GRAPHIC TIPS & NEWS

Adapted from Digital Infrared Photography (Rocky Nook)

By Cyrill Harnischmacher

Dateline: October 28, 2008
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To a large degree, infrared photography equates to landscape photography. This is where we find some of the most amazing things to see in infrared light. While the principles of conventional photography fully apply, we may of course, from time to time, forget about the rules and go wild with creative freedom. But the qualities of classic photography—composition, abstraction, and focusing on the essential—have the same importance in infrared light. However, there are a few special considerations: For one, we must consider the Wood Effect and pay close attention to contrasts that are likely to result from it. As an example, let’s think about colorful flowers on a green, grassy meadow, which would look great as a color photograph. Using appropriate filters, this could also make an interesting black and white picture. But in infrared, the same meadow will yield only a bland area with little structure, because the colorful flowers and the grass reflect infrared light in quite similar ways. But, what if we choose a different perspective and shoot the flowers from below and against the clear sky? In infrared light the flowers will contrast well against a dark background. This example demonstrates the importance of the camera position. The best course of action is to contemplate several perspectives before taking a shot. One reason is that we just might find a better angle, but another benefit is that this kind of thinking ahead makes us more aware of why we chose a particular perspective in the first place.


In this shot, the rainbow colors of the kite disappear and the kite is reduced to a graphic symbol. This kind of shot is only possible with modified cameras capable of high shutter speeds. With longer exposures, even the smallest movements of the kite would cause motion blur.


Another aspect of infrared photography is the tendency toward motion blurring, which is a result of the longer exposure times in infrared. Then again, this problem can be turned into a creative tool. A blurred swish can depict the movement of objects in a still picture by pointing out the contrast between moving and stable elements. In this way, the flow of water in a creek or trees moving in the wind in front of a building can suggest motion while at the same time accentuating the static part of the picture. Since modified cameras will use fast shutter speeds even in infrared light, a gray filter on the front lens would have to be used when playing with these motion shots.

The motion blur caused by long exposure times in windy conditions can produce patterns similar to brush-strokes in modern paintings.

The Moonlight Effect

Shooting the clear sky with the sun behind our backs will produce an almost black sky. With low exposure, this can create the impression of a night shot, and something we call the “moonlight effect”. This effect can be amplified by choosing the appropriate subjects. Because too much sunlit foliage does not work well with these kinds of pictures, the winter months can provide the perfect occasion for this type of photography, contrary to the myth that winter is not “infrared season”. It is a good idea to experiment with several varying shutter speeds.

Even though this picture was taken in bright sunshine, the moonlight effect makes it appear to be a night shot.

The Soft Focus Effect

The Kodak HIE 2481 is a popular film in analog infrared (IR) photography. It lacks a protective layer and delivers wonderfully smooth light overwash. With digital capture, we can approximate the effect of this film (at least partially) either while taking the shot, or through later processing. The simplest method at the time of shooting is the use of a suitable soft filter attached to the front lens.

Another interesting possibility to achieve a softening effect is the double exposure. This technique exposes the image twice: the first time in normal focus, to be followed by another shot with the lens set to be more or less out of focus. Not all cameras allow double exposures. But as long as the focus can be set manually, we have another option. First, we place the camera on a stable tripod and focus normally. After setting a small aperture to correspond with several seconds of exposure time, it would be a good idea to take several test shots to make sure the settings are correct. After making sure we are good to go, we can release the shutter. Now here comes the trick: at the midpoint during the exposure, we “defocus” the lens by carefully turning the manual focus ring. Of course, this will cause some camera shake, but this is quite irrelevant because the picture resulting from this technique will be blurred anyway. The softening effect can be adjusted by defocusing earlier or later during the shot, which leaves the picture at varying degrees of base focus. In addition, the level of defocusing also plays a role. By noting all the settings together with the shot number we can reproduce the same effect on future occasions.

A deliberate defocusing during the exposure draws a shining aura around the bright parts of the picture.


Whatever we do, special effects should never cause us to forget about classic photographic techniques. We should think about unusual perspectives and make them an integral element of our composition. The viewer can be guided into the picture by making use of existing lines, which can direct the viewer’s eyes to the most important details. We should also think about how to integrate the foreground into our compositions. Let’s not shoot only from eye level. Instead, we should look for camera positions and angles that not only show the subject in the best way, but also eliminate unwanted details. We should not only incorporate contrasts between bright and dark, but also between emotional tensions and opposing shapes. We can try both the vertical and horizontal formats and experiment with various focal lengths to find the combination that gives our subject the best depth and appearance.

Try as we may, there will always be an element of uncertainty and surprise. After all, with infrared we are photographing something “invisible”. Of course this is exactly what makes infrared photography so fascinating and exciting.

Shot through a short telephoto lens, from an elevated location across the street, this shot includes all the important elements, but looks rather bland.


This shot, looking up from the tower's base, was taken with a wide-angle lens. The vertical format works much better; the shorter focal length and the different perspective lend a much more dynamic quality to this image.


This picture shows not only tension between opposing forces, it also tells a story.


The Neckar River in Germany. Even in infrared light, reflections make an interesting and rewarding picture. In this case, the viewer’s eye is drawn into the shot by a nearly symmetrical arrangement and the central perspective. Nikon D70S, 24 mm, aperture 8, 3 sec., ISO 200, Heliopan RG780.