Here I’ll go through the processes needed to get from a somewhat pink raw file to a nice contrasty monochromatic image, but before I do that it’s worth reiterating some thoughts on composition.
Shooting infrared really shouldn’t change the conventional approach to creating a compelling photograph. Use shadow to create depth, and be aware of your subject matter, the position of your light source and what you want your final frame to say.
A lot of infrared images I see are tonally flat and compositionally weak because the photographer has got carried away with the fact they are using the infrared spectrum and forgotten about everything else. Owners of 10-stop neutral density filters have occasionally been known to have a similar tendency, so remember it’s not about the technique, it’s about showing your subject in the most captivating way possible.
1 TAKING THE SHOT
Don’t be alarmed – if you’re using a filter like the Hoya R72 this is what your file is going to look like. Use a tripod, a low ISO sensitivity, focus via live view and 2500K white balance. It’s trial and error on the exposure time. Check your histogram to ensure you don’t blow your highlights.
Don’t be alarmed – if you’re using a filter like the Hoya R72 this is what your file is going to look like. Use a tripod, a low ISO sensitivity, focus via live view and 2500K white balance. It’s trial and error on the exposure time. Check your histogram to ensure you don’t blow your highlights.
2 OPEN THE RAW FILE
Opening the raw file in the Adobe Camera Raw interface in Photoshop gives us our first chance to improve the shot. The base image will have relatively low contrast and a heavy pink cast. Use this opportunity to remove any sensor dust using the Spot Removal tool.
Opening the raw file in the Adobe Camera Raw interface in Photoshop gives us our first chance to improve the shot. The base image will have relatively low contrast and a heavy pink cast. Use this opportunity to remove any sensor dust using the Spot Removal tool.
3 WHITE BALANCE ADJUSTMENT
Now take the White Balance Eyedropper tool (3rd tool from top left) and click the foliage areas in the frame to neutralise the white balance and deal with the heavy pink cast. Capture NX for Nikon cameras also completes this task exceptionally well. Increase the Whites and deepen the Blacks using the sliders.
Now take the White Balance Eyedropper tool (3rd tool from top left) and click the foliage areas in the frame to neutralise the white balance and deal with the heavy pink cast. Capture NX for Nikon cameras also completes this task exceptionally well. Increase the Whites and deepen the Blacks using the sliders.
4 COLOUR CHANNEL CHANGES
Now open the image in the full Photoshop interface. Go to Image>Adjustments>Channel Mixer and make the changes as shown above in the Red and Blue colour channels. Creating a Photoshop Action for this step is useful. The result will be something that’s starting to look more usable.
Now open the image in the full Photoshop interface. Go to Image>Adjustments>Channel Mixer and make the changes as shown above in the Red and Blue colour channels. Creating a Photoshop Action for this step is useful. The result will be something that’s starting to look more usable.
5 FALSE-COLOUR INFRARED
At this point your file should look something like the image above. This is where you can choose to explore false-colour infrared and experiment further or convert the image to mono and work on tonal contrasts. I use Silver Efex Pro 2 as my mono conversion tool of choice.
At this point your file should look something like the image above. This is where you can choose to explore false-colour infrared and experiment further or convert the image to mono and work on tonal contrasts. I use Silver Efex Pro 2 as my mono conversion tool of choice.
6 FINAL FRAME
This is the end result, and one I’m particularly happy with. Taken on Exmoor with the Nikon D800, I love the fine details on show here. I used the bright light in the middle of a summer’s day and still got an abundance of tone, texture and dynamic contrast thanks to my positioning.
This is the end result, and one I’m particularly happy with. Taken on Exmoor with the Nikon D800, I love the fine details on show here. I used the bright light in the middle of a summer’s day and still got an abundance of tone, texture and dynamic contrast thanks to my positioning.
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