{"id":110113,"date":"2025-03-17T10:00:00","date_gmt":"2025-03-17T14:00:00","guid":{"rendered":"https:\/\/www.adorama.com\/alc\/?p=110113"},"modified":"2025-03-04T15:50:35","modified_gmt":"2025-03-04T20:50:35","slug":"exploring-nicholas-wongs-surreal-world-of-digital-infrared-photography","status":"publish","type":"post","link":"https:\/\/www.adorama.com\/alc\/exploring-nicholas-wongs-surreal-world-of-digital-infrared-photography\/","title":{"rendered":"Exploring Nicholas Wong\u2019s Surreal World of Digital Infrared Photography"},"content":{"rendered":"\n

By day, Nicholas Wong<\/a> is a civil engineer for the City of New York. But in his off hours, the photographer in him comes alive. This is when he pursues his beloved hobby with personal projects. Chiefly street, portrait, and digital infrared photography. This talented artist says he began his photo journey in junior high school, where he first experimented with infrared film. While he loved the distinct look of those images, Wong found the process tedious\u2014especially when it came to developing the film.<\/p>\n\n\n\n

That all changed when he discovered digital infrared photography. Today, Nicholas Wong\u2019s infrared portfolio embraces that otherworldly glow and dreamlike esthetic that is a trademark of the genre. For instance, bright-white foliage against dark skies. Every element is visually striking and looks like it\u2019s been taken on another planet. I sat down with the photographer so he could explain his digital infrared process, as well as discuss what\u2019s next in his photo journey. As he describes his transformation, \u201cInfrared has changed the way I look at the light and at my images.\u201d<\/p>\n\n\n\n

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Step 1: Camera Conversion<\/h2>\n\n\n\n

Most standard digital cameras are designed to block infrared light, so before taking the plunge into the world of infrared photography, you need to either have your existing camera converted to infrared or full spectrum. Wong has opted for full-spectrum conversions. Converting a camera for infrared involves removing the internal infrared-blocking filter, and in the U.S., Kolari Vision<\/a> and Life Pixel<\/a> are two leading companies offering this service. Wong uses Kolari Vision.<\/p>\n\n\n\n

For the most part, his images are created using his converted Sony a6000<\/a> and Canon ELPH<\/a>, but he\u2019s now in the process of shifting to a converted Canon Rebel T7<\/a>. Says Wong: “With a converted digital camera, I can capture the surreal looks I seek out with infrared, particularly high contrast and more texture and grain. Buildings take on a more dramatic quality because they turn black, landscapes include luminous foliage, and skies look dark and ominous. I love it!\u201d<\/p>\n\n\n\n

\"Infrared<\/figure>\n\n\n\n

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Step 2: Choosing the Right Filters and Lenses<\/h2>\n\n\n\n

\u201cWhile infrared photography offers a range of creative possibilities,\u201d says Wong, \u201cit\u2019s largely determined by the filters one uses.\u201d Wong\u2019s go-to is a 930-nanometer filter, which produces stark black-and-white images with extreme contrast. For those looking for a hint of color, Wong says a 720-nanometer <\/a>filter can introduce subtle hues like yellows in the sky. Another of his preferred filters is the Aerochrome<\/a>-style filter, which mimics the look of Kodak\u2019s legendary infrared film, producing deep reds and oranges straight out of the camera with minimal post-processing.<\/p>\n\n\n\n

However, some filters require more advanced editing techniques. Wong admits he\u2019s not a huge Photoshop fan and instead prefers to use Lightroom for his adjustments. There are some filters that yield a bit more extreme results, like Kolari\u2019s Candy Chrome, which turns all foliage pink and requires intricate color correction to maintain realistic skin tones. \u201cI don\u2019t want everyone looking like an Oompa Loompa,\u201d Wong jokes.<\/p>\n\n\n\n

In terms of lenses, Wong has found that using anything wider than a 35mm lens can lead to unwanted lens aberrations, especially around the edges of the image. To combat this, he primarily shoots with 35mm and 50mm lenses, favoring the 50mm f\/1.8<\/a>.<\/p>\n\n\n\n

\"Infrared<\/figure>\n\n\n\n

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Step 3: Choosing Your Subject Matter and Lighting Conditions<\/h2>\n\n\n\n

Wong explains how his infrared portfolio is borne out of experimentation and understanding how different elements interact with infrared light. Consider, he says, the following before embarking on your infrared journey:<\/p>\n\n\n\n