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One of the hardest 'skills' in photography is often staying motivated to keep shooting. Once you've learnt the fundamentals, how do you keep that spark of beginner enthusiasm? It can be easy to fall into a rut and stop shooting completely. That's what happened to me, so a few months ago I took the nuclear option and gave my old Fujifilm X-T3 an infrared conversion. There were definitely simpler, cheaper alternatives, but I justified the decision in a few ways. Firstly, my old X-T3 was gathering dust and I needed to either sell it or give it a new lease of life. Secondly, I have a bad habit of throwing money at creative blocks and couldn't justify buying any more lenses. But most importantly, I live in the UK and was summertime was on the horizon. 1/2000s at f/8, ISO 160. I soon learned that darker leading lines usually work best with infrared photography. (Image credit: Mark Wilson / Future) Photographers often recoil from the summer like vampires because of the harsh light and ludicrously early sunrises. But this is actually the season where infrared photography shines. Sunlight is bursting with 'near-infrared' light, whose wavelengths are invisible to the human eye. Yet with the right kit, you can capture this light – and see the world in new and strange ways. It's still early days for my infrared adventure, but I'm very glad I took the plunge – and if you're similarly looking for a refreshing vacation into the surreal, then it could be for you too... Instant snow mode Infrared photography is, like astrophotography, a world unto itself. You could spend days learning the theory of 'false color', 'channel swapping' and 'hot spots' without even taking a photo. I wanted to keep things simple, so I took the easiest route. There are broadly two kinds of infrared photography and two ways to get into it. The psychedelic kind, which was big on 1960s albums covers, is 'false color'. It's called 'false' because the human eye can't see infrared light, so color is added using editing techniques – and the results can be very strange indeed. 1/1000s at f/9, ISO 160. I've shot in London's Richmond Park many times, but it was refreshing to get infrared's almost graphical take on the cycling hotspot. (Image credit: Mark Wilson / Future) For me, pink trees and blue grass is just too big a leap into the strange, so I leaned towards black-and-white infrared photography. This still has the surreal element of glowing leaves and dark skies, but without going full Salvador Dali. Plus, as someone who doesn't typically shoot in monochrome, it gave me a bonus challenge. So how do you start an infrared adventure? The cheaper and arguably more sensible option is to use lens filters, which you can buy from the likes of Hoya and Urth. But the downside is that these drastically cut the amount of light coming into your lens, so you usually have to use a tripod and long exposures. This didn't really work for me, because the big appeal of infrared was the simplicity – heading out
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Original reporting: Latest from TechRadar US in News,opinion