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Home → Photography Techniques

Blue Hour Photography Guide

When the sky turns blue, photographers come out to play

By Spencer Cox 10 Comments
Published On July 18, 2019

Blue hour makes your photos stronger and more emotional in many cases. Here, a blue iceberg looks very dramatic under blue hour light.
NIKON D800E + 24mm f/1.4 @ 24mm, ISO 100, 0.6 seconds, f/16.0

The “blue hour” is one of the most interesting and emotive times of day to capture photos. I’ve taken many of my favorite pictures at blue hour – actually, even more than I’ve taken at sunrise or sunset. But what is blue hour, and how can you make the most of it? I’ll go through some of my top tips and recommendations below.

Table of Contents

  • What Is Blue Hour?
  • Why Take Photos During Blue Hour?
  • Recommended Camera Settings for Blue Hour Photography
  • Conclusion

What Is Blue Hour?

Blue hour is simply the time of day before sunrise and after sunset when the atmosphere has a deep, dark blue color.

Like the famous “golden hour,” blue hour is not really an hour. Its exact length depends on your latitude, time of year, and weather conditions. The important thing is that the sun must be a decent way beneath the horizon, and the sky can’t have too many sunrise or sunset colors – mainly just blue.

Blue hour actually lasts much longer than many people think. In my experience, on a clear day, blue hour includes at least civil and nautical twilight – and the tail ends of astronomical twilight as well. This means you can easily capture stars during the edges of blue hour, giving the Milky Way a bluish appearance:

Blue hour lasts longer than most people think. You can even photograph the Milky Way during Blue Hour, like in this picture.
NIKON D800E + 20mm f/1.8 @ 20mm, ISO 3200, 20 seconds, f/2.2

Despite its usual dusty brown color:

The Milky Way is actually a dusty brown color during the middle of the night, like in this photo.
Foreground: NIKON Z 7 + NIKKOR Z 24-70mm f/4 S @ 68mm, ISO 400, 294 seconds, f/4.0
Milky Way (with star tracker): NIKON Z 7 + NIKKOR Z 24-70mm f/4 S @ 24mm, ISO 64, 860 seconds, f/4.0

Why Take Photos During Blue Hour?

There are plenty of reasons why blue hour is such an excellent time of day for photography.

First, not as many people take photos at blue hour compared to sunrise and sunset. This gives you the chance to capture unique, compelling images and photograph popular locations with minimal or zero crowds.

Second, blue hour is a great way to convey certain emotions in your photos that may otherwise be tricky to capture. Images from blue hour are generally dark and high in contrast. The color blue also carries its own range of emotions: serenity, sadness, peace, and so on. These emotions do not work for every photo, but if your scene demands darkness and blue tones, it’s hard to beat this time of day.

This landscape photo is so intense because of the dark blue lighting and high contrast.
NIKON D800E + 24mm f/1.4 @ 24mm, ISO 100, 8 seconds, f/16.0

Third, along the same lines, blue hour simplifies your photos. Unlike sunrise and sunset, which usually have a wide range of colors for you to capture, images taken at blue hour are more monotonal. Even colorful subjects like green trees and red rock formations take on a blue hue at the right times of day. Personally, I am a big proponent of simplifying your photo’s emotional message for the best possible results – and the unifying power of blue hour is a great way to accomplish this for yourself.

Fourth, there is one important situation when portions of your photo do not turn blue during the blue hour: when the image has other sources of light. This is especially true with artificial light from high-pressure sodium bulbs or other warm color temperature lights. Quite simply, your photo in cases like this (largely cityscape photography) can have a beautiful orange/blue color contrast that gives the image some punch. However, you’ll need to time this pretty carefully; there is usually only a brief window when the sky and the city lights are about the same brightness, making for the most even exposure between them.

Blue hour can be especially beautiful for cityscape photography, because artificial light balances well with the ambient brightness.
NIKON D7000 + 105mm f/2.8 @ 105mm, ISO 1600, 1/15, f/2.8
This is another example of blue hour in a city, where the yellow lights create great color contrast with the sky and other blue areas.
NIKON Z 7 + 20mm f/1.8 @ 20mm, ISO 64, 13/10, f/8.0

Those are just a few reasons why blue hour photography can be so interesting. Below, I’ll list my preferred camera settings for blue hour photography, so you can avoid making technical errors and harming your photo’s image quality.

Recommended Camera Settings for Blue Hour Photography

Despite all the benefits of taking pictures during the blue hour, you need to be careful with your camera settings when you do. When a large portion of your image is the same color – in this case, blue – it can be difficult to find the right exposure that doesn’t blow out any details. On top of that, the lack of light during blue hour may necessitate more extreme camera settings than you’d otherwise use.

First, use a tripod – something I consider essential for most sunrise and sunset photography, let alone even darker conditions like the blue hour. If you don’t use a tripod for blue hour photography, you will be stuck with blurry photos from sub-optimal shutter speed, aperture, and ISO.

This landscape photo from Glacier National Park demonstrates the ideal camera settings for blue hour photography. Here, I needed an 8-second exposure, which is why you should use a tripod for taking pictures before sunrise.
Blue hour is easiest to photograph from a tripod, so you can use longer exposures like this.
NIKON D800E + 20mm f/1.8 @ 20mm, ISO 100, 8 seconds, f/11.0

Beyond that, a critical step is to focus properly. Often, blue hour will be so dark that your autofocus system won’t work properly. If this is the case, try to find a bright object for your camera can lock onto, like a well-lit building or the moon. If you are focusing on something closer, the easiest solution may just be to shine a flashlight on your subject. And, if all else fails, manual focus is the way to go. (Even if you focus automatically, you may want to magnify your photo in live view to verify that the camera focused well.)

After focusing, the first setting you should work with is aperture. Pick an aperture that results in the optimal depth of field for your intended shot, with the sharpest possible photo overall. Our introduction to f-stop will help if you are unsure.

Next, set your ISO to its base value, generally ISO 100. Your goal is to capture as much light as possible via shutter speed and aperture rather than brightening your photo with ISO. You’ll get better image quality that way.

Finally, you’ll need to select a shutter speed that gives you the right exposure. Start by following your camera’s meter and then looking at your histogram to see if anything in the image is overexposed. Don’t just look at the overall histogram, but also the separate histograms for each color channel; blowing out one color channel is almost as bad as blowing out all three.

You need to be careful with your exposure when taking pre-dawn photos. It is easy to overexpose your image, even in just one color channel. But underexposure is also a problem, since blue hour light is so high in contrast.
NIKON D7000 + 17-55mm f/2.8 @ 17mm, ISO 160, 30 seconds, f/8.0

Because blue hour involves some pretty dark environments, it is possible that you will max out your camera’s shutter speed to 30 seconds, or whatever your camera’s limit may be. In that case, use a remote shutter release in combination with your camera’s Bulb Mode to take extra-long exposures. Or, if you are taking pictures of the stars during blue hour, check here for our recommended Milky Way photography settings.

Lastly, a note about exposure: It is easy to end up with dark silhouettes in your blue hour photos. In cases like that, you may be tempted to use a longer exposure that slightly blows out highlight details in exchange for brighter shadow regions. But that’s usually a mistake. Instead, it is much easier to recover near-black shadows than overexposed highlights in post-processing (of course, assuming you are shooting raw). In really tricky conditions, you can always bracket a series of photos and create an HDR to get more highlight and shadow detail. But whatever you do, make sure to get at least one photo of the scene where zero important highlights are blown out.

Conclusion

Blue hour photography requires some specialized camera settings and care, but that’s a small price to pay for such interesting photographs and strong emotions.

At the end of the day, of course, blue hour lighting is just one tool at your disposal. The emotions of blue hour do not work for each scene and every photo. But when they do, they can be pretty spectacular indeed.

I hope you enjoyed this article, and let me know below if you have any questions related to blue hour photography. It’s amazing how many photographers will leave a beautiful scene after sunset and avoid blue hour entirely. Hopefully, now you won’t be among them!

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Filed Under: Photography Techniques Tagged With: Blue Hour, Landscape Photography, Light, Lighting, Sunrise, Sunset

About Spencer Cox

I'm Spencer Cox, a landscape photographer based in Colorado. I started writing for Photography Life a decade ago, and now I run the website in collaboration with Nasim. I've used nearly every digital camera system under the sun, but for my personal work, I love the slow-paced nature of large format film. You can see more at my personal website and my not-exactly-active Instagram page.

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Tom O'Dwyer
Tom O'Dwyer
May 8, 2023 4:28 am

What white balance setting should you use? and if auto WB and the scene is unnaturally blue, what can you do. I took a few photos at the blue hour recently and my camera, a Pentax K70 didn’t really seem able to get the WB right. All the best, Tom

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Spencer Cox
Spencer Cox
Author
Reply to  Tom O'Dwyer
September 16, 2024 12:50 pm

You should ideally be shooting in RAW not JPEG, and then you can adjust the white balance to your heart’s content in post-processing software later.

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Christopher James Hall
Christopher James Hall
July 20, 2019 11:12 pm

I love that moment just before sunrise. Not quite blue hour more the transition between blue and golden hour. The range of colours you get is amazing.

I also often use an ND filter to ensure a long exposure.

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Spencer Cox
Spencer Cox
Author
Reply to  Christopher James Hall
July 23, 2019 8:21 pm

That’s also one of my favorite times of day – more pink and orange colors from the upcoming sunrise, but not yet losing subtlety from the blue hour. Sunrise itself and the colors immediately afterward are sometimes far too contrasty and chaotic for typical images.

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Vukasin Milosevic
Vukasin Milosevic
July 19, 2019 9:29 am

Great article with inspiring photos!
I do have one question about tricky situations where blowing out highlights is possible. How to properly bracket photos in blue hour? Should I use same techniques (rules) as for a ‘regular’ sunset bracketing photography?

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Spencer Cox
Spencer Cox
Author
Reply to  Vukasin Milosevic
July 23, 2019 8:19 pm

Thanks Vukasin!

I would do the same as normal bracketing, although you may need to take more total bracketed photos at blue hour to deal with intense silhouettes. Like with ordinary bracketing, I wouldn’t go more than one stop of difference per exposure, or risk noisy areas when blending the HDR later.

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Richard Handler
Richard Handler
July 18, 2019 10:23 pm

Spencer, another fine short simple and direct article.

Question concerns the difference, or more accurately the similarity, between ISO 100 and ISO 200. Data I’ve seen for both FF and APS-C sensors in the popular Nikon, Sony, Canon, Fuji cameras suggests there will not be perceptible, and hardly even measurable, increase in sensor noise going from 100 to 200. Can you see any difference in your photos between those shot at ISO 100 and those at 200?

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Nasim Mansurov
Nasim Mansurov
Admin
Reply to  Richard Handler
July 18, 2019 10:59 pm

Richard, you won’t see much difference between ISO 100 and 200, sometimes even between ISO 100 and ISO 800. The main reason for shooting at base ISO is dynamic range. Dynamic range is the best at the base ISO of a camera. Even one stop can diminish dynamic range quite a bit, so you have to be careful. My recommendation with ISO is – always shoot at base ISO, unless you absolutely have to increase it to reduce motion blur, or when shooting hand-held.

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Richard Paul Handler
Richard Paul Handler
Reply to  Nasim Mansurov
July 19, 2019 6:37 pm

Nasim, thank you.

0
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Spencer Cox
Spencer Cox
Author
July 18, 2019 8:44 pm

Hi there, it’s Spencer. I’m traveling at the moment, and I won’t be able to respond to comments on this article for now. I’m still reading each one and will answer eventually if you have questions!

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