Few images capture the energy of a city like a long exposure of traffic at night. Headlights and taillights stretch into smooth ribbons of white and red, flowing past glowing towers. It looks complicated, but with the right settings, anyone with a camera and tripod can capture it.

“Light trails are about patience,” says Brooklyn photographer Marcus Hale, who often shoots from bridges and overpasses. “You set up, you wait for the traffic, and you let the camera do the magic.”

Settings And Setup

Hale uses a sturdy tripod and sets his camera to manual mode. A good starting point is ISO 100, an aperture of f/8 to f/11 and a shutter speed between 10 and 30 seconds. The narrow aperture keeps the skyline sharp and turns streetlights into small starbursts.

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He uses a remote shutter release or the camera’s two-second timer to avoid shake. Turning off image stabilization when on a tripod also prevents blur. Hale also recommends experimenting with different shutter speeds. Shorter exposures of five to ten seconds create shorter, more defined trails, while longer exposures of 30 seconds or more produce smooth, continuous ribbons of light. Some photographers use bulb mode for exposures of several minutes, capturing multiple waves of traffic. “Every exposure looks different,” he says. “That is part of the fun.” For extra creativity, try including moving buses or trains, which create thicker bands of light, or shooting from a spot where traffic flows in both directions to capture both white headlights and red taillights.

Finding The Spot

Look for locations where a busy road curves or leads toward a skyline. Elevated viewpoints, such as pedestrian bridges or parking garages, provide the best angles. Always prioritize safety and never shoot from active roadways.

Blue hour, shortly after sunset, is ideal. The sky still holds color, which balances the bright lights of the city. “Full darkness can look flat,” Hale notes.

In editing, adjust white balance to keep the sky a natural blue, lift shadows slightly and add a touch of contrast. “Do not overdo it,” Hale advises. “The light trails are already dramatic. Let them shine.”

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