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Image Credit: Screenshot from The Bride Came C.O.D., shot in infrared, 1941
Infrared Photography
Infrared photography extends beyond the limits of human vision, recording wavelengths of light that sit just outside the visible spectrum. First explored in the early twentieth century by physicist Robert Wood, whose experimental images were published in 1910, the technique initially demanded long exposure times. As a result, landscapes became its natural subject. These early photographs revealed an unfamiliar world where foliage glowed and skies darkened, not as stylistic effects but as physical responses to light itself.





Image Credit: Weegee, Infrared Theater Series, 1940-44, on Christie´s




Though there had been infrared spectrograms produced before 1910, as far as we know the first infrared images in print were taken by Professor Robert Williams Wood and published in the October 1910 Photographic Journal of the Royal Photographic Society (RPS).

Infrared radiation was discovered in 1800 and today has a multitude of applications including the laser in your CD player and those remote controls for your TV that always vanish down the back of the sofa. Infrared imaging is widely used, though primarily in other fields away from artistic photography such as forensics, medical and scientific imaging and astronomy.


Source: BBC

Infrared soon moved from experimentation to strategy. During World War I, and later World War II, the US military expanded its use of infrared imaging as a surveillance and reconnaissance tool. Its ability to penetrate atmospheric haze, smoke, and toxic gas allowed clearer distinctions between water, vegetation, and built structures. The land, seen through infrared, became readable in new ways, transforming photography into an instrument of power, mapping, and control. In the 1930s, companies like Kodak released infrared film commercially, making the technique available beyond military and scientific contexts.






Image Credit: Pauline Rook, Near Buckland Mill, www.bhaam.org.uk


Image Credit: Statue of Perseus, The Great Cascade, Peterhof, St Petersburg, Russia ©Simon Marsden



By the late 1960s, infrared photography entered popular culture. Musicians and artists such as Jimi Hendrix and the Grateful Dead adopted its surreal, high-contrast imagery for album covers, drawn to its otherworldly colors and altered perception of reality. Today, infrared no longer depends on specialized film. Digital cameras and filters have made the medium widely accessible, yet its defining visual signature remains rooted in what is known as the Wood Effect: the brightening of vegetation caused by the way plant matter reflects infrared light. What began as a scientific experiment continues to reshape how we see, and imagine, the landscape.




Image Credit: Infrared view of the Empire State Building probably taken in the 1950s
Illustration: Photograph: Weegee (Arthur Fellig)/ICP/Getty Images





Image Credit: Kohei Yoshiyuki, Untitled [Plate 06], 1971, Yossi Milo
Kohei once described his solo exhibition setup during a conversation with Araki Yoshiyuki: “I turned out all the lights in the space and gave each visitor a flashlight. In this way, I was reconstructing the original conditions. I also enlarged the photographs to life size. I wanted people to look at the bodies in the photographs an inch at a time. But this is an uneasy situation. When it’s completely dark, the whole photograph is illuminated, but the viewer looks at it section by section. My original concept involved a corridor where points of light would be focused on the photographs. Viewers would look at them slowly . . . carefully. They might even touch the photos. That’s how I wanted to exhibit them. But then I realized that viewers would suffer if I forced them to look at the photographs in that way. So, that time I just used a board as a partition in the middle of the space.”




Image Credit: Karl Ferris, Psychedelic Experience Album Cover, 1967
With Jimi, for instance, when we chose to do this album cover in June ’67, I decided to go all out on this. I used my psychedelic infrared technique, picked out the outfits, and Jimi had this incredible wardrobe. He said, “well, I got a bunch of clothes here” and he opened up his cupboard. The first thing that jumped out at me was a jacket with psychedelic eyes on it. It had been painted by, incidentally, Mick Jagger's brother Chris Jagger, who was an artist, and painted it for Jimi. I said, “this is what we use.” Jimi said okay, and he pulled it out. He called it his ‘gypsy eyes jacket’.  I said “yes, that's it.”


Because of my previous experience I knew how the infrared colour film reacted to the foliage. So we went out in June, which is like maximum foliage development time, everything is very green and bursting with photosynthesis, which my special technique captures. It takes a photograph almost like aura photography; it gets a kind of glow to it too.

I said “if we wanna make this picture really freaky, I wanna make a intense psychedelic fish-eye three dimensional picture, and make it really freak out.



Source: Hyper Gallery





Image Credit: Elliott Landy, Bob Dylan, outside his Byrdcliffe
home, infrared color film, Woodstock, NY, 1968

Irish filmmaker and photographer Richard Mosse is known for his use of infrared film to depict conflict zones, most notably in the Democratic Republic of Congo. By rendering vegetation in unnatural tones, his images transform familiar landscapes into disquieting, otherworldly spaces where beauty and violence coexist. Across his practice, Mosse examines war through its impact on land and displacement, working across regions from Central Africa to the Balkans, the US - Mexico border, and the edges of Europe.

Florian Maier-Aichen’s digitally altered photographs sit between landscape, drawing, and fiction. Embracing chance through light leaks, double exposures, and digital intervention, he creates images that feel visually convincing while remaining deliberately illogical. Often working from elevated viewpoints, he produces idealized, painterly landscapes drawn from the American West and Europe. Referencing nineteenth-century photography, his practice merges early photographic processes with contemporary technologies, including infrared, to revive the medium’s sense of experimentation and alchemy.


Brazilian photographer Claudia Andujar remembers her first encounter with the Yanomami, one of Brazil’s largest indigenous peoples, and describes how her series of photographs came about.
 


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