Invisible Light

Near-infrared photography captures wavelengths beyond human vision. Vegetation becomes luminous, skies turn dramatic, skin reveals its deeper layers, familiar scenes transform.

Process

A converted camera and infrared filters block most visible light and capture near-infrared radiation. The raw files look broken at first. The image is built in post-processing through channel swaps, contrast shaping, and careful color decisions.

Vision

Mostly curiosity: press the shutter, see what infrared does. Sometimes it’s subtle, sometimes it flips the whole scene. No big message, just the pleasure of finding surprises in familiar places.

Technique

Different materials reflect near-infrared differently, which can create unusual contrast in tonality and/or color. False colors emerge because the sensor still uses its normal RGB filter array while recording mostly near-infrared radiation. Those red, green, and blue filters were designed for visible light, but their transmission curves extend into near-infrared, and not in the same way for each channel. Subjects also reflect different parts of the near-infrared spectrum. The result is that the three channels record different mixtures of that spectrum, which is why the image isn’t monochrome. White balance, channel swaps, and other post-processing tweaks push the palette toward something intentional rather than accidental.

Reach out

This site is intentionally contact-free. For prints, collabs, or questions: if we know each other, reach out through the usual channels. I’ll be glad to hear from you.