The Best Way to Shoot Very Long Exposure Photography

I've recently changed how I do my very long exposures (greater than 30 seconds up to minutes), so I thought I would share my new technique with you.

Why Use Very Long Exposures?

Most cameras limit you to a maximum exposure time of 30 seconds before requiring the use of Bulb mode, where the shutter remains open for as long as you physically hold down (or electronically trigger) the shutter release. This restriction makes sense for many shooting situations where you want blur some movement, but it introduces complexity for anyone wanting to pursue truly long exposures.

A 30-second exposure is rarely enough to fully blur moving water on the sea or to create smooth, streaked clouds in broad daylight. In practice, the waves still retain detail and clouds show only minimal movement, leaving the final image with more texture than the truly ethereal effect many photographers seek; achieving that serene, glass-like quality in water, or pronounced movement streaks from clouds, generally requires an exposure lasting several minutes.

How I Used to do Very Long Exposure Photography

For most of the time since I became a photographer, achieving very extended exposure times involved relying on Bulb mode, which allows the shutter to remain open for as long as the shutter button is pressed (usually using a remote shutter release so as not to move the camera).

When working in daylight, I stacked multiple neutral density (ND) filters to dramatically reduce the light entering the lens. This setup made it possible to capture long exposures even in bright conditions, but it came with more than a few challenges.​

First, calculating the correct exposure time became an exercise in mental arithmetic. Each ND filter reduces exposure by a specific number of stops, so combining them meant carefully working out exactly how long you’d need the shutter open to avoid under- or overexposure. Usually, this meant pre-calculating the baseline exposure, applying the combined filter effect, and working with very long timings—sometimes several minutes.

To trigger and end the exposure, a remote shutter release was essential. Pressing the camera’s shutter directly risked introducing vibration, so a remote ensured a steadier result. Often, exposures lasted for minutes at a time. This process, though effective, was highly sensitive to any external movement—whether from the tripod, passing people, or wind. Even a small vibration or nudge partway through would ruin the entire shot, forcing a restart.

Overall, while Bulb mode and multiple ND filters allowed for creative possibilities, the process was tricky and unforgiving. The need for precise timing, remote releases, and total stillness made the technique difficult to master and prone to errors.

How I Now Achieve Very Long Exposures

I now use a new technique for very long exposures, and it has many advantages compared to the old, more cumbersome approach. Rather than stacking several ND filters and working out complicated exposure times, I simply use one high-quality 10-stop ND filter during daylight. This, combined with my camera’s exposure meter, lets me reliably set a single well exposed 30-second shutter speed. To minimise the risk of introducing camera shake, I use the 2-second self-timer, ensuring my hands are nowhere near the camera when the exposure starts. 

Once I’m satisfied with the result from the first long exposure, I switch to the interval shooting function on my Sony A7RV, which can automatically take a pre-set number of 30-second exposures, sequentially — usually about ten in a row. If your camera lacks this function, you can easily replicate the process using the timer and manually starting each shot.

Back at my computer, I review the series of exposures and delete any with unwanted blur or movement. The sharp frames are then merged in Photoshop to create a composite that replicates an extended exposure time—often several minutes in total. This new method offers distinct benefits over single lengthy exposures or the old bulb mode technique:

• Blurred or unusable frames can be discarded without losing the entire effort.​

• You can vary the number of exposures to blend, providing granular control over the smoothing or streaking effect.​

• If you prefer a subtler result, you can simply use one or a few of the exposures rather than merging all of them.​

• Noise is substantially reduced, and you’re far less likely to encounter technical problems or ruined images compared to traditional single-shot long exposures.

  
  

How to Merge Multiple Exposures into One Long Exposure in Photoshop

1. Import All Exposures Into Photoshop Go to File > Scripts > Load Files into Stack. In the dialogue box, click Browse and select all the image files you want to merge. Tick “Attempt to Automatically Align Source Images” in case there was some slight movement between the shots.

2. Select All Layers Once your images have loaded as layers, go to the Layers panel, click the top layer, hold Shift, and click the bottom layer so every layer is highlighted.

3. Convert Layers to a Smart Object Right-click on the highlighted layers and choose Convert to Smart Object. This puts all layers into a single smart object for non-destructive editing.

4. Set Stack Mode to Mean or Median Go to Layer > Smart Objects > Stack Mode and select “Mean” for the classic smooth long exposure effect, or "Median" if you want to minimise the impact of people or birds passing through your shot.

5. Export Your Finished Image Save your merged exposure using File > Export > Export As, choosing your preferred format. This can then be imported into Lightroom or similar editing software for final editing.

   
   

Other Software Options

• Affinity Photo supports similar stacking operations with its Stack feature.

• Helicon Focus and StarStaX are popular for stacking and blending exposures, particularly for star trails or timelapses.

• ON1 Photo RAW and Luminar Neo also provide exposure blending tools, suitable for merging long exposure sequences.

Each can perform multi-image stacking with comparable results, though interfaces and techniques may vary.

Some Examples

Below are a couple of examples of very long exposure photos that I took on my trip out with the camera last weekend. Each photo is a combination of around 6-8 exposures, each around 30 seconds. After combining, the final editing was done in Luminar Neo.

Want some help improving your photography skills?

Don't forget that if you want some direct help with your photography, I offer a range of 1-2-1 photography courses for Devon based folks. If you're not nearby then I also  offer residential workshops for beginner photographers or improving photographers.

About Gary Holpin Photography

As a professional photographer based in Devon, my journey began along the stunning South West Coast Path. Disappointed with my initial attempts to capture its beauty, I embarked on a second 630-mile journey, this time dedicated to mastering photography. Today, I'm a nationally acclaimed photographer with award-winning landscape photos.

I specialize in providing top-notch property photography, business photography, and drone photography services to businesses across the South West. Additionally, I offer comprehensive photography training courses tailored for both businesses and individuals. Whether you're looking to enhance your corporate image or improve your personal photography skills, my training programs are designed to help you capture stunning images.

As an award-winning and widely published photographer, I frequently share my passion for photography and Devon through engaging talks at local camera clubs and community groups. My expertise spans the entire South West region, ensuring that clients from Devon, Dorset & Somerset benefit from high-quality photography services and training.