Long-exposure photography isn’t just for tripods and perfect lighting conditions. With the right technique, you can create surreal, motion-filled images handheld, even on a rainy day. This can turn an otherwise uninspiring scene into something captivating.
Coming to you from Micael Widell, this creative video explores how to capture handheld motion blur images using slow shutter speeds. Setting his camera to shutter priority mode, he experimented with shutter speeds ranging from 0.3 to 1 second. By following moving subjects, such as pedestrians in the rain, he achieved striking effects where the subject remained relatively sharp, while the background blurred into a dreamlike abstraction. Image stabilization was enabled on his camera, though he notes it may not make a noticeable difference for this type of shot.
One challenge Widell encountered was overexposure when including the sky in his compositions. At long shutter speeds, even at the narrowest apertures and lowest ISO settings, bright areas could easily blow out. While he managed to work around this on an overcast day, he suggests using an ND filter, like an ND8, in future shoots. This filter reduces light by three stops, making it easier to balance exposures in brighter conditions.
Widell emphasizes that black-and-white processing often enhances the aesthetic of these motion blur shots. The simplicity of monochrome allows the motion and negative space to take center stage, while color can sometimes feel distracting in gray or dull weather. He also shares a quick editing tip to improve contrast in black-and-white images: adjusting the curve to deepen blacks and brighten whites. This small adjustment can make a big difference in making your photos look polished and intentional.
The most striking aspect of this approach is how motion blur transforms the composition. By simplifying the scene and creating large areas of negative space, the blur guides the viewer’s eye and adds a sense of movement. It’s a technique that mimics the softening effect of shallow depth of field but adds an entirely different dimension to the image. Check out the video above for the full rundown from Widell.
This is such an inspiring take on long-exposure photography! The idea of going handheld and embracing motion blur opens up so many creative possibilities, especially in less-than-ideal conditions like rainy days. It’s a reminder that you don’t need perfect light or a tripod to create compelling images—just the willingness to experiment and see the potential in movement.
I love how Micael Widell uses motion blur to simplify compositions and direct the viewer’s eye. The interplay between sharpness and abstraction creates a dynamic tension that feels both surreal and intentional. His tip about using black-and-white processing is spot on; stripping away color allows the motion and shapes to take center stage, making the images even more striking.
The challenge of overexposure in these situations is real, and it’s great to see ND filters suggested as a practical workaround. It’s amazing how small adjustments, like adding an ND8 filter or tweaking the contrast curve in post-processing, can make such a difference in achieving the desired look.
This technique is a fantastic reminder to think outside the box and use tools like slow shutter speeds in unconventional ways. It’s a great way to elevate everyday scenes into something truly artistic. Can’t wait to give this a try—thanks for sharing!
Paul Tocatlian
Kisau Photography
www.kisau.com
Very good text and video! I am captivated by this genre and keep experimenting a lot with it. However, I disagree with the article and the author on one point.
Yes, converting to black and white improves aesthetics, but this only happens because the photo wasn’t strong enough to work in color.
ICM in color becomes much more interesting, but the task also becomes exponentially harder. You not only have to capture the movement but also masterfully incorporate the color. Finding the proper moment and movement for it is incredibly challenging, yet utterly fascinating.