A Different View of the World.

We see only a tiny bit of the spectrum. Cameras actually record more than we can see. To make cameras have the same spectral view of the world as we do, the UV end and the IR ends of the spectrum are cut off, and the world appears this way. - a typical photograph we are all familiar with.

If we remove the filter from the camera, we create what is called a Multispectral camera. This camera can detect a broader range of the spectrum than we can. This creates a problem when we view the image, because what colour are those colours that we cannot see? The leaves on the trees are green because they absorb everything except green. Yet, the leaves also do not absorb all the UV light, so it is reflected. Because the UV is more powerful than the green, the leaves have a purplish hue.

If we place a filter in front of this camera, then all the visible light and UV are eliminated, and so the camera only detects Infrared Light, which the sensor can receive. This gives the world a pinkish hue. 

In a program like darkroom, the photograph can be manipulated to remove this pinkish tinge and restore a more normal view of the World. The leaves on the tree reflect all the Infrared light, so they appear falsely coloured white. These are all false colours because we have no perception of what colours infrared actually are.

Moving further into the Infrared region, we can use a Thermal camera that detects the heat (Infrared Radiation) or light emitted by all hot bodies. All these colours are false; the redder, yellower colours are warmer than the more cooler blues and greens. The colour is arbitrary.

Mixing Acoustic and Electronic Sounds for Cohesive Educational Video Music

 

Mixing Acoustic and Electronic Sounds for Cohesive Educational Video Music

Educational videos need music that feels natural yet modern — supportive but not distracting. At Philip M Russell Ltd, we’ve found that blending acoustic and electronic sounds creates the perfect balance. The warmth of real instruments and the precision of synthesised textures together give our videos depth, clarity, and atmosphere.

Why Mix Acoustic and Electronic?

Each sound source brings its own strength:

• Acoustic instruments — such as piano, organ, or strings — offer human tone and expression.

• Electronic sounds — pads, synths, or sequenced bass — provide rhythm, structure, and sonic space.

When carefully balanced, they enhance each other. Acoustic instruments add authenticity to digital tracks, while electronic layers fill out frequencies and provide steady rhythm for pacing lessons or demonstrations.

How We Build the Mix

1. Start with the acoustic layer — record the Wersi organ, church organ, or live piano as the emotional foundation.

2. Add synth textures — gentle pads or arpeggios that fill gaps without dominating speech frequencies.

3. Match tone and reverb — use similar ambience so both sound sources feel in the same space.

4. Keep dynamics smooth — background music should enhance narration, not compete with it.

5. Final EQ balance — roll off low frequencies that could mask voice clarity.

Why It Works for Education

This approach creates music that feels familiar but fresh — ideal for maintaining focus in lessons. It’s expressive enough to set a tone, yet subtle enough to let the science or sailing story take centre stage.

The Takeaway

By blending acoustic and electronic instruments, you create a unified sound world — one that supports learning, lifts production quality, and makes educational videos sound as professional as they look.

How to Take IR Photos When You Can’t See a Thing Through the IR Cut Filter

 

How to Take IR Photos When You Can’t See a Thing Through the IR Cut Filter

Infrared photography reveals a world the eye can’t see — but capturing it can be a challenge, especially when your viewfinder goes completely dark. At Philip M Russell Ltd, we often use IR filters for both science experiments and creative photography, and the first thing beginners notice is that once the filter is in place, you can’t see anything. 

Here’s how to make it work.

Why You Can’t See Through the Filter

Most IR filters block almost all visible light, allowing only infrared wavelengths to pass through. That means the camera’s sensor can record what your eyes can’t, but your viewfinder (and even live view) will appear black.

Setting Up the Shot

1. Compose and focus first without the filter. Use normal visible light to frame your image.

2. Switch to manual focus once you’re happy with composition — autofocus won’t work once the filter is on.

3. Attach the IR filter carefully without moving the lens.

4. Use a tripod — exposures will be long, often between 2–20 seconds depending on lighting and filter strength.

5. Shoot in RAW to maximise flexibility during post-processing.

Exposure and Settings

• Start with ISO 400, aperture f/5.6, and a 10-second exposure in bright sunlight. Adjust as needed.

• Remember that infrared light focuses slightly differently than visible light, so you may need to fine-tune focus through trial and error.

• Use a remote trigger or timer to avoid camera shake during long exposures.

Processing the Image

Infrared images straight from the camera often look reddish or flat. Use your editing software to:

• Adjust white balance (set it to grass or foliage for the classic white-wood effect).

• Swap red and blue channels for false-colour IR images.

• Increase contrast to emphasise texture and tone.

The Takeaway

Infrared photography may be literally invisible while you’re shooting, but the results can be stunning — surreal landscapes, glowing leaves, and dark skies that reveal a side of nature we never normally see. With careful setup and patience, you can create IR photos even when you can’t see a thing through the viewfinder.

“Choosing a Suitable Small Action Video Camera: GoPro HERO13 Black vs Insta360 Ace Pro 2”

 

“Choosing a Suitable Small Action Video Camera: GoPro HERO13 Black vs Insta360 Ace Pro 2”

When it comes to filming science experiments, sailing sequences, or one-to-one tuition sessions, the choice of action camera matters. Two of the top contenders are the GoPro HERO13 Black and the Insta360 Ace Pro 2. 

Key Specs and Real-World Strengths

• The Insta360 Ace Pro 2 features a 1/1.3″ sensor, 8K video at 30fps in some modes, and strong low-light performance thanks to the larger sensor. The Technology Man+2Oscar Liang+2

• The GoPro HERO13 Black boasts a familiar form factor, an extensive accessory ecosystem, very good stabilisation, and recent upgrades, including improved battery and lens options. The Verge+1

• From user commentary: some forum users consider the Ace Pro to have an edge in low-light and sensor size, while GoPro remains strong in ecosystem, reliability, and accessory compatibility. goproforums.com+1

What to Prioritise for Your Work

Since my workflow includes science filming (lab experiments, outdoors), sailing footage (on the water, movement, wind), and educational production, these are our key features to weigh:

• Image stabilisation: In fast-moving situations (boats, outdoors), smooth footage is essential. GoPro has long been an industry benchmark; Insta360 now competes strongly.

• Low-light / indoor filming: For lab work where lighting may be modest, the larger sensor in the Ace Pro 2 gives an advantage.

• Mounting and accessories: For sailing, helmets, boats, rigging — an extensive mount ecosystem helps. GoPro has many mounts; However, the Ace Pro 2 can use most of the GoPro Accessories

• Resolution and editing flexibility: If you want to crop, stabilise, zoom in post-production, higher resolution (8K) gives more flexibility.

• Workflow & compatibility with your editing tools: If your editing suite (e.g., DaVinci Resolve) and workflow uses certain file formats or accessories, choose a camera that integrates smoothly. We can use both easily.

• Battery life and durability: On location (lab, river), you’ll want a dependable battery and a rugged build — waterproofing, mounts, and protective housing matter. The AcePro battery lasts well for a sailing afternoon. The GoPro has slightly higher battery consumption, but the batteries are quick to change.

My Recommendation

Suppose I had to pick one for my multi-use context (science filming, sailing, and education). In that case, I’d lean towards the GoPro HERO13 Black, primarily for ecosystem, accessory support, and reliability in varied conditions. If low-light lab work is the main focus and I don’t mind gearing toward a somewhat newer ecosystem, the Insta360 Ace Pro 2 could be the better choice for image quality.

Final Takeaway

Choose the camera that aligns with your primary use case:

• For sailing/stabilised outdoor filming: GoPro is strong and versatile.

• For lab and indoor filming requiring low light: Ace Pro 2 offers top specs.

So we use both. This ensures good mounting, stable lighting, and appropriate audio capture will helps us create high-quality science and sailing videos — supporting our work at Philip M Russell Ltd, pmrsailing.uk, and our teaching platforms.

Capturing High-Speed Reactions on Camera – When You Don’t Have a High-Speed Camera

 

Capturing High-Speed Reactions on Camera – When You Don’t Have a High-Speed Camera

Some experiments happen too fast for the eye — or even for a normal video camera. Chemical flashes, bursting bubbles, or projectile collisions are over in an instant. But you don’t need an expensive high-speed setup to capture those fleeting moments. At Philip M Russell Ltd, we use clever timing, lighting, and a bit of patience to freeze fast reactions for both video and photography.

The Flash Technique

A short, bright flash can substitute for a high-speed camera. When the flash duration is just a few thousandths of a second, it becomes the effective shutter — freezing motion even if the camera’s shutter speed is slower.

• Work in a darkened room so the flash provides nearly all the light.

• Trigger the flash manually or remotely at the exact moment of reaction.

• Use external flashes rather than built-in ones for more control.

• Experiment with multiple takes to perfect timing.

With this method, you can capture a balloon mid-burst, a droplet in mid-air, or a flame just as it ignites — all with standard photographic equipment.

Other Low-Cost Approaches

• Video under bright light: shoot at the highest frame rate your camera allows (often 120 fps on modern models).

• Strobe lighting: continuous flashes can make repeated motion appear slowed down when viewed frame by frame.

• Smartphone tricks: many phones have “super slow-motion” modes — ideal for short sequences.

• Sound triggers: inexpensive sensors can fire a flash the instant a noise occurs, such as a balloon pop.

The Teaching Value

Capturing high-speed reactions isn’t just about spectacle. It lets students analyse change — to measure speed, study cause and effect, and appreciate how physics, chemistry, and photography overlap.

The Takeaway

With thoughtful lighting and timing, any science lab can record events that happen in the blink of an eye. It’s a reminder that creativity often matters more than expensive gear — and that great teaching moments can happen one flash at a time.