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Each camera model responds differently to infrared, due to different types of sensors used between manufacturers and even between different models from the same manufacturer. In addition, each filter can be slightly different, as batches of filter glass can have small variations. Lenses themselves can also transmit or reflect portions of the infrared band differently.
The variations introduce differences in the way false color is rendered. By false color, we refer to a digital camera’s recording of luminance (brightness) for its red, green and blue photosites. These luminance (brightness) values are interpreted as if caused by visible light, when in fact the values are measuring the amount of infrared light passing through the red/green/blue photosite dyes. The result with most infrared-converted cameras is an extremely reddish color rendition (when daylight white balance is used).
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Diglloyd Infrared Photography covers cameras and lenses for infrared photography.
The coverage explains all the issues involved in shooting in infrared, which do not change. It is not a review of any particular camera or lens, though many examples are included.
- Guidance on workflow for infrared, including black and white and channel swapping for false-color images.
- How infrared renders, and why certain spectral cutoffs matter: false color vs black and white.
- Image quality issues to be on the lookout for in infrared.
- Numerous lens evaluations in infrared.