Fotografía Infrarroja
Fundamentos y Secretos
Gines Guirao
Si quiere aprender a realizar sus propias fotografías digitales infrarrojas sin grandes esfuerzos y con resultados favorables, ha llegado al libro indicado. Tiene a su alcance el primer manual de fotografía infrarroja en castellano, en el que encontrará consejos, sugerencias y orientaciones de mano de un experto en el tema. Con él, aprenderá paso a paso el apasionante e invisi...
Si quiere aprender a realizar sus propias fotografías digitales infrarrojas sin grandes esfuerzos y con resultados favorables, ha llegado al libro indicado. Tiene a su alcance el primer manual de fotografía infrarroja en castellano, en el que encontrará consejos, sugerencias y orientaciones de mano de un experto en el tema. Con él, aprenderá paso a paso el apasionante e invisible mundo de la fotografía infrarroja y conseguirá dominarla totalmente. Descubra todo lo que necesita saber para realizar sus fotografías digitales infrarrojas con éxito. Ginés Guirao es un apasionado de la fotografía, autodidacta durante muchos años. Completó sus estudios de fotografía profesional en el Centro de Enseñanzas de la Imagen (CEI) en Barcelona. Ha participado en diversos reportajes sociales en FORESA (Fotógrafos Reunidos, S.A.) y en concursos creativos, todo ello dentro del contexto de la fotografía química y analógica. Con la llegada de la fotografía digital, se adentró en el mundo del Alto Rango Dinámico (HDR) y durante cinco años perfeccionó su técnica, plasmada en el libro Todos los secretos de la fotografía en HDR. Desde 2017 ha indagado en la fotografía infrarroja, en sus diferentes longitudes de onda, y ha presentado en este libro, de forma simultánea, las técnicas que domina con resultados sorprendentes.
Reseña del Editor
Introducción. El objetivo, espectro electromagnético y color ·····················01
Introducción ······································································································02
El objetivo ··········································································································02
Espectro electromagnético y color ································································05
Primera parte. Absorción, refracción, reflexión, difracción,
dispersión de la luz y fotografía infrarroja química ······································13
Absorción, refracción, reflexión, difracción,
dispersión de la luz y fotografía infrarroja química ······································14
Fotografía infrarroja sin modificación/conversión de la cámara ················18
Fotografía infrarroja con emulsión sensible en film ····································21
Uso de ámbito militar ·······················································································22
Película infrarroja ······························································································22
Segunda parte. Fotografía IR y tecnología digital ········································27
Fotografía IR y tecnología digital ···································································28
Un vistazo a los inicios ···················································································29
De los inicios a la actualidad ···········································································29
Cámaras sin espejo de objetivos intercambiables ······································35
Pros y contras ···································································································38
Ventajas de las cámaras sin espejo ·······························································39
Algunas desventajas de las CSC (son pocas) ··············································40
Tercera parte. Ópticas ····················································································45
Ópticas para la fotografía infrarroja ·······························································46
Ópticas adecuadas para la fotografía infrarroja ···········································48
El problema de los gran angular extremos ···················································53
Ópticas fish eye ·································································································56
La marca roja ····································································································57
Calibración de enfoque ····················································································58
Calibración de cámara sin espejo ··································································59
Calibración extendida ······················································································60
Las aportaciones de algunas marcas a la fotografía IR ·····························61
Cuarta parte. Fuentes de luz para los escenarios infrarrojos ·····················67
Fuentes de luz para los escenarios infrarrojos ·············································68
Exteriores o interiores con el sol directo o con cielo nublado ····················68
Interiores con distintas fuentes de luz artificial más luz natural ···············70
Exteriores nocturnos con luz artificial más la luna,
o solo con la luna como fuente de luz ···························································71
Quinta parte. Eligiendo equipo y longitud de onda ······································77
Eligiendo equipo y longitud de onda ······························································78
El equipo optimizado y eligiendo los 720 nanómetros ·······························84
Segunda opción (y definitiva) ··········································································89
Elección de la longitud de onda ······································································90
Comenzar con los 720 nm ··············································································91
El filtro de fotografía infrarroja ir chrome: nuestra versión
digital de Kodak Aerochrome (por Kolari Vision) ·········································96
Sexta parte. De la teoría a la práctica.
Primeros trabajos de campo ········································································101
De la teoría a la práctica. Primeros trabajos de campo ····························102
La importancia del balance de blancos personalizado ·····························105
El nuevo aspecto de los archivos ·································································106
Controlar la exposición en la fotografía infrarroja ······································107
Composición, toma y edición de fotografías infrarrojas ···························110
Vegetación y personas ··················································································111
El cielo, con y sin nubes ·················································································112
Edificios y monumentos ················································································114
Océanos, mares, lagos, grandes ríos y embalses de agua ·······················116
El filtro polarizador ·························································································117
Realizando nuestras fotografías en IR ························································118
La edición de fotografías en IR ·····································································120
Parte final. La edición, paso a paso ·····························································131
La edición, paso a paso ·················································································132
Longitud de onda de 590 nanómetros ························································137
La reducción del ruido de color en las imágenes infrarrojas ····················150
Epílogo ·············································································································155
Muestra de fotografías ··················································································157
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