False-Colour IR Landscapes

Why the magic happens after you press the shutter

Infrared (IR) photography is often described as other-worldly, dream-like, or simply odd. But the biggest misconception is that the camera does all the work.

It doesn’t.

The photograph you take is only the raw material. The image you create comes almost entirely from the processing workflow.

False-colour IR landscapes are not about capturing reality. They’re about interpreting invisible light.

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Step 1 – Capture with Processing in Mind

When shooting IR, I’m already thinking several steps ahead.

Key capture considerations:

• Shoot RAW – absolutely essential

• Strong daylight – foliage reflects IR best

• Simple compositions – colour separation matters later

• Even lighting – shadows are harder to rescue in IR

Straight out of camera, the image looks… disappointing.
Flat. Red. Lifeless.

That’s normal.

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Step 2 – White Balance: The First Transformation

The single most important step.

IR files usually arrive with an extreme red cast. A custom white balance (often set using foliage or grass) pulls detail back into the highlights and shadows.

At this point:

• Skies begin to darken

• Foliage starts to glow

• Contrast quietly appears

Still not pretty — but now it’s workable.

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Step 3 – Channel Swapping: Where False-Colour Is Born

This is where the surreal arrives.

By swapping colour channels (typically red and blue), we re-map invisible infrared light into visible colours:

• Leaves → yellow, white, or gold

• Sky → deep blue or cyan

• Water → inky black or steel blue

This step alone can turn a dull scene into something that feels alien — yet strangely believable.

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Step 4 – Contrast, Curves & Colour Discipline

False-colour IR images fall apart easily if pushed too far.

This stage is about control, not drama:

• Gentle curves, not crushed blacks

• Saturation selectively applied

• Colour balance nudged, not forced

The goal is coherence — the image should feel intentional, not accidental.

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Step 5 – Local Adjustments: Painting with Light

Now comes the slow, careful work:

• Dodging foliage to enhance glow

• Burning skies for depth

• Pulling texture out of paths, water, clouds

At this stage, the image finally stops being a photograph and becomes a constructed visual statement.

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Why Processing Is the Art

Two photographers can stand in the same place, with the same IR-converted camera — and produce completely different images.

That’s because:

• IR doesn’t show what we see

• It shows what we choose to reveal

False-colour IR photography isn’t about realism.
It’s about interpretation.

And that happens almost entirely after the shutter clicks.

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Final Thought

Infrared landscapes reward patience and restraint.
The camera records invisible light — but processing gives it meaning.

If you’ve ever thought:

“Why doesn’t my IR photo look like that?”

The answer is simple:

📸 You took the photograph.
🎨 You haven’t finished the image yet.