Creating dreamy photos often involves more than just using a pricey diffusion filter or shallow depth of field. According to Max Kent, the key to capturing a memory-like quality in images lies in the combination of light, motion, framing, and focus. Kent spent years perfecting his technique, which starts with utilizing soft light during the blue hour, just before sunrise or after sunset.
This time of day provides not only soft light but also unique colors and tones that are not visible at other times. Additionally, the early morning hours often mean empty streets, which can significantly alter the mood of a scene. Kent also favors fog and mist, as diffused light can take on a voluminous quality, adding depth to an image.
Kent’s favorite tool for achieving a dreamy effect is shutter speed, typically working within a range of 1/10 s to 1/60 s. This allows for movement to be clearly visible while still maintaining the subject’s form, creating a slightly unreal, whimsical quality. He often waits for a subject to move through a composition or uses panning or slight camera shake to achieve the desired blur.
Techniques for Achieving the Dreamy Effect
At midday, reaching the desired shutter speed can be challenging due to the sunny 16 rule, which may require the use of a 3-stop ND filter to reduce light. However, during blue hour, the ambient light is often low enough to naturally achieve the desired shutter speed. In-body stabilization can also help maintain crisp static areas while creating motion blur.
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Phones have also made it easier to achieve this effect, with features like Apple’s Live Photos, which include a Long Exposure effect that blends frames into motion blur. With a dedicated camera, the amount of blur can be precisely controlled, allowing for a better match with the subject’s movement.
Framing and Composition
Kent emphasizes the importance of framing in creating a dreamy effect. He uses what he calls “disembodied subjects,” deliberately cutting out most of a person from the frame, leaving only an arm or feet visible. This creates an imperfect, confusing image, similar to how memories can be when replayed. He also pairs this technique with out-of-focus foregrounds, adding texture and depth while making the scene feel less real.
Furthermore, Kent uses out-of-focus subjects to create a mixed signal, making the subject seem both important and insignificant at the same time. This technique can be effective in both blue hour and harsh light conditions. In post-processing, Kent relies on a single slider move to refine his images, as demonstrated in his video examples.
