Infrared in the Gardens

For those who are new to the concept of infrared photography, it can be a bit confusing with terms like wavelength, nanometer, conversion, full spectrum and channel swaps. These are terms for which one can witness eyes glazing over as they are discussed. It takes time to become familiar with them, just like anything new. For me, flowers and gardens are like an elixir for the soul. Being able to see them rendered differently through infrared only adds to the delight.

Basically, with infrared photography, a filter is placed on the lens or the camera sensor. This filter allows for the light that we cannot see to be revealed in our subjects. Our eyes see only visible light. So, we see colors, all the ones that make any garden overflow with beauty. With infrared, the colors that are revealed in those images are quite different and make everything look nothing like what we see. Infrared brings out the magic.

BEAUTY IN A DIFFERENT WAY

This month’s offering is more of a sharing of the beauty in the gardens of spring and early summer in a different light – infrared – the light we can not see. Thankfully, with different filters used, the camera does. With some specific steps in post processing, the results can be magical.

Let me introduce you to that magical light and the many different ways it can be interpreted. What you first see in the camera is already unique enough to get you excited. The “bones” of trees jump out of scenes against the green foliage. Insects such as bees, butterflies and other small creatures also stand out as do things like stones, wood fences and metal objects. Ordinary scenes and subjects become transformed. That said, most people familiar with infrared generally think of landscapes and not so much flowers or gardens, and especially not close-up images.

Bee on purple coneflower (850nm)

TWO GARDENS IN INFRARED

In April I spent nearly a week steeped in the splendor of Longwood Gardens in Kennet Square, Pennsylvania. The tulips and wisteria and so many other plants and flowers were in bloom. The gardens and conservatory visual displays were seemingly endless in possibility for photography. On one day, for one day, I decided to walk around Longwood with Cheryl Belczak before our workshop and chose to make use of my infrared camera to capture the garden treasures in a different light. I must admit it was challenging to resist going back to my color camera when the gardens were so beautiful. However, I stuck with it and was surprised by what I found. (To be fair, I do have a “hot mirror” filter that I could have used to interrupt the infrared shooting with color. I resisted – for one day. That was all I could manage at the time. I was more than ready for the immersion of the colors of spring.

Longwood Gardens Tulips (720nm)

Just this past week, during my “Infrared in the Gardens” workshop at Lewis Ginter Botanical Garden in Richmond, Virginia, I spent four days photographing in infrared with some fine gentlemen attending. The gardens are beautiful all year long, and this time was no different. However, this time … the only color images I shot were with my phone. I photographed only with my infrared camera and varied wavelengths and subjects, which included wide scenes as well as small stories and close-up images with my regular lens as well as my Lensbaby Velvet 56. The heat on one day added another layer of challenge, but the temperature and light of the next offered overcast and clouds. Both days for the workshop were great for infrared, which shines in the contrasty light that makes color photography nearly impossible and far less fun.

Lewis Ginter Botanical Garden Conservatory (850nm)

THE REVEALS IN POST

As with all digital photography, post processing is the other half of the creative process. Here is where we each get to decide how we want to present (and process) our images, how we want them to look and feel. Infrared images have a different look and feel than color. One of the visual signatures of infrared in black and white includes white foliage and grasses, but there is so much more to infrared than that. For me, infrared invites the less traditional souls to unleash their interpretive styles, often with abandon. What comes out of the infrared-converted camera does not look “real,” so many of the “rules” about what the image should look like are dropped. Basically, if you use good techniques in the field and start with some standard steps in the beginning of the post processing, where you go with the image in the end is all about what makes YOU happy.

If you want to see what photographers are doing with infrared, visit the Infrared Photography Group on Facebook. There are others, but this is one for which I am an Admin with Dan Wampler. The group was started by Mark Hilliard  years ago and there are over 10,000 members from around the world. What makes this good for anyone curious about infrared is that one of the rules for the group is that when an image is shared, the photographer must also provide the wavelength (nm) used so that others can see and learn what is possible. This is very helpful and shows the creativity that infrared invites.

Ginter Daylily (720nm)

TOOLS AND RESOURCES

As far as software goes, I use Photoshop, a channel swap action, Nik Collection (Viveza, Color Efex, Silver Efex) and Topaz Studio 2 (still works on my computer). Others use Lightroom, I just don’t. A wonderful resource on all things infrared is Rob Shea. I highly recommend tapping into the wealth of information and resources he provides in his book, on his blog and website as well as his many YouTube videos. You will learn a lot from him.

If you’re wanting to convert a camera to infrared, I recommend Kolari Vision. They are an innovative and forward-thinking company and are constantly developing new products. I have had four cameras converted to infrared by them and also have their clip-in and round filters. One thing to be mindful of is that the lenses you choose to use for infrared photography are even more important than the camera. Many lenses generate “hot spots,” which are bright areas in the center of your image. Not what you want to deal with. There are ways to “fix” hot spots, but it’s easier to use a lens that does not create one more complication in the creative process. Check the lists that are provided by Kolari Vision, Rob Shea and others to plan your infrared adventure with the lens that plays well with invisible light.

Longwood Gardens Bell Tower (665nm)

LESSONS AND FINAL THOUGHTS

I was introduced to infrared about fifteen years ago by Mark Hilliard. I love having it in my “tool bag.” It allows me to shoot all day, and I mean all day, no breaks for high noon. There are certain times of the day that are great for color and infrared. Other times, like the middle of the day, when infrared shines and color simply sucks due to the contrasty, harsh lighting.  When I’m out photographing, I do not stop for naps or food (snacks are in the car).  Infrared fills the space in time for me when many photographers put their cameras down because of the “bad” light. With infrared, not me.

I hope the images and ideas presented make you just a little curious about the possibilities of infrared. Perhaps, like many, you only thought of infrared for landscapes and not so much for flowers. Having spent more concentrated time photographing the flowers and gardens in infrared, I now have an elevated interest in exploring more in this genre with my regular lenses as well as with my Lensbaby Velvets. I believe I have a new project to experiment and play with. Curious? Good. Feel free to reach out to me or other infrared photographers and discover for yourself the magic of infrared.

I really believe there are things nobody would see if I didn’t photograph them.

—Diane Arbus

Curled lily pad heart (665nm)

Longwood Anemones (665nm)

Longwood Trillium (665nm)

Lily pads (590nm)

Longwood Hosta (665nm)

Longwood Hosta (665nm)