Time lapse turns minutes or hours into seconds by taking photos at set intervals and playing them back as a video

Time lapse photography works by capturing a series of still images at regular intervals—say, one photo every 5 seconds or every 30 seconds—then combining those images into a video that plays them in sequence. When you watch the result, motion that normally takes hours (clouds moving, the sun setting, a flower opening) appears to happen in seconds. The camera does the heavy lifting: you set the interval, the number of shots, and the exposure, then let it run.

You do not need expensive gear to start. Any camera that lets you control the interval between shots can make time lapse—a smartphone, a basic DSLR, or a mirrorless camera. The real variable is whether your camera has a built-in interval timer or whether you need to add one. We'll walk through what you need, how to set it up, and what to watch for so your final video doesn't look jerky or unevenly exposed.

Key Takeaways

  • Time lapse requires an interval timer (built into most modern cameras, or added via remote) and software to combine the images into video afterward.
  • The interval between shots depends on how fast the subject moves: clouds need 2–5 seconds, sunsets need 10–30 seconds, and slow growth needs minutes or hours.
  • Lock your exposure and focus manually before you start, because automatic adjustments between frames create flicker in the final video.
  • Shoot in RAW format if your camera supports it, because it gives you more control when you edit the images later.
  • You will need free or paid software (like Adobe Lightroom, DaVinci Resolve, or ffmpeg) to convert your image sequence into a playable video file.

Choosing the right interval for your subject

The interval—the time between each shot—depends entirely on how fast your subject is moving. If you choose an interval that is too long, the motion looks jerky. Too short, and you waste battery and storage space without gaining smoothness. A good rule is to aim for 24 to 30 frames per second in your final video, which means you need enough images to fill that duration.

For fast-moving subjects like clouds or traffic, use intervals of 2 to 5 seconds. A sunset or sunrise, where the light changes steadily but not rapidly, works well at 10 to 30 seconds. Slow subjects like a flower blooming, a shadow moving across a wall, or construction progress need intervals of 1 to 5 minutes. If you are shooting over many hours—a full day of light change, for example—you might use intervals of 30 seconds to 2 minutes and let the camera run for 8 to 12 hours.

To figure out how many images you need, multiply your desired video length (in seconds) by your frame rate (usually 24 or 30 fps). If you want a 10-second video at 24 fps, you need 240 images. Divide that by your interval to find how long the camera will run: 240 images at 5-second intervals means 20 minutes of real time.

Setting up your camera's interval timer

Most modern DSLRs and mirrorless cameras have a built-in interval timer, usually called an intervalometer or found under a menu labeled "Interval Shooting" or "Time Lapse." On Canon cameras, it is in the Shooting menu under "Interval Timer Shooting." On Nikon, look for "Interval Timer" in the Shooting menu. On Sony, it is under "Interval Rec." Smartphone cameras like iPhone and Android often have time lapse modes built into the default camera app, though they offer less manual control.

If your camera does not have an interval timer, you can buy an external remote intervalometer—a small device that connects to your camera's remote socket and triggers the shutter at set intervals. These cost between $20 and $100 depending on features. Brands like Neewer, Vello, and Canon's own TC-80N3 are common options.

Once you open the interval timer menu, you will set three things: the interval (time between shots), the number of shots, and sometimes a delay before the sequence starts. Enter your interval in seconds or minutes, then the total number of images you calculated earlier. Some cameras let you set a delay so the timer does not start when ready—useful if you need time to step out of the frame or let the scene settle.

Locking exposure and focus to prevent flicker

The most common mistake in time lapse is letting your camera adjust exposure or focus between frames. When the camera's light meter or autofocus shifts slightly from one image to the next, the final video flickers—the brightness or sharpness jumps around instead of changing smoothly. To prevent this, switch to manual exposure mode (usually labeled M on your mode dial) and manual focus (usually an AF/MF switch on the lens).

Before you start the interval timer, take a test shot and check the exposure on your camera's screen. Adjust your shutter speed, aperture, and ISO until the image looks right. Then lock those settings—do not let the camera change them. For focus, point at the part of the scene that matters most (a building, a person, the horizon), focus manually, and then switch the lens to manual focus mode so the focus does not drift.

If you are shooting in very bright sunlight and your shutter speed is already at its fastest setting (usually 1/4000 or 1/8000 of a second), you may need to use a neutral density filter—a dark piece of glass that screws onto the front of your lens and reduces the light reaching the sensor. This lets you use a slower shutter speed, which gives you more control over exposure and creates a smoother motion blur effect.

Stabilizing your camera for the entire sequence

Any movement of the camera during the time lapse will show up in the final video as a jitter or drift. Use a sturdy tripod and tighten all the joints so the camera cannot shift. If you are outdoors on a windy day, hang a weight (a camera bag, a water bottle) from the center column of the tripod to keep it stable. Avoid touching the camera or tripod once the interval timer starts.

If you are using a remote intervalometer, plug it in and set it aside so you are not tempted to adjust the camera. If you are using your camera's built-in timer, step away from the camera entirely. Even pressing the shutter button by hand can introduce vibration. Some photographers use a cable release or wireless remote to trigger the first shot, then let the interval timer take over from there.

Choosing file format and storage

Shoot in RAW format if your camera supports it. RAW files contain more color and brightness information than JPEG, which gives you much more flexibility when you edit the images later. If your camera does not support RAW, JPEG is fine, but avoid any compression settings that reduce file size—use the highest quality JPEG your camera offers.

Time lapse generates a lot of files. A 10-minute sequence at 5-second intervals produces 120 images. If each image is 5 to 8 megabytes (typical for a DSLR), that is 600 to 960 megabytes of data. Bring extra memory cards and a way to back them up. Some photographers copy files to a laptop or external drive at the end of each day to avoid losing a whole sequence to a corrupted card.

Converting your image sequence into a video

After you have captured all your images, you need software to combine them into a video file. Several options are free or low-cost. Adobe Lightroom (paid subscription) has a built-in slideshow-to-video feature that can export your sequence as an MP4. DaVinci Resolve (free version available) is a professional video editor that imports image sequences and exports them as video. ffmpeg is a free command-line tool for advanced users who want full control.

The basic process is the same in most software: import your image folder, set the frame rate (usually 24 or 30 fps), and export as an MP4 or MOV file. If you shot in RAW, you may need to convert the images to JPEG or TIFF first using software like Lightroom or Capture One. This step also lets you adjust exposure, color, and contrast across all images at once, which can smooth out any remaining flicker.

Common problems and how to fix them

If your final video looks jerky, you either used an interval that was too long for the speed of motion, or you did not capture enough images. Try doubling the number of images by halving the interval next time. If the video flickers (brightness jumps around), you did not lock your exposure. Reshoot with manual mode and manual focus, or edit the images in Lightroom to match exposure across the sequence before converting to video.

If part of your sequence is out of focus or blurry, your focus drifted or the camera moved. Check that your lens is set to manual focus and that your tripod is tight. If the video looks grainy or noisy, you used too high an ISO (light sensitivity). Lower the ISO and either use a slower shutter speed, a wider aperture, or a neutral density filter to compensate for the extra light.

Frequently Asked Questions

Do I need a special camera to shoot time lapse?

No. Any camera with an interval timer—built-in or external—can shoot time lapse. Smartphones have time lapse modes in the default camera app. DSLRs and mirrorless cameras have interval timers in their menus. Even older cameras can work if you add an external intervalometer.

How long should my time lapse video be?

Most time lapse videos are 5 to 30 seconds long. Shorter videos (5–10 seconds) work well for fast motion like clouds or traffic. Longer videos (20–30 seconds) suit slower subjects like sunsets or construction. Anything longer than 30 seconds tends to feel slow unless the subject is very slow-moving.

Can I shoot time lapse handheld without a tripod?

Technically yes, but the result will look shaky and unprofessional. Any movement of the camera shows up as jitter in the final video. A tripod is worth the investment—even a basic $30 model is better than handheld.

What if my camera runs out of battery before the sequence finishes?

Bring a second battery and swap it in before the first one dies. For very long sequences (8+ hours), consider powering the camera with an external battery pack or AC adapter if your camera supports it. Some photographers use a USB power bank connected to the camera's USB port.

Can I edit the images after I shoot them to fix exposure problems?

Yes, especially if you shot in RAW. Software like Lightroom lets you adjust exposure, color, and contrast across all images at once, then export them as a sequence. This can fix minor flicker or uneven lighting, though it is better to get the exposure right in-camera from the start.