Multiple Exposure Techniques

Multiple exposures—layering two or more images onto a single frame—create effects impossible to achieve any other way. On film, these layers blend optically, with a quality distinct from digital compositing.

This guide covers the technique, the maths, and the creative possibilities of in-camera multiple exposures on film.

How Multiple Exposures Work on Film

Film records light cumulatively. Each exposure adds density to the negative. In a double exposure, bright areas from either frame will render, while dark areas let the other exposure show through.

This is why silhouettes work so well in multiple exposures. A silhouette is a dark shape against a bright background — the subject rendered as pure black with no internal detail. That dark shape leaves film unexposed in that area, ready to receive a second image.

Exposure Compensation

The Basic Rule: Divide by Number of Exposures

For two exposures, each should receive half the normal exposure (-1 stop each). For three exposures, each should receive one-third (-1.5 stops each). For four exposures, each should receive one-quarter (-2 stops each).

When to Break the Rule

The maths above assumes equal importance for each exposure. Real creative decisions often differ:

Silhouette + detail: If one exposure is a dark silhouette, it contributes almost no exposure. Shoot the silhouette at normal exposure, shoot the fill image slightly reduced (-0.5 to -1 stop).

Dominant + subtle: For one strong image with a subtle overlay, try -0.5 stop on the main and -2 stops on the overlay.

High-key subjects: Bright subjects contribute more than dark ones. A face against white might need less compensation than the maths suggests.

Start with the standard rule, then adjust based on your subjects and experience.

Camera Multiple Exposure Features

Cameras with Built-in ME

Many cameras have dedicated multiple exposure controls:

Nikon FM2/FM3A: Press the rewind release button while advancing the lever. This cocks the shutter without advancing film.

Canon AE-1/AE-1 Program: Similar technique—hold the rewind button, advance the lever.

Hasselblad 500 series: Remove the dark slide, cock the shutter without advancing the magazine. The body and magazine advance independently.

Mamiya RB67: Rotate the multi-exposure lever before cocking the shutter.

Mamiya 7: Multiple exposure lever disengages film advance from shutter cocking.

Consult your camera's manual for the specific procedure.

Manual Method for Any Camera

If your camera lacks an ME feature, you can still create double exposures:

1. Shoot the first frame normally
2. Mark the film position: Note the rewind crank position precisely (some people use tape)
3. Rewind the film: Carefully rewind to the marked position. Count rotations of the rewind crank.
4. Re-advance to the same frame: Fire blanks (lens cap on) to advance back to your marked frame
5. Shoot the second exposure

This method is imprecise—frames may not align perfectly. For many creative effects, slight misalignment adds to the aesthetic.

Composition Strategies

Silhouettes and Fill

The classic technique: a dark shape filled with texture or detail.

1. Find a subject that will silhouette cleanly (person, tree, building)
2. Expose for the background, rendering the subject as pure black
3. Second exposure: texture, pattern, clouds, foliage, or another scene
4. The dark silhouette area receives the second image; the bright background is already fully exposed

Works best with: Strong, recognisable shapes; high contrast first exposure.

Portraits with Texture

Overlay a face with flowers, trees, or architectural detail:

1. First exposure: portrait, usually against a dark or mid-tone background
2. Second exposure: texture or pattern
3. Bright areas of the portrait will show texture; dark areas will show more texture

For ethereal effects, underexpose both frames slightly and use soft light for the portrait.

Ghosting and Motion

Create a sense of movement or multiple selves:

1. Keep the camera locked on a tripod
2. First exposure: subject in position A
3. Second exposure: subject in position B
4. Both positions appear as semi-transparent figures

The static background receives double exposure and may overexpose. Compensate by underexposing each frame or choosing a dark background.

Abstract Layering

Pure experimentation:

• Combine unrelated images for surreal effects
• Rotate the camera between exposures
• Combine sharp and blurred exposures
• Mix colour and light sources

With abstract work, the exposure maths becomes less critical. Experiment freely.

Film Choice for Multiple Exposures

Forgiving Films

Films with good exposure latitude handle multiple exposure errors gracefully:

Kodak Portra 400: Exceptional latitude. Overexposure by a stop or two still scans well.

Ilford HP5 Plus: Very forgiving in development. Easy to pull back density if needed.

Kodak Tri-X 400: Also forgiving, and the grain can add to the layered aesthetic.

Precise Films

Slide film and fine-grain films require more careful exposure:

E-6 slide films: Unforgiving of overexposure. The maths must be precise or you lose highlights.

Fine grain films (Delta 100, Ektar 100): Less latitude means less room for error.

Planning Multiple Exposures

Before Shooting

1. Visualise the final image: Which elements will layer? Where will they appear?
2. Consider tonal distribution: Dark areas receive other images. Bright areas don't.
3. Decide on exposure compensation: Standard formula or creative adjustment?
4. Note frame numbers: Track which frames are multiple exposures in your log.

During Shooting

1. Compose with layers in mind: Leave space for what will fill in later.
2. Take notes: Record what you shot for each exposure—memory is unreliable.
3. Bracket if possible: Shoot variations with different compensation.

After Exposure

Multiple exposures are harder to adjust in post than single frames. Scanning can help balance, but you can't separate what's already layered. The magic (and risk) of multiple exposure is that the combination is permanent and irreversible.

Common Mistakes

Everything Overexposed

You forgot to compensate for each exposure, so the combined exposure is too much. Use the -1 stop per double exposure rule as your baseline.

Second Image Doesn't Show

The first exposure was too bright—no unexposed area remained for the second image. Either underexpose the first frame more or choose a darker first subject.

Frames Misaligned

When using the manual rewind method, frames didn't align. Consider this a happy accident, or use a camera with proper ME controls.

Both Images Compete

Neither image dominates; the result is muddy. Plan for one image to be stronger, or use distinct bright/dark relationships.

Examples and Ideas

Person filled with landscape: Silhouette portrait against bright sky, then wide landscape shot.

Face in flowers: Close portrait against dark background, then flower garden or texture.

Multiple selves: Tripod shot with subject in three different positions, each 1.5 stops under.

City and stars: Dusk cityscape exposed for highlights, then same frame at night for star trails.

Rotation abstracts: Same scene photographed multiple times while rotating the camera slightly each time.

Summary

• Multiple exposures add light cumulatively—compensate exposure to avoid overexposure
• Standard rule: -1 stop per exposure for doubles, -1.5 stops for triples
• Dark subjects receive other images; bright subjects block them
• Many cameras have ME features; all cameras can use the manual rewind method
• Film with good latitude (Portra, HP5, Tri-X) is forgiving of exposure errors
• Plan compositions with layers in mind—visualise before shooting
• Take notes—you won't remember what you shot on each layer
• Embrace the unpredictability; the best multiple exposures often surprise you

Multiple exposure is where photography approaches alchemy—combining elements in ways that transcend either alone. The results can't be replicated digitally, at least not with the same organic quality. Experiment freely.