Grass and leaves reflect IR and appear lighter in IR images

Infrared photography used to be a firm favourite of the darkroom user in a days of film supremacy, but with the advent of digital photography the popularity of infrared capture died away somewhat. It didn’t disappear completely, as it didn’t take IR junkies long to realise that many digital cameras are also sensitive to IR light, and with an IR, or a deep red, filter in place a decent enough image could be captured. The number of digital cameras now that have sensitivity significantly extended into the IR wavelengths are few, as it actually has a detrimental impact on normal daylight photography, but some do still have enough ability to record IR light that an image can be made.

What is infrared?

Infrared is the name given to a group of light wavelengths that extend beyond visible red. The word ‘infrared’ means ‘below red’ in Latin – referring to the fact the wavelengths are longer than those of red. For creative photographic purposes the wavelengths we are interested in run between about 700 nanometres and 1000, but some forms of scientific applications use even longer wavelengths.
In IR photography we capture the infrared portion of the spectrum that is reflected from objects in the scene. In general terms live objects, such as grasses and leaves reflect most IR, and these objects appear very bright in IR images. It is commonly believed that IR photography captures differences in temperatures, or that certain objects emit IR light. Neither of these are true.

Fujifilm IS Pro

For this picture I used a fully infrared compatible camera – the Fujifilm IS Pro. This is a camera built into the body of the company’s S5 Pro DSLR, but with the infrared blocking filter removed, and with menu controls specific to shooting in IR. Originally designed for scientific work, it soon grabbed the attention of creative photographers as an extremely convenient way of recreating what they used to do with a tricky and complicated film process. The camera can shoot in colour as well as black and white, and with a ‘hot filter’ (which cuts out IR) over the lens it acts as a normal camera.

Is your camera IR sensitive?

An easy way to find out if your camera has sensitivity to light in the IR part of the spectrum is to cover the lens with an IR filter and then shine in IR light at it. Infrared filters are not cheap, but sources of IR light are common. A TV remote will work, and aimed in low light at your camera with the IR filter over the lens will record as a bright dot on the rear LCD screen when a button is pressed.
You can have your DSLR converted to shoot IR by having the IR blocking filter removed. Companies such as ACS will perform the surgery for you. Don’t try it yourself.

A blue sky turns black in IR photography, and clouds stand out with drama

Avoiding the obvious

There is enough IR photography about for the effect to be easily recognisable, and most IR photographers do much the same thing. On a sunny day a blue sky records as a deep black, while clouds reflect large amounts of IR and appear bright and dramatic. Most photographers will try to use these characteristics to create a dramatic and impactful image. There is nothing wrong with that either, but I prefer to use the effects in a less obvious way that still creates an interesting picture, but one that does not scream ‘I’ve been shot in IR’.

IR film used to be very grainy, and could be used to create a coarse textured image that was very appealing. Here I’ve chosen a subject that suits that kind of treatment – an old building – and used the IR effect to have a mildly surreal impact on the grass and leaves to make the picture standout as being a bit different. The effect is very soft and almost dreamlike, without being obviously manipulated or part of a special process. I don’t want the first reaction to the picture to concern how it was done, but what it looks like.

There is no easy way to measure IR light with a normal exposure meter, so we end up having to guess. With film that could be a drama itself, but obviously with a digital IR camera life is much more straightforward – you can view the success of the exposure immediately. Generally small apertures are needed to ensure focus (IR light does not focus in the same plane as the light our cameras and lenses are designed for), and lengthy shutter speeds are needed to compensate.

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Fujifilm IS Pro f/11 @ 1/40sec – camera rated at ISO 100.

Grass and leaves reflect IR and appear lighter in IR images

A blue sky turns black in IR photography, and clouds stand out with drama

Palm Reflections

I took this picture of palm trees reflected in a swimming pool on the last day of a two-week trip to The Dominican Republic. For the whole fortnight I’d been taking pictures of the beach, the blue sky, the swaying palms and all sorts of views and scenes that to me typified the sense of the place. In the end though, looking back over them as the end of the trip came in to sight, I wasn’t convinced that I had really captured what it all meant to me. I had some great images, even if I say so myself, that were laden with messages and atmosphere, but I hadn’t made the shot that reflected my own personal experience of the country or what I would want to remember most.

Sitting by the pool after another excursion along the coast to take more pictures I was wondering what it was I had liked the most about the place and what view I would want to take back with me to remember. It had been a very relaxing trip that was very much needed at the time. I’d been knackered before we left home, and it had taken several days of doing nothing and pure relaxation to bring me around to a normal human state. Work had been pretty hectic and long days had been running into late nights and early mornings, and I’d needed this holiday.

Sitting there, drinking up the atmosphere I realised that what I’d enjoyed most was staring back at me. The reflection of the palm trees in the rippling surface of the water, and the deep blues of the sky enhanced by the blue tiles of the pool’s floor. It is the kind of view you can sit and stare at for hours with nothing going on between your ears.

Adding  the right colour

I made this image to include enough pool edge so that it could be seen to be a pool but with the majority of the frame occupied by the palm reflections and the lines of the tiled floor. I shot in colour, of course, as one would with such a scene, but was surprised when reviewing the images later on at home that the blue I remembered was not as dominant as I had sensed at the time. I resolved this issue by taking a sample of the blue that I remembered from the image using the sampling tool and then switched the colour file to black and white. I did this using the green channel, in Channel Mixer, and then used the Curves tool to lift the contrast a little. Next I created a new colour fill layer, which I flooded with my watery blue, reducing the layer opacity to 10% to allow the detail of the scene to show through.

The final result is not actually a technically accurate representation of the scene I shot, but it is an extremely accurate representation of what I saw, of what I remember and of the essence of being there, in that place at that time. The camera never lies, of course, but it is a dumb instrument that is not capable of understanding emotion and the way the human eye filters what it sees. The camera often needs help to make a picture that conveys what is happening in the mind behind the viewfinder rather than in physical form in front of the lens – and it was one of those occasions.

Samsung GX20 with Pentax SMC FA 43mm f/1.9 lens. ISO 100

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Palm Tree reflections - the original version

Palm Reflections

Lover's hideout, by Damien Demolder

Try something out. Put your camera in its bag, and put the bag over your shoulder. Now, pretending you are Clint Eastwood in a cowboy movie, see how quickly you can ‘draw’ your camera, including switching it on and squeezing a shot off. Providing the settings are about right for the light levels and light types you are practicing in, it probably takes about four to five seconds. If you need to adjust the ISO to achieve a shutter speed at which you can hand-hold the camera and lens, that ‘draw’ time might extend to ten seconds – depending on how user-friendly your camera’s menu system is. It’s a good job you are pretending to be Clint rather than fighting against him, as you’d never get that shot off.

Whether you are a fan of Mr Eastwood’s movies or not you will have noticed that when the man himself is sliding round the side of the General Store in search of the bad guys he keeps his gun in his hand, safety catch off, so it’s ready to fire. And if you are into street photography and catching ‘the moment’ you need to take a leaf out of his book.

Keep reviewing your settings
The day I shot this picture it was heavily overcast and dark. It was also very cold, so I was wearing those fingerless burglar gloves, so that I would be able to hold the camera in my hands all day and still be able to work the controls. As the day got darker and darker I had been adjusting my ISO settings so that I would be able to maintain a shutter speed of at least 1/30sec – the camera had anti-shake built-in. I had a 28mm lens fitted, which gave me a 42mm equivalent focal length on my APS-C sensor, and I’d got it stuck wide open at f/2 to let in as much light as I could get.

Rounding the corner of a building I came across these two lovers hiding away from the world to share an few intimate moments together. Before I knew it I had the camera at my eye and was focusing the manual lens. As the shutter fired she just had time to look a little bit sheepish, and he just had time to hide his head behind hers.

Ready to shoot
I took one shot, smiled at them as they laughed at being caught, and then I walked on. It all took about two seconds, and I got the shot because the camera was there in my hand whirring and straining at the leash to take a picture. Had it been curled up snoozing in my camera bag this incident would have just been another one of those occasions when the shot got away. I wouldn’t even have drawn, as I’d have known immediately that as soon as I’d started getting the camera out the dynamics of the picture would have changed and the moment would be passed.

Composition in an instant
With practice I’ve learnt not only to get the subject in the frame in a split second but also to ensure I have a composition. I never know what the next composition is going to be, but I do know that even the sort of picture that is grabbed in a fraction of second needs to respect the viewer and respect the laws of image construction. I managed to keep the camera straight so those blocks wouldn’t create a distraction by sloping off to one side, and I positioned the couple at the bottom of a tall frame to prevent a centre-weighted or top heavy composition. I had to keep her feet in too, and his, and frame the pair of them in their alcove by showing some wall either side so the viewer can understand they were hiding away.

Wide aperture
The wide aperture has combined with the overcast sky to create an almost dreamlike softness that works well in the sooty black and white, blue/green channel conversion. There is romance in the softness that adds a fairy tale quality.

Pentax K10D with Ricoh XR Rikenon 28mm f/2.8 at f/2.8. ISO 400.

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Lover's hideout, by Damien Demolder

The best way to show graphic shapes is to reduce the scene you are photographing to its most basic and fundamental elements. In this case that reduction process meant removing the colour and producing a level of contrast that would show exactly the lines and curves that caught my eye in the first place. I couldn’t control the light, obviously, and the scene only worked from one angle, but it is the element of back lighting that really helps, even in these overcast conditions, to create a semi-silhouette of the bus stop structure and the waiting woman. So I got lucky.

The backlighting reflects off the road and the pavement, making both brighter than they would be from any other angle. This backlighting has also brought out the pattern of the paving and has emphasised the straight edges between each slab. This creates a mass of lines travelling towards the camera and which also lead the eye back into the picture.

Contrasting shapes
The woman stands out as she is the only element in the scene not made up of straight lines, which makes her come forward as the obvious subject. Even the roof of the shelter, which we know is curved in reality, is represented here by straight and solid edges. The only random shapes are made by the pigeon about to land, but as that is quite hidden it doesn’t take too much away from the subject.

Contrast
Having shot this with low contrast settings in-camera I took the image into the Curves and created enhanced mid-tone contrast to strip out some of the image’s greys. In Levels I enhanced the blacks, and reduced the highlight output to inhibit true whites and to soften the visual effect.

Keeping it level, and cropping
At the time of shooting I was very careful to keep all the uprights absolutely straight and level, as they are an essential part of the picture. If you find yours are not quite straight they will distract the viewer’s attention and make them miss the point of the picture. I know I say it a lot, but keeping uprights completely upright is so important.

The last thing I did to the picture was a crop it to 5x4in proportions. I chose this format as it has a classic feel that introduces a quite formal atmosphere that compliments the neat and rigid linear structure and patterns of the scene.

Choosing the moment
Picking the right moment is especially important in this type of scene, as we want to keep things as simple as possible. With people and cars in the background the scene becomes cluttered and we loose the sense of what the shot is supposed to be about. With all these extra shapes that over lap it becomes difficult to see the woman, the back lit road is blocked and the pavement falls into shade. Even one additional element is enough to spoil the picture and create a distraction, as you can see from the these additional shots shown here.

About the black and white conversion
I converted this image to black and white using the channel mixer tool in Photoshop. I chose to use the green channel as it produces the more moderate contrast of the three available. The red channel showed blown out highlights, as does the blue channel. The green channel is also the sharpest and more detailed, and it displayed the right tonal differences between the coloured elements in the scene to make hedges and the grass verge stand out.

 Sony Alpha 700, with DT 16-80mm F3.5-4.5 ZA Carl Zeiss Vario-Sonnar T*. 

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We automatically think about using channel filtration to create black and white images when we are shooting landscapes, because we are all used to the idea of fitting filters for this type of subject. The reference pictures that stick in the mind that demonstrate what filters do to monochrome images – the deep black skies and fluffy clouds of the red filter – are generally landscapes in which we can see how blues darken and green grass lightens. In fact, you probably wouldn’t shoot a black and white landscape without thinking about filtration.

We don’t associate lens filters with portraiture in the same way, unless warming or adjusting a colour picture, but sometimes red filters are used to reduce the effects of skin blemishes. With this in mind when converting a colour portrait image to black and white I often use a red channel bias in Channel Mixer (Image>adjustments>channel mixer) to lighten the redness of spots, skin patches and veins close to the skin surface. This looks great for women, as it can leave a flattering facial glow as well. But it really doesn’t look macho enough for portraits of men.

I have found the channel that delivers the more manly effect is the blue channel. It adds depth to the skin and presents a more tanned, or weathered, look (I know, but you can still see it in black and white!). The blue channel makes men look stronger and more heroic, which I think is what most men prefer. And the deeper and more complex shades of this kind of conversion provide the ideal base for adding a colour tone too. There is so much more grey in black and white images converted using the blue channel that toning and staining colours have much more impact.
If you find a blue channel conversion produces too strong a result remember that you don’t have to use it on its own. My favourite channel of all is the green channel, as it has lower contrast and better sharpness than red or blue, and I like to mix it in with the others to rein in any over-blown effects. Try mixing 50% green and 50% blue for a more restrained image.

Obviously to make use of these effects and options you need to be shooting your portraits in colour. I find that shooting everything in colour gives me the most flexibility, so I shoot in colour even when I know I will only want a black and white final result.

Nikon D40 with 55-200mm f/4-5.6G IF-ED AF-S DX at f/16 and ISO 200, with Bowens flash heads.

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The final version of the portrait converted to black and white via the blue channel. 

The deeper tones of the blue channel conversion make a better base for accepting sepia and other colourised effects.

In this scene I loved the way the sun was reflecting off the paving, and the contrast between the lightness of the stones and the darker grass and trees. The sweep and shape of the path’s route creates a dynamic feature that really catches the eye, while the line of the trees – on both sides of the shot – lead us from the foreground right out to the distance. The figure walking towards the camera down the central path gives another point of focus in the middle of the shot. The timing was perfect, and is completely down to luck.

I’d lined up the shot and tried a few variations, which I was half pleased with, but felt there was something missing. Then I spotted this old boy coming along pushing a pram and prayed he’d walk into exactly the right place. Strolling slowly he gave me plenty of chances to try out different compositions, but this was the shot that worked best.

I love the long shadows and that special atmosphere that only winter light delivers. There is some flare in the picture, but it adds a sense of reality. What I like most is that the picture looks just as I remember seeing the scene. Using a wide angle lens allowed me to capture a wide sweep of the scene, and keeping the camera as level and straight as I could means viewers can concentrate on the subject rather the distractions of leaning buildings and a sloping horizon.

I shot in colour, and converted the picture to black and white via channel mixer using only the red channel, and then adjusted the contrast a little. I knew the light reflecting off the paving would fool the camera’s light meter, so I took a spot reading from the grass on the right hand side of the scene.

Pentax K10D, Sigma 10-17mm at the 10mm end. 1/60sec @ f/8, ISO 100.

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He looked really interesting anyway, but stood in this position, against the symmetry of the window and the symmetrical-enough notice boards, the contrast between the order and right angles of the surroundings and his roundness makes him really stand out.

And I couldn’t have arranged the umbrella any better myself.

Photographically, there are a number of elements that make the picture work. Firstly, you need to be holding your camera in your hand when you spot a scene like this so you are ready to take the shot. If the camera is in your bag, and you have to get it out and switch it on the likelihood is that you’ll miss the moment.

The next important consideration is to echo the symmetry of the scene through your composition. I placed the man in the middle of the frame and made sure I had even spacing between the notice board edges and the edges of the picture frame. Holding the camera as level as possible and making sure you are directly in front of the shot (so that the film or digital sensor is parallel with the subject) keeps all the picture elements right-angled and even.

I enhanced this view by cropping the final image square, to add to the timeless feel of the shot. It was taken in 2007, but it could have been 1930 from the look of it. The light sepia tone, of course, further emphasises this atmosphere.

Exposure is important as well in this scene, as a certain degree of overriding was necessary. Left to their own devices all cameras would produce a picture that was too light when faced with the darker shades of the situation. However, these darker shades represent what I saw. Keeping the picture slightly dark also allows the inclusion of the complete range of tones – an automatic exposure would have left some areas too light and burnt-out.

Pentax K10D, 50mm lens 1/60sec at f/4.5, ISO 1600

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View a map of where this picture was taken

Much of Warsaw’s non-modern architecture is based on right angles and straight edged shapes with few curves or circles. Although I suppose I hadn’t really made a mental note of that fact, when I came across this object, that has no straight edges at all, I was quite struck with it. In taking the picture I wanted to get over the contrast between the roundness of the propeller and the sharp edges of the notice board next to it, plus the visually powerful squares of the walls behind it. It was only when I looked through the camera that I noticed the blocks of the car park and the lines painted on the floor. These were something of a visual bonus.

At the time I had a wideangle lens on the camera and this is what I made the first pictures on. Viewing them on screen I realized that I wasn’t getting across the strength of the squares, as being close enough to fill the frame was creating too dramatic a perspective, which in turn distracted from what I really wanted to show. Instead I fitted a more standard lens (in this case a 28mm on the APS-C camera). This meant I had to move further away, which helped me to include more of the ground and those lines, plus it flattened the perspective. Moving away also meant I would have to worry less about the lens distorting the brickwork into curves rather than those strong straight lines.

Keeping the camera absolutely level was essential for the graphic and purposeful image I wanted to create, and keeping a wide aperture would allow the propeller and the notice board to stand out from the background, while still retaining enough focus in the brickwork that the shapes could easily be seen. I didn’t have a tripod with me at the time, but I wished that I had. Although the shutter speed was short enough to hand-hold the camera without fear of camera shake, mounting on a tripod makes getting everything right-up and level so much easier. In the end I took about six pictures before I was satisfied that I’d got what I needed.

Fortunately the day was overcast, so the reduced contrast of the softer light allowed me to show the three dimensional shape of the propeller without burnt highlights or overly dark shadows. The soft contrast also helped to display all the fine detail in the stonework, the notice board and the car park.
Originally shot in colour, I converted the picture to black and white via a channels conversion, using a combination of green and red channels. The green channel gave me fine detail, while the influence of the red channel boosted the contrast of the scene a little.

I didn’t have to do too much else to the image, other than some minor curves adjustments and then some unsharp mask to finish. The exposure was already quite dark, which I think adds to the atmosphere. The place the picture was taken is quite hash and serious, so making a jolly picture would not have been appropriate.

Pentax K10D with 50mm manual focus lens, 1/80sec @ f/2 and ISO 400

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Forecast
Satellite

Film was mostly sensitive to green light, and pinky reds recorded as black, and greens as bright tones. In most normal scenes though pictures record with a moderate contrast that makes a nice change from the over blown black and white work that is widely popular among enthusiasts.

There are two principle ways of creating a conversion using just the green channel – you either isolate it by deleting the red and blue channels, or go into a channel mixer tool to effectively turn off all but the green. Either method delivers much the same result.

Green channel conversions are great for all sorts of subject types, but I especially use it for portraits and city scenes when I want pictures to appear older than they really are.

As digital cameras has twice the number of green pixels as either red or blue you will find that green channel conversions present the absolute best you will get from your camera. Resolution and image detail is optimised, and image noise will be at its lowest.

Filters V channels

If your camera has a black and white mode you may have wondered whether it is better to shoot using this mode and coloured filters over the lens, or whether to shoot in colour and convert using a colour channel mixer or selector in software. You may find that most people will tell you that essentially the two methods add up to the sdame thing, but that one involves putting a piece of glass or plastic over your expensive lens which might degrafe your image quality. Actually there is a difference, though it is quite a subtle one.

If we compare digital processes to the days of film shooting with filters is just like when we shot with black and white film and filters, but when we use channel mixer tools it is like changing the characteristics of the film. Digital sensors are panochromatic – that is, they are sensitive to red, green and blue light. When we use a single channel by itself we are effectively altering the sesnitivity of the sensor. Using only the green channel makes the sensor behave as orthochromatic film, and using only the blue makes the sensor xyxy. When you put a filter over the lens you are still using a panochromatic sensor but you promote one colour and hold back another. The effect is quite different, as is the principle. Using a filter over the lens with a panochromic sensor will always produce a more extreme result, that can only be matched in magnitude in software by extensive manipulation that degrades the image.

This picture was taken using the Olympus E-3.

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