What infrared nature photography looks like
Infrared photography records light just beyond what our eyes can see. Most photographers work with near-infrared, which is commonly described as roughly 700 to 1200 nm, while visible light spans roughly 400 to 700 nm. Because we cannot see it, the results often look unfamiliar.
In nature scenes the best-known result is sometimes called the Wood effect. Healthy foliage tends to reflect a lot of near-infrared light, so leaves and grass can appear white or very pale. Blue skies often turn dark, clouds stand out against them, and water can look deep and dark. Shots can be black and white, or false colour, where infrared is mixed with some visible light and the colours are rearranged in editing.
The exact look depends on the subject, the light, the filter and the processing, so treat any description as a general tendency rather than a guarantee.
How a camera records infrared
Digital camera sensors are generally sensitive to infrared light. To keep colours natural, though, manufacturers place a filter, often called a hot mirror or UV/IR cut filter, in front of the sensor. It blocks most infrared, which is why an ordinary camera is not ideal for this style.
That leaves three practical routes, plus some ways to imitate the look.
Three ways to shoot infrared
Infrared film
Some black and white infrared films exist, though availability varies and not every lab handles them. Infrared film is also sensitive to visible light, so photographers usually use an opaque infrared filter and a tripod. Film is a good experiment if you already shoot it, but infrared focus can differ from visible focus, which makes manual film cameras trickier. Check the film maker’s instructions for exposure and focus guidance.
An infrared filter on a stock camera
An infrared-pass lens filter, commonly in the 720 nm, 780 nm or 850 nm range, is the cheapest way to test the idea on a camera you own. Because the camera’s own filter and the lens filter both block much of the light, exposures become long. You usually need a tripod, you compose and focus before attaching the filter, and moving subjects such as leaves in wind will blur. Treat this as a low-cost trial rather than a permanent solution.
A converted camera
In a conversion, the internal hot mirror is replaced with a filter that lets infrared through. Many people find that this allows handheld shooting and more normal shutter speeds, though results depend on the camera and the chosen filter. Services such as Kolari Vision and LifePixel perform conversions. Two options are common:
- Dedicated infrared conversion: the camera is fixed to one infrared filter wavelength and is used only for infrared.
- Full-spectrum conversion: the camera sees ultraviolet through infrared, and you choose looks by placing different filters on the lens. It is more flexible and can also shoot normal photos with a suitable filter, but it adds cost and a bit of workflow.
Conversions alter the camera permanently and can affect warranty, so research the service before committing.
Choosing a filter wavelength
The wavelength mostly controls how much visible light is mixed in:
- Around 550 to 665 nm: more visible light passes, giving false-colour results with strong colour shifts. Popular for creative colour work.
- Around 720 nm: a common middle ground, with some colour that can be swapped or desaturated in editing.
- Around 850 nm and above: very little visible light, giving high-contrast monochrome images. Foliage is often brightest here, but these filters are darker and can be harder to work with.
If you are unsure, a mid-range option such as 720 nm is a common starting recommendation for landscape work, and you can adjust from there.
Settings and focus
There is no single recipe, but these starting habits tend to work:
- Shoot raw. Infrared white balance is unusual, and raw files give you room to correct it.
- Set a custom white balance. Many people do this on green foliage or a grey card, according to the filter maker’s guidance. It makes the files easier to process.
- Use a tripod with a stock camera and filter. With a converted camera, shorter exposures are easier but a tripod still helps with sharpness.
- Stop down moderately. Aperture choices that work for normal landscape photography are a reasonable start. Some lenses show a central bright spot, called a hotspot, in infrared, and closing the aperture sometimes helps. Test your own lenses.
- Mind focus shift. Infrared focuses at a slightly different distance than visible light. Converted cameras are often calibrated for this; if yours is not, test using live view or a focus-calibration step, and shoot a few frames at slightly different focus.
- Check the histogram. Bright foliage can clip highlights quickly.
Best subjects and light in nature
Infrared tends to work well with leafy trees, meadows, hedgerows, reflective water and dramatic clouds. Subjects with little vegetation, such as bare rock or dead grass, will look less striking.
Light matters. Bright, sunny conditions give strong contrast and a strong infrared signal, and many photographers like midday for the classic bright-foliage look. Others find that low-angle light around sunrise or sunset, with backlit translucent leaves and long shadows, gives more atmosphere. Experiment with both. Overcast days usually give flatter results.
Wind is a practical issue, as moving leaves blur during long exposures. Seasons also change the result, since leaf condition affects how much infrared they reflect.
Processing infrared images
Raw infrared files often look reddish or magenta straight from the camera. Common steps include:
- Correct white balance, usually until foliage looks neutral or pale.
- For false colour, swap the red and blue channels so that skies become blue and foliage becomes pale or warm-toned. Many editors support this, either through channel mixing or a dedicated tool.
- For monochrome, convert to black and white and adjust contrast to taste.
- Adjust highlights, clarity and noise carefully, as infrared files can show noise in shadows.
Keep a consistent workflow so batches of images look related.
Faking the look
If you only want the appearance, you can imitate it in editing. A black and white conversion with the green channel brightened gives pale foliage, and darkening blues darkens sky. Channel swapping and presets can mimic false colour. The result resembles infrared but does not reproduce real near-infrared reflectance, so some scenes will look less convincing. It is a fair way to decide whether you like the style before spending on gear.
Can a phone do infrared?
Most phone cameras contain their own infrared-blocking filters, so a plain phone with a lens filter is generally not a good route. Some phones may show a faint glow from infrared remote controls on the front camera, but that is not a practical way to take landscape infrared. Editing apps can imitate the style. For genuine infrared nature photos, a modified or dedicated camera is the more dependable option.
Related guides
Infrared is not just for daytime. See our guide to infrared photography at night for gear and exposure basics under city lights. If you enjoy creative light effects, the starburst effect is another technique that rewards careful aperture choice.
FAQ
Can my camera see infrared?
Its sensor generally can, but the built-in hot mirror blocks most of it. An unmodified camera needs a dark infrared filter and long exposures, while a converted camera is set up to record infrared directly.
Is film sensitive to infrared light?
Special infrared films are, and they usually also respond to visible light, which is why a filter is commonly used. Ordinary films are not designed for infrared.
How can I make my photo look infrared?
Use a black and white conversion with bright greens and dark blues, or swap colour channels for a false-colour look. It is an imitation, but a useful preview of the style.
Can an iPhone do infrared photography?
Not in a dependable way, since phone cameras typically block infrared. You can mimic the look in editing, but real infrared work generally needs a converted camera or a filter-and-tripod setup.