Colonial Gothic IR
I mentioned yesterday how English photographer Simon Marsden (1948-2012) pioneered artistic infrared photography. Marsden was using film and worked assiduously in the darkroom to produce the effects he was looking for - at times making up to 15-20 prints before he was satisfied with a single picture.
Over the next week or so I'll show you some examples of digital infrared and the various moods it can create by managing the light. Results can be quite dramatically different depending on the direction and intensity of the light.
In this particular photo we find the standard ideal light for a sharp and high contrast infrared. It is late in the afternoon, and the sun is illuminating this building at a very acute angle. Conversion to a standard black and white in these circumstances is perfect. The tree on the left is the obvious indicator of infrared, since it makes all organic material look white. I have done nothing to darken the sky in processing.
Colonial Gothic IR
I mentioned yesterday how English photographer Simon Marsden (1948-2012) pioneered artistic infrared photography. Marsden was using film and worked assiduously in the darkroom to produce the effects he was looking for - at times making up to 15-20 prints before he was satisfied with a single picture.
Over the next week or so I'll show you some examples of digital infrared and the various moods it can create by managing the light. Results can be quite dramatically different depending on the direction and intensity of the light.
In this particular photo we find the standard ideal light for a sharp and high contrast infrared. It is late in the afternoon, and the sun is illuminating this building at a very acute angle. Conversion to a standard black and white in these circumstances is perfect. The tree on the left is the obvious indicator of infrared, since it makes all organic material look white. I have done nothing to darken the sky in processing.