I like to think of Lisbon as a city stitched from layers: the glazed blues of azulejos, the ochre dust that rises when a tram breaks, and the quick, fleeting light that pours into alleys at dawn. This 90‑minute photo walk is a recipe for sewing those layers together into a single roll of film — or, more likely, a small memory card full of frames you can use to tell a morning story. It blends vantage points, a short tram ride, tile hunting and a market that wakes with a different kind of light than the tourist hours.
Why 90 minutes?
Ninety minutes is long enough to catch golden hour, hop a tram for motion shots, and spend time with details without burning the whole morning. It’s also small-scale and doable if you’re traveling light — the way I prefer to work: one compact mirrorless body, a 35mm or 24–70mm, and a small tripod or monopod if I want to steady a low shutter frame.
Start: Miradouro da Graça — meet dawn on the cobbles
Meet the light at Miradouro da Graça (also called Miradouro Sophia de Mello Breyner). Arrive 20–30 minutes before official sunrise so you can watch the city warm up. From this ledge you get layered vistas: rooftops, antennas, a train of orange trams in the valley below and the faint silhouette of São Jorge Castle. I like to frame texture in the foreground — wet cobblestones, an old bench — and let the city gently blur out behind.
Shooting tips: choose a mid‑aperture like f/5.6–f/8 for depth with soft backgrounds; ISO 200–400 depending on light; bracket one exposure for highlights on tiles and one for shadow in the alley if the contrast is strong. Use a 35mm for context and a 50mm for compressed rooftop portraits.
Walk down to Portas do Sol and into Alfama — tile hunting and quiet alleys
From Graça it’s a short walk to Miradouro das Portas do Sol. As you descend, switch your attention from skyline to facades. Alfama’s azulejos are both pattern and personality: faded narrative panels, hexagonal repeats, and tiled signage above tiny shop doors. Walk slowly, and look for vertical stories — a laundry line, a neighbor’s chair, a cat on a ledge. I usually switch to single‑point autofocus and look for eyes (human or feline) that break the pattern.
Composition tip: frame a tram window or a doorway against a tile wall. The contrast of the human element against ordered tiles makes for a strong lead image.
Catch the tram dust: find a corner where Tram 28 bends
Tram 28 is cinematic at sunrise: the yellow car, the cloud of dust from the tracks, and the creak of braking that gives away movement. Don’t try to photograph a tram in the middle of a crossing — respect the vehicle and the tracks — but find a safe corner where the tram curves and the light hits the side windows. I look for tiles that reflect the early light and a vantage point a few meters back so I can compress tram motion with a slightly longer focal length (50–85mm equivalent).
Camera settings for motion: try 1/125–1/250s to convey movement and a little wheel blur, or go slower (1/30–1/60s) with panning to keep the tram sharp and blur the background. Increase ISO as needed to keep shutter speed in range; modern compact mirrorless bodies handle ISO 1600–3200 pretty acceptably for modest prints and web use.
Hop on for three stops — a short ride for different perspectives
Buy a Viva Viagem card at a metro station or use contactless on many trams if your bank card supports it. Take the tram for just a few stops uphill or downhill depending on where you captured the curve. Riding gives you frames of interior light, passengers with morning faces, and the transitional neighborhoods between viewpoints. Sit near the window, but also step onto the back platform for sideways motion shots — the platform gives you a great foreground to include rail lines and cobblestones.
Etiquette: be mindful of locals commuting. Keep the camera compact; avoid extended flash. A small Fujifilm X100‑type camera or similar is perfect here.
Campo de Santa Clara — market light and human details
Disembark near Campo de Santa Clara, home to the Feira da Ladra flea market on Tuesdays and Saturdays, but even on other mornings the square has sellers setting up and older vendors sorting boxes in the soft market light. The late golden hour here is flatter and more directional, excellent for texture — newspapers, worn leather, wooden crates and the sheen on old tin. Approach vendors with a smile, exchange a few words, and ask if you can make a portrait; most will say yes if you buy a small item or show the photo later.
What to look for: hands counting coins, a vendor’s face lit from an awning, a line of stacked chairs, a detail of a label from a Portuguese tin of cod. These are the images that make the bigger city frames feel lived in.
Finish with a shot of market light and a breakfast stop
Wrap the walk with a few cups of strong coffee and a pastel de nata — I like the crunchy top and custard center for a quick set of still lifes. Time Out Market is an option if you want modern food halls and interior tile contrasts, but for authenticity I prefer a small café where the light comes from one window and the espresso cup tells the morning story better than any glossy countertop.
What to order: a bica (Lisbon espresso) and a pastel de nata or a bifana if you’d like a savory sandwich. Ask for no sugar or a single sugar — these little interactions are chances to record candid portraits of daily ritual.
Practical gear and settings
| Camera | Compact mirrorless (Fujifilm X‑series, Sony A6xxx) — light, discreet |
| Lenses | 35mm prime for context; 24–70mm for versatility; 50mm for compressed details |
| Tripod/Support | Mini tripod or monopod if you want low shutter speed street blur |
| Accessories | Spare battery, small microfiber cloth (tiles can be dusty), Viva Viagem card or contactless bank card |
Camera settings I return to
- RAW + JPEG: RAW for recoverable highlights/shadows; JPEG for quick social uploads.
- Auto ISO with cap at 3200; base ISO 200 when tripod used.
- Aperture between f/4 and f/8 for street scenes; f/2–f/2.8 for portraits and selective focus on tiles.
- Shutter speeds: 1/125–1/250s for trams to show motion; 1/30–1/60s for panning with a slower read when you want streaks.
- White balance: auto is fine; try slightly warm (+200K) to enhance golden hour tones.
Behavior and safety — how to be a considerate photographer
Lisbon is full of residents starting their day. Ask before photographing people up close, especially vendors. A small purchase or offering to send a preview image is often enough to open a conversation and a better frame. Keep your bag secured — trams and crowded alleys are easy places for pickpockets. Avoid blocking narrow alleys or doorways with tripods; step aside and shoot from a polite distance.
What makes a frame feel “Lisbon” to me
It’s not just the tiles or the tram in isolation — it’s the juxtaposition: a weathered azulejo reflecting a neon shop sign, a tram bleeding dust across a tiled facade, a market stall lit from one side with long shadows. Aim for sequences — three to six images that together suggest the place: a wide rooftop view, a tram-in-motion, a tiled close-up, and a human moment at the market. That sequence is what turns single images into a short narrative you can share on your blog or social feed.
If you want a PDF of this 90‑minute route with a map and exact tram stops, tell me the dates you’ll be in Lisbon and I’ll tailor it to sunrise times and local market schedules.
