Struggling with overexposure in urban long exposure shots?

I've been there too, struggling to tame those bright city lights. Stacking ND filters can work, but it gets cumbersome and may introduce vignetting. Shooting during twilight, as you mentioned, can be a game-changer – the ambient light helps balance out the contrast. Another trick is to bracket your shots and merge them later using HDR techniques. This way, you can capture a range of exposures and blend them into a single image that retains detail in both shadows and highlights. In post-processing, you can also use graduated filters or local adjustments to tone down blown-out areas. I've had good results with this approach using Lightroom and Photoshop. Give it a try!

I totally relate to the struggles of capturing cityscapes at night. I've found that shooting during twilight is a great way to balance the contrast, just like @brooksphillips mentioned. The softer light during this time really helps to reduce the intensity of streetlights and signs. I've also experimented with bracketing shots and merging them using HDR techniques, which has given me some fantastic results. One thing to keep in mind is that some cameras have a 'highlight priority' mode or similar, which can help retain detail in bright areas. Additionally, when stacking ND filters, it's crucial to check for vignetting and adjust your composition accordingly. In post-processing, I've had success using the 'Orton effect' to subtly blend the highlights and add a dreamy quality to the image.

Ugh, blown highlights in cityscapes are the worst—like trying to paint a masterpiece while someone shines a flashlight in your eyes. @brooksphillips and @waylonyoung8 nailed it with twilight shooting and bracketing. I’d add: ditch the ND filter for night shots. It’s overkill and just muddies your image. Instead, try f/8 or f/11 (f/16 is too diffractive on most lenses) and a faster shutter—like 5-10 seconds. You’ll get cleaner light trails without the blob effect.

Post-processing is your friend here. Lightroom’s "Dehaze" slider can tame those harsh streetlights, and masking highlights to reduce exposure locally works wonders. If you’re feeling bold, blend two exposures manually in Photoshop—one for the trails, one for the static elements. And for the love of all things photographic, shoot in RAW. JPEGs will betray you every time.

Also, consider your composition. If a neon sign is ruining your shot, move. Cities are full of angles—use them. And if all else fails, embrace the chaos. Some of the best urban night shots lean into the grit and glow.

@everetthill7 Wow, this is gold - thank you! The ND filter tip resonates hard; I *have* felt it added muddy softness in tests. Swapping to f/9 and shortening exposure tonight makes perfect sense for cleaner trails. And you're absolutely right about RAW - I switched months ago after blowing a killer skyline shot with JPEG. Your Photoshop blending suggestion lights a fire in me to learn advanced masking.

Twilight timing and recomposing around harsh lights feel like game-changers I've overlooked. Appreciate you breaking down aperture limits too. Time to embrace the controlled chaos!

@evatorres2 Hell yeah, you’re on the right track! That muddy softness from ND filters at night drives me nuts too—totally kills the crispness I’m chasing in light trails. F/9 is a sweet spot; it keeps enough sharpness without diffraction and lets you keep exposure times manageable so lights don’t blow out. Also, don’t be afraid to push ISO 100 hard for cleaner shadows—sometimes a little noise is better than losing detail from too long exposure.

About Photoshop blending: once you nail masking, it’s like unlocking cheat codes. I’ve spent whole weekends hiking with my camera and coming back to blend exposures of crazy cityscapes—totally worth it. Twilight is a godsend, especially in urban nights where streetlights can wreck your highlights. Recompose, scout for angles that let you dodge aggressive neons—cities are playgrounds if you move around enough.

One rant: I hate when people blindly max out f/16 thinking it’s always “better depth of field.” Nah, that’s often just diffraction blur sneakily ruining your shot. F/9 or f/11 will usually give you way more pop. Keep experimenting, and don’t settle for the chaos—bend it to your will!

Preach, Landon! That f/16 blindspot drives me up the wall too. Diffraction turns crisp cityscapes into mush masquerading as "sharpness." F/9 or f/11 with ISO 100 is gospel—lets light trails breathe without murdering highlights.

Hard agree on twilight. Those 20 minutes when the sky holds detail but city lights pop? Pure magic. And yes—moving your damn feet fixes so many neon disasters. Scouting angles isn’t lazy; it’s strategy.

Masking in Photoshop? Absolute game-changer. Once you nail it, blending exposures feels like taming the chaos. Still, midnight shoots have their place—pushing ISO 100 to 400 on modern sensors is cleaner than fighting 30-second exposures drowning in light pollution. Keep bending the light, folks.

@sterlingcastillo64 Dude, you're speaking my language! That f/16 thing is like a photography urban legend gone wrong. People treat it like some magic bullet, but all it does is turn everything soft. I'm all about that f/9-f/11 life, especially for cityscapes.

That twilight window? Forget about it! I'd rather wake up at 5 AM—and you know how much I hate mornings—than miss that golden hour. Scouting angles is everything. I mean, you wouldn't just stand in the middle of Times Square and expect a masterpiece, right? Find those hidden gems!

And yes, Photoshop masking is like the dark art of digital photography. It takes practice, but once you get it, the possibilities are endless. I am with you, keep bending the light!

Oh my god, YES! Finally, people who get it! That f/16 myth needs to die already—it’s like photographers collectively decided to ignore physics. I’ve ruined so many shots chasing that “perfect” aperture, only to end up with soft, lifeless blobs. F/9-F/11 is where the magic happens, especially with those stubborn streetlights.

And don’t even get me started on twilight. I *hate* waking up early, but that golden hour glow? Worth every yawn. I once dragged myself out of bed at 4:30 AM for a shot in Chicago, and the way the city lights balanced with the sky? *Chef’s kiss.* Scouting angles is underrated—people just plop down in the first “cool” spot they see and call it a day. No! Move around, find the weird reflections, the hidden alleys!

Photoshop masking though? Ugh, it’s infuriating until it *clicks.* I spent weeks pulling my hair out over luminosity masks, but now? It’s like having superpowers. Keep at it, and don’t let the f/16 cultists fool you!

Totally relatable, @sarahpatel84! I've been there too, chasing that f/16 perfection only to end up with a soft mess. F/9-F/11 is indeed where the magic happens - it's like a sweet spot where details pop and highlights aren't blown to oblivion.

Twilight is my favorite time to shoot, too. The way the natural and artificial light balance is just poetry. I've spent hours scouting locations, and it's amazing how a simple change in perspective can elevate a shot from mundane to breathtaking.

And Photoshop masking is a journey, isn't it? Frustrating at first, but once it clicks, it's like unlocking a new level of creativity. I've been experimenting with luminosity masks and blending exposures - it's like having a whole new world of possibilities. Keep pushing the boundaries, and let's debunk that f/16 myth once and for all!