Infrared Image Editing | FUJIFILM Exposure Center – USA

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Photo 2023 © Nate Rochefort | FUJIFILM GFX100 IR and FUJINON GF32-64mmF4 R LM WR, 1/400 sec at F8, ISO 160

7 minute read

Infrared Image Editing

Continue Nate Rocheford’s exploration of IR and UV photography with essential editing techniques

In parts one and two of this series, Nate outlined the layered process of creating infrared images – but, truly, that’s only half of the equation. Given their unorthodox nature, editing becomes a must. Here, he outlines the nuances of post-production, when working outside the realms of human vision.

Outside of technical applications, where an established procedure for processing IR and UV images may exist, there is no ‘right way’ to edit IR or UV images.

One of the most frequent issues when editing is over- or under-exposing your images. While the camera’s exposure metering is highly accurate, the strong contrast and bright white and deep black of IR photography can sometimes make it difficult to distinguish if you are preserving all the detail you need. While the wide dynamic range of GFX100 IR is excellent for recovering both shadow and highlight details, bracketing your exposures is a great way to ensure the photograph is correctly exposed.

To achieve the best results, images should always be created in RAW format, to preserve as much information as possible and provide the most latitude for image corrections.

This specialist version of GFX100 is ordinarily unavailable to the general public – its capabilities reserved only for professional forensic, scientific, or conservation uses. However, for the purposes of this infrared photography series, Nate has been granted exclusive access to GFX100 IR with the intention of using its otherwise practical infrared and UV functionality for artistic pursuits.

Infrared Black and White Image Editing

Infrared photography is commonly presented in black and white, due to the lack of color in those spectrums. When editing for black and white, it is recommended to convert the image to grayscale – even if it already appears to be that way due to a custom white balance (subtle color casts have a way of sneaking their way into the image).

Below is an IR photograph of Mount Hood, created using an 830nm IR filter. I didn’t set a proper white balance in-camera, hence the strong magenta color cast. Before editing the image, the white balance has to be addressed.

Use whichever method to adjust the color balance you’re most comfortable with. In most editing programs, the eyedropper or neutral target selection can handle the color shift necessary to correct the image.

If using a color picker, you can select a neutral object. In this image, the foliage is a perfect target as we know the leaves are a bright white in IR. After this, the image can be converted to black and white. Finally, adjustments to shadows, highlights, and contrast can be made to the image.

Wide mountainside littered with trees, cast in purple

Photo 2023 © Nate Rochefort | Mount Hood, 830nm | FUJIFILM GFX100 IR and FUJINON GF32-64mmF4 R LM WR, 1/160 sec at F4, ISO 200

Because IR photos have a lot of contrast, highlights can be so bright that they contain no detail, while shadows can be so deep that they also lack information.

The RAW file can seem a little flat. Bringing some contrast back into the image can add significant depth.

Dodging and burning select areas of an image can help retain detail in shadows and highlights. The dynamic range of GFX100 IR has saved plenty of my IR images.

Infrared images created with a filter that allows visible light and IR, creating a false-color IR photo, are a little more complex to edit – but it does follow roughly in the same footsteps. Below is a simple walkthrough of the editing process for a 550nm and 590nm photograph.

Wide mountainside littered with purple trees under light orange sky

Photo 2023 © Nate Rochefort | 550nm | FUJIFILM GFX100 IR and FUJINON GF32-64mmF4 R LM WR, 1/200 sec at F8, ISO 200

Similar to the 830nm photograph, both images need white balance correction, but there are better options here than foliage. Instead, I will use the snow on the left as my white balance target. It is worth noting that Adobe Lightroom struggles with color correcting this type of image, and using a more flexible program (such as Photoshop) is often the better option. Lightroom is still good for preliminary editing.

Wide mountainside littered with blue trees under pale green sky

Photo 2023 © Nate Rochefort | 550nm | FUJIFILM GFX100 IR and FUJINON GF32-64mmF4 R LM WR, 1/200 sec at F8, ISO 200

A white balance correction was performed in Lightroom by selecting the snow on the left. Both images still have a color cast, but the 590nm image’s is much more significant. Adjustments to overall exposure, highlights, and contrast can still be performed before opening the image in Photoshop to address the color cast.

Wide gray mountainside littered with blue trees under orange sky

Photo 2023 © Nate Rochefort | 550nm | FUJIFILM GFX100 IR and FUJINON GF32-64mmF4 R LM WR, 1/200 sec at F8, ISO 200

Both the 550nm and 590nm had a color cast remaining after the white balance correction made in Lightroom. Using curves, selective colors, and color balance adjustment layers in Photoshop, the color casts were corrected, retaining the vibrant hues of the sky and the foliage, but rendering the ground neutral.

Channel Swapping IR Images

False-color IR images can be edited differently than the previously demonstrated method. By switching the different color channels of the image with one another, you can produce vivid and unique color combinations. This technique is called channel swapping, and it begins where the previous editing finished – with an IR image that has been color balance and edited.

With the image opened in Photoshop (or any alternative editing program with this function available), add a Channel Mixer adjustment layer above the image layer.

When you first open an image, each channel will have its corresponding adjustment slider set at 100%. The channel mixer layer gives access to the three different color channels of an image: red, green, and blue. The other color channels can be selected by clicking the drop-down menu next to output channel.

To swap channels, adjust the slider in the color’s output channel. For example, select ‘Red’ from the drop-down menu to switch the green and red channels, set the red slider to 0% and the green slider to 100%. Then select ‘Green’ from the drop-down menu, set the green slider to 0% and the red slider to 100%.

Now, let’s look at how these changes impact the appearance of an image. I have got the best results using a 550nm IR filter, which allows a decent amount of visible light to be captured with the IR light.

Dense blue forest leading to mountain, under yellow sky

Photo 2023 © Nate Rochefort | 550nm filter, original color channels | FUJIFILM GFX100 IR and FUJINON GF32-64mmF4 R LM WR, 1/400 sec at F8, ISO 160

Join me in part four of this series, where we’ll explore the unique intricacies of photographing flowers in UV.

GFX100 IR is a specialist camera designed for forensic, scientific, and cultural preservation applications, and is not available for general sale.

To learn more about GFX100 IR and its conditions for use, visit the dedicated page here. Alternatively, explore the rest of the GFX System and experience the power of ultra-high resolution photography.

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