Hey, it’s raining over there! One cool thing about photography in the Grand Canyon is that you can see so far, that you can see one type of weather in one direction, and different weather in another. Even better, you never have to worry if there might be a building or a parking lot in the shot. The vistas are amazing and varied as you look in many directions. (The only problem that you just can’t fix is the haze created by car exhaust in nearby cities like Las Vegas and Los Angeles.)
This Infrared Photograph, shot in the morning sun into the Grand Canyon from the North Rim shows a towering cloud and an isolated shower. The shape and texture of the cloud competes for visual attention with the amazing land formations beneath it.
I enjoy digital Infrared photography for the high contrast images that can be made in processing. The best condition to get great results with an Infrared-converted camera is a sunny day. I’m glad I packed my Infrared camera with a wide angle lens for this Grand Canyon adventure.
I enjoy shooting Infrared landscape photographs, and processing them to create some high contrast black and white images. Here is one infrared photograph taken from the North Rim of the Bright Angel fault.
Shooting Infrared, you will get the best results in bright sunlight, so conditions were perfect on this sunny morning. Puffy clouds always add interest to the sky.
I use a separate Sony mirrorless digital camera for Infrared photography: one that has been converted for the “SuperColor” light range by Lifepixel.com.
Back in the good old days, we rented a cottage on Cape Cod near this salt marsh. In those days, we biked the trails and spent our days on the beach and some evenings at the drive-in movie theatre. Returning to this land of great memories last week, I focused on a new aspect of the area — the quiet salt marsh at sunset.
In this stage of my life, I have devoted my time to landscape photography, and I’ve become intrigued with the artistic possibilities of Infrared photography. I drove past this marsh earlier in the day, only to be drawn back for a second look before the sun set.
My recent trip to New York City and Little Island inspired me to capture some new infrared images. Before I pull out the infrared-converted camera, I look for dynamic compositions that are simple and feature strong shapes. I also like to include both foliage and sky, if I can.
Looking from Manhattan’s Lower West Side toward New Jersey, I liked the composition framed by the concrete supports of Little Island and featuring the converging lines of the pilings in the Hudson.
I processed the Super Color image today to render the water in blue and the foliage in a golden yellow. What do you think?
Processing a digital infrared image requires experimentation. Once the image has been captured, it can be rendered in many different ways. I adjust the hue, saturation and lightness of each color one at a time and make several other technical changes — like channel swapping, levels and curve adjustments. Let’s just say that processing is a lot like cooking. The chef adjusts according to taste.
Green foliage, blue skies and bright sunlight are daily staples in southwest Florida, and all three of these elements combine to make strong infrared photographs. While the look of the final image and final print will vary with your processing style, green foliage can read as white, blue skies will go dark, and bright sunlight produces high contrast. If you like black and white prints, these qualities of an infrared photo will deliver greater contrast and drama than traditional film or digital photography.
Here is a recent infrared photograph that I captured at the Naples Botanical Garden on a sunny afternoon and processed to black and white, achieving the contrast I strive for.
As an artist, I’m inspired to experiment. And so on a sunny afternoon in South Florida, I captured this infrared photograph in a pine forest.
Infrared photography is a ripe medium for experimentation, as I find so many choices are available in processing. Shall I go black/white, blue/white, cyan/orange? To fully embrace infrared photography, which only captures invisible light above the red spectrum, you need to let go of reality as your eye defines it. Then, you are free to see the world in a brand new way.
Hurricane Irma lashed Naples Florida in early September 2017, stripping and uprooting trees, knocking out power and damaging homes. Three and a half years later, the year-round tropical growing season has filled in the gaps and erased most signs of Irma’s destruction. The landscape looks lush and green again.
This mangrove preserve in Pelican Bay still tells the story of Irma, when she stripped the trees bare of leaves close to the Gulf coast. This infrared photograph shows some of those bare tree trunks along the boardwalk that leads to the beach.
This driftwood stump caught my eye while I was walking the beach, as I noticed grasses growing out of the center. The scene spoke to me of both the passage of time and the regeneration of life, naturally occurring. Looking it over, I saw a simple composition that would be interesting to photograph with my Infrared camera.
Do you find this image both peaceful and intriguing? I’d love to hear your thoughts.
The delicate curve and pattern of this palm branch and its sharp shadow that echoes on the ground drew me over to photograph this patch of ground. I chose to isolate these elements to emphasize the shapes I noticed.
When it came time to process this infrared photograph, I slid the hue for the foliage over to a hot orange. The hot orange against the white shelly gravel spoke to me about the heat of the tropics. It was a hot afternoon in sunny southwest Florida, the perfect time of day for a high contrast infrared capture.