Although I have a couple topics I could elaborate on for my next post, I chose to comment on my most recent project, the world of infrared (IR) photography.  

Have you ever been stopped in your tracks by a photo, there is something so unusual and beautiful about it, you cannot pull your eyes away?  I have found myself being drawn in just this fashion to a particular style; so much so that I began to research some of the artists that repeatedly produced mesmerizing pieces. This was when I began to learn about IR photography. Such magical photographs were emerging with this process, I wanted so much to emulate them. With more research, and eventually having the opportunity to shoot using an IR camera (more on that later), I learned it was no easy task to capture the world of the unseen.

Let's start with the basics.  When I say unseen, it is because the human eye cannot see the infrared waves that lie just beyond the visible spectrum. What we can see is within the range of 400-700 nm (nanometers).  IR falls approximately between 700-1200 nm.

Though we cannot see it, the IR is there; bouncing off the leaves of towering trees to sliver blades of grass. Vegetation creates a bit of a glow due to this reflection whereas rivers and bodies of water will be darker and deeper. It was this 'glow' that caught my eye and makes IR photography seem so surreal.

A camera can capture IR using a few different methods. A film camera could simply be loaded with IR film, likely the most inexpensive option. Filters can also be placed on the end of lenses.  Using filters will also reduce the total amount of light that falls on to the sensor or film, so compensating properly is necessary for achieving the best exposure, and using a tripod is good practice to avoid blur from camera shake.  Another method is to dedicate a camera solely to IR by removing the filter that sits right in front of the camera sensor and replacing it with a filter that allows in only IR light. This of course is the most expensive method, but in my opinion will produce the absolute best results.

I was able to use Panasonic Lumix point-and-shoot that had been converted to an IR camera.  Ideally, shooting in RAW is best to allow for a lot more control during processing. This particular camera did not have that option.  It still gave me a wonderful experience to whet my appetite!  The first thing I learned was how important proper white balance was.  Depending on the weather and the sun's behavior, I changed the white balance accordingly by pointing directly at a patch of grass. With a few test shots, I was off and running. I found that I enjoyed photographing structures as well as the greenery in the local area. Now that I had an ample selection, it was time to process.

Here is where it gets tricky. To get the result I have been so moved by in the work of greater artists, I would need significantly more practice and research (as well as patience!).  I began to learn more about channel swapping and how manipulating the colors using this method could produce images with a realistic blue sky or water. Since IR photographs do not contain any real colors, it truly is a practice in artistry to create a recipe of channel swapping, white balance, saturation or other styling to end with a realistic final piece.  It also may require a bit more investment in software that is more capable than my Photoshop Elements.

As I progress, I will become more comfortable with managing the myriad of adjustments and may eventually develop a style I can proudly share with the world.  For now, I can present the images I created using the IR camera and making processing adjustments within Lightroom.  Most you will see below have been converted to black and white.  The original files of these photos will remain as my stock for future attempts, so as I progress, you may see the same photos repeated with different end results... at least until I can afford to invest in a IR converted camera!

Ah, the intriguing and inspiring world of photography.