An introduction to full spectrum photography
If you spend anytime looking at my work, it becomes clear that infrared photography is a big part of my practice. Infrared photography a medium that ventures beyond the ordinary, unlocking a surreal world of unseen beauty.
Infrared photography captures wavelengths of light invisible to the human eye, typically ranging from 700 to 1200 nanometers. After processing, it results in a whole new world of expression, it transform familiar landscapes into otherworldly scenes.
What is infrared light and the full spectrum?
I’ll try not to bore you with the physics of the electromagnetic spectrum but it is important to know a little bit about what we are trying to capture.
Light in this case is electromagnetic radiation that travels in waves. These waves vary in wavelength and frequency, and together they form the electromagnetic spectrum. Our eyes perceive only a very small portion of this spectrum, known as visible light. This ranges from about 400 nanometers (violet) to 700 nanometers (red). Beyond these limits lies a vast, unseen world of electromagnetic waves, each with unique properties and uses.
The electromagnetic spectrum from Wikipedia (Inductiveload)
The full spectrum encompasses all possible wavelengths, this include things from gamma rays and x-rays all the way to microwaves and radio waves, however we are only interested in the infrared portion of the spectrum.
Infrared light lies just beyond the red edge of the visible spectrum, ranging from 700 nanometers (nm) to about 1 millimeter (mm). This segment is divided into three subcategories based on wavelength:
Near-Infrared:
Wavelength: 700 nm to 1,400 nm
Closest to visible light and most relevant for photography. Cameras with infrared filters or modifications typically capture this range.
Common applications: infrared photography, night vision, and fiber optics.
Mid-Infrared:
Wavelength: 1,400 nm to 3,000 nm
Used in thermal imaging and medical diagnostics.
Far-Infrared:
Wavelength: 3,000 nm to 1 mm
Associated with heat radiation; used in thermal cameras to detect temperature variations.
For all of the photography I do and is most common we stick to near-infrared.
That’s All Well and Good, But How Do We Do It?
The foundation of infrared photography lies in the equipment. A modified camera is essential—specifically one where the IR cut filter has been removed. There are ways around using a modified camera but that is a discussion for another time. The IR cut filter blocks infrared light to ensure accurate colors in visible light photography. By removing it, the camera sensor becomes sensitive to the infrared spectrum, allowing it to capture light beyond what our eyes can see. A full spectrum conversion does an extra step allowing for the removal of all filters infant of the sun opening it up to the UV side.
Once your camera is ready, the next step is selecting the right IR filters. These filters are designed to block visible light while letting infrared wavelengths pass through. Filters can either be built directly into the camera during modification or attached externally to the lens. I personally prefer screw-on filters due to their versatility. They’re convenient to swap between lenses, which allows for greater creative freedom and experimentation. With different filters, you can also fine-tune the range of infrared light you capture, such as emphasising certain wavelengths for unique effects. It is also possible to add IR and UV cut filters externally to return the camera to a relatively normal operation.
When using IR filters, it’s important to consider your shooting conditions. Infrared photography works best in bright sunlight, as infrared light is more abundant during the day. Clear skies and midday lighting provide the most dramatic results, with deep contrasts and surreal tones. However, with practice, you can achieve stunning results in other lighting conditions too, such as early mornings or under partial cloud cover. Don’t be afraid to experiment—infrared photography is as much about discovery as it is about technical skill.
side by side comparison of different ways we can use filters to get wildly different looks.
Processing Infrared Images
This is going to be a whole separate article later since there is so much to talk about.
Once you’ve captured your infrared images, the real magic happens in post-processing. Infrared photos straight out of the camera often appear red or magenta due to the way sensors handle infrared light we can call it here but I work in the style of false flour infrared, that is remapping the colours. To bring out their full potential, you’ll need to:
Set a Custom White Balance: Adjusting the white balance either in-camera or during editing helps neutralize the overwhelming red tones and brings out more nuanced colors.
Channel Swapping: Using something like Photoshop, you can swap the red and blue channels. This process creates the iconic "false colour" look associated with infrared photography, where skies might appear deep blue and foliage takes on an ethereal white glow.
Enhance Contrast and Details: Infrared images often benefit from tweaks to contrast, sharpness, and tonal curves to highlight their surreal qualities.
Convert to Black and White: For a different aesthetic, black-and-white infrared photography emphasizes textures and contrasts, producing dramatic, timeless images.
A side by side comparison of the out of camera image, white balanced image and the final colour swapped image, taken using 590nm filter on Z6II
The list can go on with the ways and things you can do when editing your images, it can get very complex or as simple as running a photoshop action.
Why Infrared Photography?
For me, infrared photography is about seeing the world in a way that defies expectations. The ability to transform an ordinary scene into something dreamlike and unfamiliar is endlessly inspiring.
Infrared photography can evoke a sense of mystery, wonder, and even nostalgia. It’s a medium that invites viewers to reimagine the world around them, offering glimpses of a hidden reality that’s always been there, just out of sight.
Infrared image of some houses n the fog, taken with the Nikon Z6 with the 630nm filter