Pro Technique: Stepping into the Surreal
Q Can you tell us a little more about the technicalities of the process and what’s involved?
The process begins when you remove the internal filter in front of the sensor that blocks UV and IR light. This turns the camera into a full-spectrum device, allowing it to capture everything. From there, various filters are placed either in front of the lens, in front of the sensor or between the lens and camera to filter out specific wavelengths as desired.
The classic IR filter is 720nm, meaning it blocks all visible light up to 720nm. However, I usually prefer a mix of visible and IR light, which is achieved with different colour filters. For example, digital Aerochrome works this way: it requires only a small amount of IR – in the higher nm range, around 850nm – along with green and red light, while blue is blocked.
Q Can you give us some background on how to shoot IR images, and are there particular lighting conditions that deliver the best results?
I don’t think there are strict rules or preferences, and I don’t subscribe to any particular guidelines. If you have a converted camera, you can shoot with ‘normal’ shutter speeds at any time of day.
Personally, I love bright sunlight combined with dramatic clouds: clouds appear incredibly high-contrast in IR. That said, I’ve been increasingly drawn towards shooting on overcast days, especially with set-ups that use less IR and more visible light. This can create unique colour palettes, particularly in vegetation.
Q What subjects are best suited for IR photography, and why?
It depends on the intended effect. IR renders human skin incredibly soft and light, revealing veins and other details that aren’t usually visible. Certain birds’ feathers or animals’ skin can produce fascinating colour shifts that don’t occur in visible light. Plants are the most striking subjects, as they absorb IR so strongly, and different species, and even different parts of a single plant, react in unique ways. Personally, I prefer nature photography, capturing plants, animals, and landscapes in IR. However, I also see great potential in urban photography, as different materials interact with IR light in intriguing ways.
