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.
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.
Does a blue sky automatically lift your spirits? Do you feel more energetic and happy on sunny days? I do!
One of the cool features of “Super Color” Infrared Photography is the way you can combine a bright blue sky with a black and white image. The black/white portion of your image can emphasize texture and shape and feel a bit timeless, while a blue sky paints in the happiness.
As you look at this photograph more closely, you will notice that the black/white jungle isn’t like a typical black and white photo. The foliage is white! This Sony camera captures infrared light, and one way to process the image is to convert the foliage to white. The result is kind of surreal, but I like it!
For best results, take your infrared photographs on a bright sunny day and make sure your subject is in the sun, not the shade.
Infrared photography can really open your eyes and unleash your inner artist. There are so many ways to process an image that captures visible and invisible light above 590 nanometers, that the creative possibilities for rendering a simple scene can be inspiring. Let me explain.
When I go out to shoot Infrared photos, I look for simple compositions (less is more) with interesting shapes, strong contrast and often, a sky. For example, a an image that includes sunlit foliage against the sky will be high contrast. Walking around your familiar environment, you can find these elements. (A perfect COVID-safe activity!)
When you begin to process at the computer, the fun begins. Using some special techniques, you can render the image in black and white, or blue and white, or blue and yellow, or blue and pink, for example. The possibilities are not exactly endless, as they are derived from manipulation of the red and cyan color channels, but there is lots of space for experimentation and expression of personal taste.
The body of work I have created with Infrared photography and creative processing at the Naples Botanical Garden gave me the idea of putting together a book that includes a variety of processing applications. When I share a single print, I get mixed reactions from people who don’t know what to make of this imaging style. I find myself explaining that black and white photography is “not reality,” but it is revered, and has been a part of our art culture for a hundred years. And consider this: fine art painters take liberties with colors, making choices express feelings and moods, rather than literal “photographic” reproduction. In contemporary art, painters have been freed from even a literal rendering of form when they paint in the abstract, right?
I find that most people don’t understand Infrared Photography, as it is uncommon. I am proud to be an Infrared pioneer, and I hope you will join me and enjoy it.
As a photographer, I’m always attracted to a scene that shows a path, because my mind questions, “Where will this path lead?” In this infrared photograph, the scene looks quite mysterious. A line of stepping stones provide a solitary path across a dark pond to a tiny Asian temple.
I feel a celebration of sunshine in the golden foliage and deep blue sky. The deliberate path to the little shrine is an invitation to personal meditation. How does this image speak to you?
Fact or Fiction? In fact, you see the blue lake and the wind blowing the green palms in the soft light of dusk. In January, the blue water, green palms and white puffy clouds are quite agreeable. Yet, the scene is unremarkable in Florida.
But there is another true way to see this same scene in real time. See this scene with infrared light and the palms glow with golden light. The chubby palms emerge from the edge of a very dark lake. And the sky? I see white puffy clouds and a bit of blue sky. It’s a curious combination, but it’s real.
Having admired the landscape photography of Clyde Butcher, I love to create my own photographs of tropical Florida with high contrast. Infrared photography is one method to use in making high-contrast images.
An Infrared photograph can be processed in many ways. It is the artist’s choice to use white, yellow or magenta for the green foliage, and to dial in a light or dark hue of blue or cyan in the sky and water. Of course, the image can also be rendered in pure black, white and midtowns. Does this recipe work for you?
When I set out to shoot Infrared Photography with a modified camera, I usually employ a wide angle lens and look for sunny skies and green foliage that create a strong composition. The direct sun and the strong composition are key.
When I set out to shoot wildlife, I use a regular camera (not modified for infrared light) and a close up lens, so I can capture true color and detail and avoid approaching and disturbing the wildlife. My strategy and my equipment are completely different.
So, today when I was roaming the golf course along the lake with my Infrared camera and wide angle lens, I was surprised to see an Anhinga (large bird) that just happened to contribute interest to my composition. “Hello, and hold that pose!”