But the electromagnetic spectrum is vast. So what doesn’t meet the eye? What are we missing?
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| "Glowtree," infrared film photography by Paul Barden. |
Just outside the range of human visibility, between 700 and 900 nanometers, infrared light can be captured digitally or with specialized, infrared-sensitive film.
Named after the elusive nature of the light, "Invisible Light" exhibits the infrared photos of five local photographers. Works by Sandi O’Brien, Paul Barden, Rich Bergeman, Jack Larson and Phil Coleman will be showcased in the gallery until Feb. 24.
At a reception held in the NSH Gallery on Jan. 20, an inquisitive mixture of LBCC staff, students and community members conversed with the photographers about their work. The photographers spoke about their methods and backgrounds, explaining the basics of infrared photography to the crowd.
According to Coleman, digital cameras have an intrinsic sensitivity to infrared light, but are manufactured with a filter. Converting a camera is as simple as sending it to a company to have the filter removed and replaced with one only passing infrared.
Organic matter such as trees, plants and animals reflect a large amount of the light. Chlorophyll is highly reflective of infrared, causing a glowing effect that can make trees appear crystalline or covered in snow.
“The peculiar tonal shifts fascinated me, especially when photographing the natural landscape,” said Paul Barden.
“There’s this exquisite, crystalline, magical look to the work,” said Julia Lont, gallery coordinator. “It’s so recognizable as a literal translation of nature but it it shows us something we don’t see.”
Bergeman, a retired LBCC journalism and photography instructor, hatched the plan for the exhibit as he noticed the growing amount of infrared photos collecting dust in his closet. Enlisting four other photographers and the help of Lont, Bergeman and the others filled the space with about 60 photographs.
Bergeman recently spent two months at a residency following the path of pioneer James Swan, who explored the Willapa Bay area in the 1850’s. Many of these photos are on display.
“I thought it was kind of interesting to photograph in the footsteps of a dead man with a camera that was seeing light that you couldn’t see with your own eyes,” said Bergeman.
Barden refers to himself as the outlier of the group, having returned to the use of film in 2012.
“I realized I was missing a lot of the hands-on craft that simply isn’t part of the digital workflow,” said Barden. “For me, I felt there was a major ingredient missing.”
Unlike Barden, Larson found his niche within digital photography.
“With digital, the opportunities for play are infinite,” said Larson.
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| "Orb," by Jack Larson. |
Though Larson and Barden’s cameras may be very different, the processes they use to finish the photos are similar.
“No matter what we’ve chosen as our starting point medium, every one of us has also chosen a specific editing suite to finish the work.,” said Barden.
Larson cites “Silver Efex” as the “granddaddy” of the editing platforms for infrared.
Both Bergman and O’Brien learn how to read the landscape through the lens of each particular camera they use. Infrared poses a new and intriguing challenge for them.
“When you look at the back it’s all in pink instead of black and white, so it’s been very fun to learn how to see like the camera sees,” said O’Brien. “I love the mystical quality that you can get out of it. It just looks otherworldly.”
O’Brien is fond of trails and stairs for their ability to pull the viewer into the photograph.
Her photo, entitled “In My Dreams,” won the photography division at The Mayor’s Art Show in Springfield, Ore. It is the only one of her photographs in the current exhibit taken with infrared film. Her others are digital.
“It needs to be evocative,” said O’Brien. “People like that magic look.”
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| "In My Dreams" by Sandi O'Brie |
Really cool!
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