Infrared Filters: Color Doesn’t Exist Audiobook Sample
By Rob Shea
This audiobook sample chapter is from Color Doesn’t Exist: A Practical Guide to Infrared Photography. You can purchase the print, eBook, or audiobook editions at infraredbook.com.
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Transcript for Infrared Filter Recommendations - Color Doesn't Exist Audiobook Sample Chapter. Duration: 6:18.
- 0:01 Chapter 3.5 Filter Recommendations Infrared photography presents a broad spectrum of options when it comes to filters. Here are my recommendations. When it comes to inexpensive or variable infrared filters, unless you like wasting your time and money, don't do it. Inexpensive and variable infrared filters work poorly on unconverted cameras.
- 0:28 They're only slightly better on converted cameras. The cutoff precision of low-quality filters tends to be poor. Low-quality filters can leak more visible light than advertised, resulting in more visible light captured and less infrared light captured. Simply, variable infrared filters do not work. The most
- 0:50 common inquiry I get is from photographers pulling their hair out, attempting to capture infrared images with poor quality infrared filters. Save time and avoid frustration by purchasing only quality filters. Stick with established brands such as B+W, Hoya, LifePixel, Kolari Vision, Tiffen, and others listed in Chapter
- 1:16 3.2 Infrared and Ultraviolet Filters. If cost is a factor, consider buying used. A used, even scratched brand name infrared filter will be superior to a filter from a fly-by-night manufacturer. If you wish to try out infrared photography without investing a bundle, here are two options.
- 1:39 Purchase a quality 720 nanometer external filter. A 720 nanometer filter can be paired with a standard unconverted digital camera to capture infrared light. This will require long exposures which can benefit from using a tripod. You can produce excellent images with a 720 nanometer filter and the photographic equipment
- 2:03 you already have. Purchase a full spectrum point-and-shoot camera bundled with a variety of infrared filters. If you don't know what style you want, full spectrum conversions are just the ticket. With a full spectrum converted camera, you can shoot in full spectrum and any other style with external filters. You can
- 2:25 even purchase a filter pack to experiment with different styles. If you want vivid colors, convert a camera to a 550 nanometer internal filter. You will not need external filters. For more flexibility, convert a camera to full spectrum and add an external 550 nanometer filter. If you want normal color saturation,
- 2:49 convert a camera to a 590 nanometer internal filter. You will not need external filters. For more flexibility, convert a camera to full spectrum and add an external 590 nanometer filter. If you want subdued colors, convert a camera to a 665, 690, or 720 nanometer internal filter. And you will not need to worry about
- 3:16 external filters. For more flexibility, convert a camera to full spectrum and add an external filter with one of these three cut-offs. If you love monochrome, convert a camera to a 720 or 830 nanometer internal filter. And you will not need to worry about external filters. For more flexibility, convert a camera to
- 3:40 full spectrum and add an external 720 nanometer or higher numbered high pass filter. If you want to emulate the look of Kodak Aerochrome film, you will need a full spectrum converted camera. This can be paired with an external dual pass filter, such as the Kolari Vision IR Chrome or the LifePixel Super Blue IR.
- 4:04 Alternatively, you can use a 470 to 560 nanometer filter to capture the image and tweak the colors in processing. If you want flexibility, you have a couple of choices. Convert a camera to 550 or 590 nanometers. You will be able to shoot in that style without an external filter. I love grabbing a camera and shooting
- 4:29 without worrying about external filters. You can also add any higher numbered high pass filter to cover most infrared styles. You will not be able to shoot with full spectrum, ultraviolet, or some dual band filters such as IR Chrome. The first two cameras that I converted were both converted to 590 nanometers. A full
- 4:51 spectrum conversion is the ultimate in flexibility, allowing you to shoot in any style. The downside is that you will need to pair your full spectrum converted camera with external filters. If you want to shoot ultraviolet, you will need a full spectrum converted camera and a UV band pass filter. If you carry
- 5:13 too many lenses when shooting, you may find yourself more focused on picking the right lens than on the subject, composition, and lighting. The same can apply to infrared filters. When you first start shooting infrared, you may want to buy and try all of the filters, shoot all of the styles, and be ready for anything. This is
- 5:33 a natural part of learning on your infrared photography journey. Over time, I encourage you to limit your choices. Limit the number of infrared filters and lenses you take on a particular shoot. Force yourself to find the best compositions that you can within those limits. Sometimes you will not have the
- 5:54 perfect gear for a specific situation, and that is okay. In the long run, shooting within these constraints will make you a better photographer. As you grow, you may find yourself gravitating to a particular style, filter, or lens. Mastering a specific style of infrared will create
- 6:14 consistency in your portfolio and define your style as an artist.
