This is for both Adobe Camera Raw and working in Photoshop as well, via the Camera Raw controls found in Filters > Camera Raw.
Shooting in the near-IR range (720–850nm) can produce dramatic B&W images. The raw files usually come out very flat, reddish and low in contrast, so some careful processing is needed. Here are some basic steps and tricks you can use in Adobe Camera Raw (ACR) or Photoshop for black & white infrared photography:
- Open the RAW file in Adobe Camera Raw and set the white balance on foliage, then adjust exposure/contrast
- In Photoshop, convert to black and white
- Use Curves to increase contrast
- Optional: use the Channel Mixer for better tonal separation
- Add local adjustments (dodge/burn, clarity) as required
- Finally, add any necessary sharpening and vignetting
Tip: Files shot with 720-760nm filters usually have more tonal flexibility (a little colour remains for channel mixing), while 850nm produces purer B&W with higher contrast but less channel play.
1. Initial Setup in ACR
White balance: IR shots start out predominately deep red. In the Color panel, use the White Balance eyedropper on something green (grass, foliage) to shift the image toward neutral. This will help maximize tonal separation.
You may need to set the Temperature slider very low (2000–2500 K) to bring foliage out of the red channel. You may wish to adjust the tint slider as well.
Exposure & Contrast: In the Light panel increase Exposure as needed to compensate for any tendency for IR shots to be a little dark. Boosting from +0.3 to +1.0 is common. Add Contrast or use Curves for more definition.
Highlights & Shadows: pull down highlights (to recover skies) and lift shadows slightly (to bring out darker foreground elements).
In the Effects panel add some presence by pushing the Clarity slider to around +20, but watch out for this making details such as foliage distractingly crunchy. Deepen skies by lifting Dehaze by +10, and – with care – lift Texture by +5 or +10.
2. Convert to B&W
In ACR, click B&W to switch to greyscale display and to show the B&W Mixer panel.
In this panel, first see where Auto gets you, then play with the channel sliders (Reds, Oranges, Yellows and so on) to fine tune the rendering.
Alternatively,
3. Tone Curve Adjustments
Use an S-curve to boost contrast: lift the highlights to make foliage glow, and deepen the shadows to make skies dramatic and black. Keep the midtowns balanced, although they will likely need a bit of a lift.
4. Channel Mixer Trick (Optional Pre-B&W)
Before converting to black & white, try adding a Channel Mixer adjustment layer in Photoshop. Swap or emphasize channels: set red output to 0 and blue output to 100 (and adjust Green as needed). This can give surreal false-color IR looks before conversion, or more control over tones when converting to B&W.
5. Local Adjustments
Dodge & Burn: use curves or masked layers to selectively lighten foliage or darken skies.
Clarity/Texture: IR foliage can look too soft. In this case add a little Clarity to restore crispness. This is part of the Adobe Camera Raw controls, found in the Effects panel. You can access it in Photoshop from Filter > Camera Raw Filter.
6. Finishing Touches
Sharpening: IR can look slightly soft (due to longer wavelengths and internal lens focus shifts). In this case apply smart sharpening or high-pass sharpening to taste.
Noise reduction: High-ISO IR shots may need a bit of noise cleanup, as with any high-ISO work.
Vignetting: Adding a subtle vignette often enhances mood in IR landscapes.