM X-H2 with the FUJINON XF50mmF1.0 R WR lens. At ISO 10,000 and an astonishing F1.0 aperture, even fainter structural details of red sprites became visible.”
Fujifilm cameras for astrophotography
“Especially nowadays in astrophotography, we are experiencing a massive wave of faked images,” claims Eugen. “It is sad, but it seems that the audience often does not reflect on – or lacks the tools to recognise – whether an image is real or not.
“My approach to photography has always been, and will always be, based on authenticity. Our home planet and the nearby cosmos are so astonishingly beautiful that there is no need to make them more perfect than they already are. In a nutshell, my approach is based on authentic photographic documentation, without any digital post-production manipulation.
“In post-production, I work with straight-out-of-camera images and never use compositing. As a documentary photographer, my goal is to capture only what truly exists. Fujifilm’s exceptional image quality often makes post-processing unnecessary,” he adds, “and the universe itself is so breathtakingly beautiful that there is no need to add anything.
“In astrophotography, there is one fundamental rule: collect as many photons from distant stars as possible. Therefore, I always work with wide-open apertures and exposures of at least ten seconds. Depending on the darkness of the location and the level of light pollution, ISO settings typically range from 3200 to 10,000.
“All Fujifilm cameras have excellent noise performance and are more than suitable for astrophotography. They allow me to reveal invisible dimensions and go beyond what the human eye can perceive.
“I also use these cameras for the legendary Film Simulations, which emulate the look of classic analogue film stocks. My favourite simulation is Velvia, which produces vivid and bold colours. Recently, I have also discovered ETERNA. It was designed for video and cinematic colour grading, and its flat contrast preserves highlights and shadows.”
The fact these tools are available at a consumer level is good news for those looking to start photographing the night sky, claims Eugen. “There has never been a better time to take the first step into astrophotography than in the digital era. Every Fujifilm camera – whether X Series or GFX System – opens the door to discovering the cosmos wide open.”
In spite of the enormity of his chosen subject, Eugen notes that his passion for astrophotography has been a grounding presence in his life.
“There is common agreement among most astronomers that the vastness of the universe is so inconceivable that it makes humans feel insignificantly small,” he notes. “Although there are more stars in the universe than grains of sand on all the beaches on Earth, I don’t feel lost. Quite the opposite – I feel connected to everything I can capture with my camera.”
