Category: Techniques
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If you have just shot your first color infrared images (using a 590nm, 665nm, or 720nm filter), you might be confused. Instead of the blue skies and white/gold trees you saw online, your photos probably look like a wash of red, brown, and magenta. Your camera isn’t broken. This is just how digital sensors record…
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If you are shooting with a 590nm “False Color” filter, channel swapping is mandatory. Without it, your images just look red. But if you are shooting with a standard 720nm filter – often sold as a “Black & White IR” filter – you might ask: Is there any point in channel swapping? The short answer is: Yes,…
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Explain that raw color IR images often look red/brown. The “Blue Sky” look is artificial but desirable. H2: Why We Swap Channels: Brief theory—we are mapping the IR light to the Blue channel and the Visible light to the Red channel. H2: Step-by-Step in Photoshop: Open Channel Mixer. Red Channel: Set Red to 0, Blue…
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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…
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When you shoot using the ‘colour IR’ range of filters (550-665nm) you can go far beyond the classic red/blue channel swap. Here are some advanced tricks that work well in Adobe Camera Raw (ACR) and Photoshop: 1. Push the White Balance Beyond Normal Limits 2. Multi-Channel Swap Variants The classic is Red ↔ Blue swap, but you can…
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These are the foundational tricks that most IR shooters start with. They are quick and repeatable, and they don’t require diving deep into LAB colour or double-processing techniques. They will give you reliable results and provide a foundation of understanding that will help when you move on to more advanced experimental processes. 1: White Balance on Green…
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