Four Ways To Make Moody Photos

Four Ways To Make Moody Photos

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One of the things that elevates the work of the best photographers above that of everybody else is mood. Defining mood is a little tricky. Here’s my definition:

A moody photo is one where the light and composition combine with the subject to create an image that generates an emotional response from the viewer.

My dictionary says:

Giving an impression of melancholy or mystery.

An interesting definition – melancholy and mystery are powerful, emotional words.

Mood doesn’t happen by accident. Good photography is more than knowing how to use your camera, important though that is. You also need an understanding of composition and light. Your photos will get better (and moodier) as your appreciation of light and composition grows deeper.

There are principles you can learn to help you create moody photos. Here are some of my favorites.

1. Shoot in low light to make moody photos

This can be challenging but the efforts are worth it. Think of it backwards. What’s the worse light you can take photos in if your aim is to create mood? A really bad place to start is to take photos in bright midday light in the middle of summer. There’s a limit to what you can do with such high hard, bright light.

What’s the opposite of this? It’s low light. The sort of light you find at the ends of the day when the sun is rising or setting (the golden hour). It’s the blue light you get after the sun has set at dusk (the blue hour). The soft, beautiful, subtle light ideal for portraits that you find in the shade. Or the beauty of soft sunlight breaking through autumnal leaves at the end of the day.

Take the time to develop your understanding of the nuances of light and the way light affects the mood of your photos. You will be rewarded by better images that evoke strong emotional responses from the viewer.

I made the photo below at dusk, after the sun had set. The way the lights are reflected in the water adds to the mood of the photo. These can be more challenging conditions to work in. Here I needed to use a tripod and a long shutter speed (25 seconds). But the result was worth the effort – there’s something a little special about the quality of light at this time of day.

Moody landscape photo

2. Pay attention to the background

Like it or not, the background is an important element of most photos. Your subject may be stunning, but a distracting background weakens the composition.

Strong photos go further – the background works with the subject to make a better image.

There are two approaches to background. One is to use a wide aperture to throw the background out of focus. This is an easy technique to master and a popular one to use. It’s easiest if you own a prime lens (which have larger maximum apertures). I made the portrait below with an 35mm prime lens (APS-C) set to f3.2. I had the choice to use a wider aperture, but didn’t want to defocus the background completely.

Moody black & white portrait

Notice that the background is dark as well as out of focus. Dark tones are mysterious. The viewer has to fill in the gaps with their imagination. This helps add mood.

You can also get blurred backgrounds with zoom lenses by setting the widest aperture. Just remember these three principles:

1. Use the longest focal length of the zoom lens.
2. Get as close to your subject as possible.
3. Move the subject as far from the background as you can where possible (this mainly applies to portraiture as people are easier to move than inanimate objects).

The other approach is to use a narrow aperture to get the background in focus. The idea is to use a background that complements the subject and forms part of the story. It’s a technique that adds mood in a different way. You can think of the background as a setting for your main subject. What elements add mood to the photo?

In the photo below I set the aperture to f5, which was small enough to ensure that the background was in focus. The singer was sitting on the doorstep of her gypsy caravan, and it helps set the scene, tell a story and create mood. Imagine that instead she was sitting on a rock at the beach. The mood would be completely different. That’s why background and setting are so important.

Moody portrait

3. Do long exposure photography for moody photos

This applies mainly to landscape photos, although you can apply it to other subjects with a little imagination. Slow shutter speeds are really a result of shooting in low light, with a narrow aperture (for good depth-of-field) and using a low ISO setting (such as 100 to obtain the best image quality). In these conditions the required shutter speed will be anything from around 1/2 second to 60 seconds or more. You’ll need a good tripod and a cable release to keep the camera still throughout the exposure.

The result of slow shutter speeds is that anything that moves during the exposure becomes blurred. This creates mood, and it’s really effective whenever there is water or sea in the image (which is why so many photographers use long exposure techniques to take seascapes).

You can see that in the photo below, made with an 90 second exposure.

Moody long exposure photo


4. Convert to black and white for moody photos

This is another of my favorite techniques. Black and white photos have a timeless mood all of their own. Color is so strong that it is a dominant aspect of just about any color photo (more on that in a bit).

But strip away the color and you are left with the building blocks of any good photographic composition: line, shape, tonal contrast, pattern and light.

I converted the portrait below to black and white. It’s worth noting that both versions are moody, but the mood in each is different. The black and white portrait has a different feel to the color one.

Moody portrait

Moody black & white portrait

Tip: The best way to work in black and white (with a digital camera) is to shoot using the Raw format but with the camera set to monochrome. When you play back the image on the LCD screen it is displayed in black and white, which helps you see if it worked. If your camera has an electronic viewfinder you’ll see it in black and white there too. But by using Raw you have a full color file that you can convert to black and white any way you wish in post-processing.

The role of color in moody photos

There is one element that helps you create moody photos that I deliberately haven’t discussed – color. That’s because it deserves an article all to itself. I’ll have that one ready for you to read next week.

Further reading

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About Andrew S. Gibson

Andrew S. Gibson is a writer with a camera. He started writing about photography while traveling in Bolivia, and has been published in many prestigious photography magazines including EOS magazine, where he worked as a Writer and Technical Editor for two years. He lives in south Devon in the UK and is inspired by meeting new people, seeing new places and having new experiences. Check out his photography ebooks here.


  1. Author

    Hi Joel, that’s easy, my 35mm f1.4 lens. I use that on an X-T1 camera which has an APS-C sensor, so it’s the equivalent of using a 50mm lens on a full-frame camera.

  2. Author

    Hi Sarah, sounds like a real problem! I guess your only choice is to try and explain to her that you can do one or the other in a single photo, but not both. Maybe she can have two separate portraits, one in your moody style and the other in the headshot style she wants?

  3. Tip: The best way to work in black and white (with a digital camera) is to shoot using the Raw format but with the camera set to monochrome. When you play back the image on the LCD screen it is displayed in black and white, which helps you see if it worked.

    This is the absolute top tip Andrew – seeing to compose in B&W is all about identifying tones and patterns and these can look very different in colour.

    Shooting in JPEG and RAW gives you both B&W composition but colour images so that you can use “color balance filters/digital filters” – but you can still have the enjoyment evem with a basic digicam. This is beacuse many compact cameras have great B&W modes – think of Panasonics 1600asa B&W “gainay film” setting, or the Canon equivalent. Both help you on the steep learning curve to compsing in B&W.

    Last bomus – the cost of printing a large B&W image works out a lot less than colour if you are into refilling your inkjet cartridges !!

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