False Color Infrared Photography
Published in Digital Photographer Philippines Issue 20: Coast to Coast
(Updated 6 November 2008)

With the onset of digital imaging and camera sensors sensitive to the near-infrared wavelengths, capturing infrared images have never been easier and more convenient.

In the 1960's, Kodak introduced the Ektachrome Infrared Aero Film Type 8443 which gained popularity for being able to capture colored infrared images. Combined with the effects of infrared and the unusual colors produced, it introduced something unique to the world of photography.

Today, the need for expensive and usually scarce special films and emulsions are gone. One can simply attach an appropriate filter to their digital camera or have their camera serviced to modify the sensor's low-pass filter to shoot dedicated infrared wavelengths all the time. Along with the capabilities of editing software such as Photoshop and that no standard method of processing has been set, the possibilities have become endless. However, there are still methods that produce aesthetically pleasing results more than others and this tutorial will deal with one of those methods. But before anything else, shooting and "seeing" digital infrared isn't as straight forward as it might seem.

Visualizing Infrared Light
Yes, infrared photography has this effect to it that makes the image look unique and special. Along with the premise of capturing light that is beyond what we see or that is invisible, it has attracted a lot of enthusiasts and experimenters. This does make it easy to forget the basics especially the first time producing something significantly different and surreal from the usual visible light captures. But with all these special effects, they won't automatically turn your ordinary image into something stunning. A mediocre image is still a mediocre image even with infrared effects. Thus, it is imperative to remember the principles of capturing a great image and not just imagining every single piece of foliage turn to white. Here are a few pointers on how to visualize and capture infrared light properly:

Choose a good subject and composition. There are certain subjects which work better with infrared than others as it affects some things differently. Along with foliage turning to a white or yellow hue, the skies darken; water reflectance increases especially with still water surfaces; and human skin turns pale white just to name a few. And as with all fields of photography, proper composition of all elements is essential.

Take into account the light. Infrared photography works best with direct sunlight as solar infrared radiation is the biggest source of light available for any infrared scene. More often than not, erratic lighting will make for unpleasant results especially for false colors and overcast skies with diffused light will produce dull, low contrast images. This can also cause skies to burn out and leave ground subjects underexposed. Graduated neutral density filters won't be of much help either as they are not designed to block infrared light.

Compress time. Learning to see and compress long exposures into a single frame will give an advantage over standard images. The effect will be similar to using extreme neutral density filters making for dynamic images with streaking clouds, blurred motion, and misty or glass like effects on water depending on its movement. This applies mostly to infrared photography using add-on filters because modified cameras normally have just about the same exposure time as an unfiltered camera. This also depends on the camera used. There are some models even if unmodified, can capture infrared images in short handheld exposure times. And there are those which need long exposures to produce an image, some of which can take as much as over 15 stops longer than normal.

Shoot it right. Get the proper white balance every time you shoot. Use a custom white balance taken from the surrounding foliage with the filter attached. There may be some other ways of getting the proper white balance for your specific camera which you can try to search the internet for or better yet, experiment on getting it yourself.

Always shoot RAW. It is critical to get the proper white balance because it not only affects the colors but also the exposure of the image. And with RAW, there is some leeway for readjusting white balance using the white balance picker tool in your RAW editor which cannot be done with JPEG captures. But getting the correct white balance during the shoot itself should be a priority.

Compose your image, attach the filter, and then refocus your lens. The wavelength of infrared and visible light is not the same; as a result, there will be a focus shift if you pre-focus without the filter attached. Despite not being able to see through the filter and viewfinder, the camera will still be able to autofocus. Use a sturdy tripod and your camera's mirror up feature to get sharper images. When doing long exposures, remember to use a viewfinder cap to prevent stray light from leaking onto the exposure.

The final part is how you process your captures. The following is just one way on how to go about trying to make sense of the psychedelic colors; turning your great image to something potentially spectacular.

1 Converting RAW Files
First things first, any Adobe image processing software should be avoided when converting your RAW files as they force their own tone curve which significantly alters the white balance (Lack of below 2000 Kelvin temperatures) and exposure of the output image from that of the one captured by the camera. This includes Adobe Camera Raw as seen below.  (Update: You can use DNG Profile Editor from Adobe Labs... thanks to Jay Jallorina for the info.)

Luckily, there are free RAW converters out there that you can download and use to convert your RAW files to TIFF images which we will process later on. We recommend using RAWTherapee or SilkyPix which does not alter the white balance.

For Pentax K10D Users: This wasn’t included in the article. It’s sort of a cheat to get the same colors in ACR by editing the camera profile at the expense of increased color noise or posterization.

2 Editing in Photoshop
After converting your RAW file to TIFF, load it into Photoshop. First, examine the histogram for any exposure corrections to be made. Always use the colors channel mode for the histogram to preview the RGB and Luminosity channels.

3 Curves Adjustment
Next thing to do is add a Curves Adjustment Layer by clicking on the adjustment layers button at the bottom layers palette.

Once the dialog box is open press the Auto button to automatically correct for the color and exposure curves. Once done, you can add a slight S-curve adjustment to enhance contrast at the same time.

4 Masking Highlights
Look at the histogram again for highlight clipping that may have resulted from our curves adjustment. Select the Layer mask icon at the right of the curves adjustment layer’s icon. Use an appropriate brush opacity to mask out the highlights.

5 Color Inversion
Now comes the part of realizing the false colors of the image. There are a few ways of doing this like the popular Red and Blue channel swap method and the Color Inversion method. For this article, we shall use the less known color inversion.

Just like the curves adjustment before, add another Invert adjustment layer.

6 Change Blending Mode
Change the adjustment layer’s blending mode to color to overlay that color over the image. This changes the sky colors back to the bluish hue we are familiar with.

7 Back to the Histogram
Checking the histogram again, you may be faced to contend with some color casts. This image needs some adjusting for the blue cast present indicated by the histogram.

Add another curves adjustment layer and select the blue channel to reduce the blue cast.

8 Final Adjustments
Adjust saturation and contrast to your liking and add sharpening.

9 Final Word
Creating stunning infrared images isn’t limited to processing them. Going back to the basics and choosing the proper subjects, composition and taking into account the light and proper white balance during the shoot is essential to the whole process.

Finally, no method is the “be all and end all” of infrared processing. Also, every camera is not created equal for false color infrared. There are cameras that produce a lot of false colors out of the box and there are others that barely do especially with infrared filters. Just like one processing method may work for one camera, but may not for others. The key is to experiment and make the image into your own.

I've been getting a lot of questions about what gear I'm using lately for reasons that I don't know why. Usually, I don't entertain these "tools" centered questions because they are just that, tools. Plus the fact that when I answer these kinds of questions, it again leads to more questions like how and why did I choose them. I for one hate repeating myself. In fact it is probably the very thing I hate the most thus this post. :)

But before I go on further, I'd like to emphasize what I do first. Photography is very much my core hobby, specifically Landscape Photography. It is one of the things that is keeping me sane amidst the busy corporate employee life. And with Landscape photography comes the travel part. You can't very well take great landscapes if you don't travel. Well, you can from anywhere with great light it's possible but the term "gasgas" comes into play.

I am surprised though that I enjoy traveling. I mean, I like vacation traveling, it was also one of my frustrations when I was a kid. But what I'm talking about is cramming into a bus without any a/c on rough roads for 8 hours or more; backpacking, camping, riding a banca for hours on choppy seas; hiking up mountains, trekking through rivers and the sort. Some call it Adventure Travel, I just call it fun. :)

I'd like to clear out that I am in no way a mountaineer and my skills for strategic travel planning is far from acceptable. Fortunately, I've met a lot of friends recently that have been an inspiration and share the same passion for the outdoors and photography. I am also a bit hesitant because fitness was never a strong suit of mine (I am working on it).

Anyway now that I've cleared that out, the above should give you an idea on why I chose my gear. On to my weapons of choice:

Camera
I use a Pentax system. Specifically, a Pentax K10D. It was (The newer entry level Pentax K200D is even cheaper) the most affordable weather-sealed body that was released in 2006. But when it was released there were no weather-sealed lenses yet. You may argue that it's pointless since the lenses I am using isn't sealed but by experience covering the lens and the lens mount against the elements isn't anything hard. But trying to cover the body with all it's buttons and openings is damn near impossible unless you don't change any settings or try to look in the viewfinder and LCD. And not to mention the image quality this camera produces which exceeded my expectations. By the way, I also use a Canon EOS400D at the office for our Interior Photography needs.

Lenses
I started with a DA18-55mm f/3.5-5.6 and DA50-200mm f/4-5.6 combo. Then I got the DA10-17mm f/3.5-4.5 Fish-Eye and the Sigma 10-20mm f4-5.6 EX. I sold off the DA50-200 since I barely use it. I borrowed a DA* 50-135mm f/2.8 recently and I still can't get over the amazing optics of that lens. The color rendition, micro-contrast, sharpness and even the starburst pattern that the lens produces is simply awesome. That would be next on my list.

Support
I also started off with a Velbon Sherpa 400R. It was the "best" tripod I could afford that time, but as time passed I realized I made a mistake on getting it. It was fairly heavy at over 2Kg, the aluminum corroded easily in saltwater, the panhead couldn't carry the weight I needed and worst of all were the cliplocks that simply slid open by themselves after a while and snagged on leaves and branches whenever going through heavy vegetation. A point to ponder on, your tripod is the one holding your expensive camera most of the time if not you. Don't hold out on it. I now have a Gitzo GT1540 Mountaineer with a Manfrotto 322RC2 Pistol grip head. I love the Gitzo. It is by far more stable than the Sherpa while weighing less than 1.8Kg (1.1Kg for the tripod and almost 700g for the head). It's made of Carbon Fiber which absorbs vibrations and does not conduct heat or cold as easily as metal alloys. It also does not corrode in sea water. Cleaning the legs is as easy as unscrewing them which is perfect for field servicing. It also uses Gitzo's G-Lock Twist lock system that doesn't get caught, sand/grit resistant and becomes stronger as the weight increases (as long as you lock it properly). The Manfrotto 322RC2 is not an ideal landscapist head but it does the job. Also, this head must avoid contact with seawater at all costs. I'm still looking for a more compact and heavier capacity replacement ballhead.

Filters
By experience getting good filters is a must for landscape photography. "Good" does not necessarily mean the most expensive though. I am happy with what I'm using:

• Kenko Pro1D Circular Polarizer 77mm
• Hoya ND400 (9 stops Neutral Density) HMC 77mm
• Marumi LC8 (3 stops Neutral Density) DHG 77mm
• Hoya R72 (Infrared filter) 77mm
• Hitech 0.3, 0.6, 0.9 Soft (1, 2, 3 stops Soft Graduated Neutral Density)
• Hitech 0.9 Hard (3 stops Hard Graduated Neutral Density)

Accessories
Along with the camera, I use the Pentax D-BG2 Battery grip for the added weight and ergonomics to offset the weight of the lenses. It is also very convenient since it can house not only a battery but also an extra SD card and the IR remote control while also being weather-sealed.

I use the Canon RS 60-E3 cable release (yes the one used also for the Canon Rebel Series) since it can plug back to itself and turn into a necklace which is convenient for mobility. It is also very durable since I dropped it in sea water and it remained there for a good 10 minutes before I found it again. Once it dried completely, it was working perfectly again.

I am also a big fan of the Tamrac Neoprene/Boomerang straps that really take off the weight from your neck. Unfortunately, I lost mine somewhere in Aurora. And I never forget to bring the viewfinder cap for my long exposures, my Giottos Rocketblower, and a slew of Microfiber cloths, and a Headlamp for navigating the terrain before the sunrise and after the sunset.

Bags
I prefer using a lumbar pack for mobility and ease of access in the field and a backpack when in the city. I highly recommend the Mountainsmith TourFX* lumbar pack (Thanks Chia!) which easily carried all the gear stated above plus the DA*50-135 and more including my tripod, Columbia Cougar Peaks Waterproof Jacket and Booney hat (Thanks Dino!), and a Columbia 650mL Water bottle during DPP's On Assignment 5. It is weather resistant with a Hypalon seal on its main compartment zipper and includes a hidden rain cover. The weight is distributed down to your pelvic area which makes it easy to carry unlike a heavy sling or backpack which takes a toll on your back when you're trying to run around catching the light. For other purposes, I use a Lowepro Minitrekker AW (usually for carrying cloths) and a Lowepro Off Trail 2.

Software

• Adobe Photoshop or Lightroom
• Noise Ninja
  
• Silkypix (for RAW IR conversion)
• PTGui for stitching
• Proxel for "defishing" fisheye images

I haven't done HDRI since my last Capones trip as I find it a little too much. But I used to use Dynamic Photo HDRI.

Apparel
Yes, these are included! Anyone who's shot long exposure infrareds would agree with me to have ample cover unless you want to burn to a crisp under the mid-day sun. At first I never believed these so called fast drying and wicking clothes being flung around basically because I never really invested on any apparel which cost these much. But after seeing my friends use them in the field, I changed my mind. When I had the chance to go to Hong Kong last July, Columbia and TNF was number one on my list to shop for and I always go to their local stores especially when there is a sale! :D

First, they really do dry fast and leave you dry and comfortable and second, the most advantage I get from them is that they pack light and save space. Packing light is one of the most important things especially on a long trip. Just to give you an idea, here is what I packed for OA5 (which I will be blogging about after the article comes out) which all fit inside my Minitrekker:

• Columbia Silver Ridge Long Sleeves Shirt*
• Columbia Silver Ridge Convertible Pants
• Columbia Sunscape Sandals
• Columbia Hightail Full Zip Jacket
• Columbia Cougar Peaks Waterproof Jacket*
• Columbia Booney Hat*
• Columbia Vented Booney Hat
• The North Face Velocitee Crew Vaporwick Flight Series
  
• 2 Adidas Climacool Shirts
• Adidas Climacool Jogging Pants
• Nike Dri-fit sweatband
  
• 6pcs of underwear
• 3 pairs of socks
• A pair of sun sleeves/arm warmers
  
• Toiletries - Shampoo, Bodywash, Toothbrush, Toothpaste, Sunblock, Off Lotion, Deodorant
• 1 Roll and 6 small packs of tissue
• A bottle of supplements and a medicine pack
• A roll of plastic bags
• A half-sized towel
  

That doesn't include what I was wearing:

• Columbia Silver Ridge Short Sleeves Shirt
• Columbia 3M Convertible Pants
• Columbia Blackrock II Hiking Shoes
  

And with the help of a Sea to Summit Dry Compression Sack*, I was able to save more space going home. I also have a TNF Resolve Waterproof Jacket and a 45L Conquer Backpack which I use for very long trips and whenever I need to bring my sleeping bag. I'll probably shop for a better bag this Christmas along with a tent and a cookset if needed for my upcoming Batanes trip with Jay.

So I hope that will answer most of your questions. Feel free to post for any suggestions and comments especially what tent to get. I'm looking to source out Mountainhardwear or Black Diamond in Hong Kong budget willing. :)

*Thanks to Dino De leon of Columbia Sportswear and Cynthia David of Mountainsmith / Sea to Summit for sponsoring the gear for On Assignment 5. :)

Start:	Oct 21, '08
End:	Oct 26, '08
Location:	Mount Mayoyao, Ifugao, Philippines

http://digitalphotographer.com.ph/forum/showpost.php?p=501986&postcount=326

5 is the lucky number!

Sponsored by Columbia Sportswear, Mountainsmith and Sea To Summit!

With Taks Paler(Team Leader), Rolly Magpayo, Alford Ronduen and Armand Apuntar and DPP Chaperone Jay Jallorina.

The mission:

1) Climb Mount Mayoyao
2) Shoot the Apfo'or, Makaliwagha and Lehbong Burial Tombs
3) Shoot Chuyong Viewpoint and the Falls
4) Travel to Cultural Heritage Sites
5) Be part of he Pat-Yay Photo Expedition
6) Cover the rice wine making, native hut assembly and palay harvesting activities on Mount Mayoyao

I can't wait! :D

It's finally out! This issue is truly packed with great photography and tips. I'm proud and honored to have been part of it among the ranks of Jay Jallorina, Bernard Billedo and Edwin Martinez. Also, for Infrared photography enthusiasts, there may be some good reading inside. ;)

Thanks DPP and to my colleagues and friends who helped in making this issue as good as it is. Love lots!