The Art of Infrared Photography

While somewhat dated, this is still a helpful book. It provides basic information about Infrared photography, such as filters and best subjects, I purchased it at a very low price, so while not as up-to-date as some publications, it was still worth the cost.

I bought this along with two by Laurie White Hayball thinking that with all of them, I may be able to piece together enough information to do infrared without burning up a lot of film. Each one stands on it's own and had enough information in each to make the infrared journey as easy (almost) as black and white.

I have 3 digital infrared converted cameras. I'm always looking for hints on shooting and especially on how better to process images in Photoshop. This is the 4th edition, and dates back to 1998 (shame on me for not checking closer). There are exactly 2 pages on Infrared Digital cameras (none I have ever heard of). If you want to shoot infrared film, this book is still very dated. The last 2/3 of the book consist of infrared images from the author's portfolio. I was enticed by the glowing reviews, but found the book totally useless for my needs.

Yes, I know I sound cruel, but I just received his book, and of the 104 pages, there are 57 pages of some pretty sad looking infrared photos.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...

The Art of Infrared Photography 4th EditionbyJoseph 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.Marilyn Dalrymple

"The Art of Infrared Photography" isn't a bad book. It's mediocre and incomplete. Joseph Paduano's instructions are straightforward and easy to understand. To the author's credit, he doesn't make infrared photography out to be more difficult than it is. But the book doesn't give the reader an understanding of the choices and styles that infrared photography offers. On one hand, it ventures into color infrared photography. On the other hand, its black-and-white chapters concentrate solely on "hard" infrared -black skies and white foliage shot with red filters, ignoring the tonal qualities of IR film that make it ideal for use with orange and yellow filters. There is almost no discussion of portraits, a very popular use of b&w IR film. Perhaps that's because Mr. Paduano has written another book, "Infrared Nude Photography", on that subject.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".

Rubbish. this is not a useful book as a IR guide of how too, its just pictures of IR photography, if you want to see the IR photography look Google it..to study IR you need a good handbook, over Google, this book has no use to anyone seriously looking to study IR film photography.

Book arrived promptly and as advertised.

superceded by digital

I found this book very dissapointing. In short, the informationis limited and what there is is confusing. The book contains only100 pages and 60 of those are photos without any details. I wouldn't mind if the photo's were good and printed well but they are not. The only real use for this book is to inspire you to do better!

Let's make this clear... I won't put any more effort into writing this review than the author spent on the book itself. So this is going to be short and sweet! This book is a glorified magazine. Worth $14.95 - tops. The pitfalls of bookbuying online, I guess. You never know what you are going to get. Anyways, most the book comprises photographs that actually discourage me from bothering with infrared. The text portion, however brief, is nothing more than a bland introduction to infrared. The uninitiated might even be led to believe that Kodak and Konica are the only game in town in infrared films. Throughout the book the author treats these two as the "Coke and Pepsi" of infrared films. I'm going to look elsewhere for a good source of info on this subject and suggest you do the same!