- Paperback: 104 pages
- Publisher: Amherst Media; 4 edition (January 1, 1998)
- Language: English
- ISBN-10: 0936262508
- ISBN-13: 978-0936262505
- Product Dimensions: 8.6 x 0.4 x 11 inches
- Shipping Weight: 14.4 ounces (View shipping rates and policies)
- Average Customer Review: 18 customer reviews
- Amazon Best Sellers Rank: #2,324,810 in Books (See Top 100 in Books)
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The Art of Infrared Photography 4th Edition
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“. . . [E]scorts the reader into a fascinating area of photographic experimentation!” —The New York Times
About the Author
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No, I have not begun to read the book, but how could I follow his instructions when I can see that I simply don't like his infrared photos.
AND, the reason I purchased his book was all the GREAT reviews it received.
Listen, maybe I'm wrong about his photos. I'm no photographer, so what do I know?....
And, yes, I'm real sorry I bought his book...
Joseph Paduano.With some knowledge, a desire to try something new and the willingness to experiment, you can enter the world of infrared photography. There are things you must know about infrared film, however, in order to create the haunting, dreamlike images this unusual film can produce. Learning how to use infrared film need not be difficult or complicated, and photographer/author Joseph Paduano proves this in his book, The Art of Infrared Photography. Paduano covers all that needs to be known in clear language and uses a portfolio of his work to demonstrate his points. Enough infrared theory is discussed so anyone unfamiliar with the film can understand what makes it different and why. But Paduano does this without using terms and language that only a scientist could understand. The qualities that make infrared images so different and interesting are the grain and the haunting white appearance of some subject matter photographed. In detail, Paduano explains what subject matter photographs best with infrared film and why. For instance, certain trees-- pine, firs, spruce, for example--don't record as well on infrared film as trees with large leaves. The reason for this is that, "The chlorophyll leaf and blade structures in a healthy plant absorb visible light and reflect most of the infrared radiation to which the film is sensitive." Paduano goes on to explain which objects and colors best reflect or transmits the infrared wavelength and offers his photographs to illustrate his comments. There are clear illustrations and instructions that explain how to handle the film, load your camera and unload and prepare for processing this sensitive film. Infrared film could not be discussed without the rules of focusing and the use of filters being addressed. Filters for infrared, filter factors and exposure compensations are listed in an easy-to-read chart. Again, Paduano's images illustrate the differences the various filters make. Film speeds, image grains and why these components are important to the success of your photographs are covered in detail in chapter 4. Chapter 5 goes into greater detail about exposure and filters and the different circumstances that effect the film. In chapter 6 you will learn how to expose the film by using timed exposures and/or flash. Specific instructions are given on processing and printing your film in chapter 7. Once you have mastered infrared photography you may want to further enhance your images with toning or hand coloring. These techniques are explained and illustrated as is the use of color infrared film. Digital infrared cameras are described, explained and compared in chapter 10. The last half of the book contains a portfolio of Paduano's images. These photographs clearly show the variety of effects you can achieve with infrared film and are fuel for any photographer's imagination. I found this 100 page, soft cover volume easy to understand, thorough in explanations, encouraging and motivating. An excellent addition to your photography library, I give The Art of Infrared Photography a healthy four out of five stars.
Chapter 1, "Infrared Theory", explains how IR film works and how various subjects will appear when photographed with b&w IR film. The films discussed are Kodak High Speed Infrared and Konica Infrared 750, as they are available in the US. Chapter 2, "Precautions", tells the reader how to load and handle IR film to prevent fogging. Paduano recommends placing film in a lead film shield bag to protect it from airport x-rays. Airport security personnel simply turn up the x-ray if they can't see through a bag. IR film cannot be put through x-ray.
Chapter 3, "Filters & Focusing", provides good information on which red filters transmit which wavelengths of light, but incorrectly asserts that you need to increase exposure by the amount of the filter factor. IR light passes through red filters, so conventional filter factors should be ignored. There is no discussion of using yellow filters with IR film, which many of the most accomplished IR photographers prefer. You don't get white foliage and black skies with a yellow or orange filter. Instead those filters exploit one of IR film's most interesting qualities: increased tonal separation in the midtones. If you photograph a midtoned subject that has multiple subtle hues, you will see remarkable separation that you would not with panchromatic film. "The Art of Infrared Photography" ignores this style of IR photography, which is often it's most beautiful. Chapter 4 discusses "Film Speed & Grain".
Chapter 5, "Exposure", provides exposure recommendations for Kodak High Speed Infrared and Konica Infrared 750 used outdoors with a medium red filter. I think his recommendations give too much exposure, because he has translated the filter factor as you would for panchromatic film. But, as you should always bracket when shooting IR, the correct exposure should be obvious in the negatives. Chapter 6 is about "Night & Flash Photography".
Chapter 7, "Developing & Printing", gives developing times and temperatures for Kodak High Speed IR, Konica IR 750, AgfaPan APX 200, and Ilford SFX 200, which is an extended-red film, not infrared. I don't believe that the Agfa film is available in the US. Chapter 8, "Toning & Handcoloring Prints" mentions the effects of selenium, sepia,and brown toning, as well as handcoloring prints, but gives no instructions.
Chapter 9, "Color Infrared Film", explains the characteristics of Kodak Ektachrome color infrared slide film, how it records color, and makes exposure suggestions. Development times and temps are also included for those who process their own color slide film. It should be noted that the film Paduano is discussing has been replaced by Ektachrome CIR, which can be processed in E-6. For more in depth discussion of color IR photography, Steve Begleiter's book " The Art of Color Infrared Photography" is a good resource.
Chapter 10 talks about "Digital Infrared Cameras". The author mentions 2 black-and-white cameras and one color IR camera, all manufactured by Kodak. These cameras are no longer being made, although you may be able to find them on the secondary market. They were created for the agriculture and art industries, which commonly use IR film to diagnose the health of crops and to detect fraudulent artwork, respectively. But the digital IR cameras did not find a market sufficient to support them.
Joseph Paduano's infrared "Portfolio" is found on pages 38-96, and constitutes the bulk of the book. It includes b&w IR, color IR , and handcolored b&w IR photographs. His handcolored work is by far his best, in my view. There are a useful Glossary of infrared terms and an index after the "Portfolio".