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Comparison of daylight versus the golden hour at the Newbury Racecourse
Bangkok during the golden hour

In photography, the golden hour is a period shortly after sunrise or before sunset during which daylight is redder and softer than when the Sun is higher in the sky. This is the opposite of blue hour, which is the period just before sunrise or just after sunset when light is diffused and even.[1]



The color temperature varies by time of day. During sunrise and sunset, color temperature tends to be around 2,000 K, during the "golden hour" it is around 3,500 K and during midday it is around 5,500 K (the color temperature can vary significantly based on altitude, latitude and weather conditions).

When the sun is near the horizon, sunlight travels through a greater depth of atmosphere, reducing the intensity of the direct light, so that more of the illumination comes from indirect light from the sky (Thomas 1973, 9–13), reducing the lighting ratio. More blue light is scattered, so if the sun is present, its light appears more reddish. In addition, the sun's small angle with the horizon produces longer shadows.

Golden hour at sunset in Tasmania, Australia

The term "hour" is used figuratively; the effect has no clearly defined duration and varies according to season and latitude. The character of the lighting is determined by the sun's altitude, and the time for the sun to move from the horizon to a specified altitude depends on a location's latitude and the time of year (Bermingham 2003, 214). In Los Angeles, California, at an hour after sunrise or an hour before sunset, the sun has an altitude of about 10°–12°.[2] For a location closer to the equator, the same altitude is reached in less than an hour, and for a location farther from the equator, the altitude is reached in more than one hour. For a location sufficiently far from the equator, the sun may not reach an altitude of 10°, and the golden hour lasts for the entire day in certain seasons.

In the middle of the day, the bright overhead sun can create strong highlights and dark shadows. The degree to which overexposure can occur varies because different types of film and digital cameras have different dynamic ranges. This harsh lighting problem is particularly important in portrait photography, where a fill flash is often necessary to balance lighting across the subject's face or body, filling in strong shadows that are usually considered undesirable.

Because the contrast is less during the golden hour, shadows are less dark, and highlights are less likely to be overexposed. In landscape photography, the warm color of the low sun is often considered desirable to enhance the colours of the scene.

See alsoEdit


  1. ^ Edward Pincus and Steven Ascher, The Filmmaker’s Handbook: A Comprehensive Guide for the Digital Age (New York: Plume, 2012), 517.
  2. ^ Solar altitude in Los Angeles, CA, at 1 hour after sunrise computed for 21 March, 21 June, 21 September, and 21 December 2009 using the U.S. Naval Observatory Data Services Altitude and Azimuth of the sun or Moon During One Day on 30 July 2009. Values obtained were 11.7°, 10.5°, 11.7°, and 9.75°.


  • Bermingham, Alan. 2003. Location Lighting for Television. Boston: Focal Press. ISBN 978-0-240-51937-1
  • Lynch, David K., and William Livingston. 1995. Color and Light in Nature. Cambridge: Cambridge University Press. ISBN 0-521-46836-1
  • Lynch-Johnt, Barbara A., and Michelle Perkins. 2008. Illustrated Dictionary of Photography: The Professional's Guide to Terms and Techniques. Buffalo, NY: Amherst Media, Inc. ISBN 1-58428-222-3
  • Singleton, Ralph S., and James A. Conrad. 2000. Filmmaker's Dictionary. 2nd ed. Ed. Janna Wong Healy. Hollywood, California: Lone Eagle Publishing Company. ISBN 1-58065-022-8
  • Thomas, Woodlief, ed. 1973. SPSE Handbook of Photographic Science and Engineering. New York: John Wiley and Sons. ISBN 0-471-81880-1

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