<< 1 >>
Rating: 
Summary: Comprehensive, accessible, a great introductory manual!
Review: Begleiter's book presents infrared film in a comprehensive and accessible fashion for both pro shooters and hobbyists.Speaking as a professional photographer, I found the text to be straight forward and not garnished with techno-speak designed only to show the reader how much the author knows about the subject. Rather, the text aptly tells you what you need to know to get you started and achieve your desired results. The images illustrate Begleiter's points and demonstrate the artistic and technical possibilities any photographer can achieve when applying infrared film to either a professional assignment or a personal project. If you want to add this film to your arsenal of techniques and you wait to learn how to use it by reading the notes that accompany the film, then you have waited too long. Begleiter's theme is that you should first understand the film, how it works and how to use it, and then apply it where it will give you a fresh look that represents your interpretation of the scene. There is no question that infrared film can be over-used and mis-used. To his credit, Begleiter doesn't shove his opinions down the reader's throat, respecting his readers enough to let them make their own decisions about using the film and letting them enjoy the experience of learning for themselves.
Rating: 
Summary: Mixed feelings on this book
Review: Begleiter's new book is wonderful. It is a wealth of information from the broadest concepts in infrared photography to the most technical subtleties. The artwork within is fantastic. It is an entirely new and different approach to taking pictures - one that is fun, energetic and new. Each photograph portrays the outstanding qualities/differences of infrared film - truly a new way to vision photography and the world around us. I recommend this book highly as both a teaching tool and as a coffee table piece sure to inspire much conversation.
Rating:
Summary: A New Perspective on Photography
Review: Begleiter's new book is wonderful. It is a wealth of information from the broadest concepts in infrared photography to the most technical subtleties. The artwork within is fantastic. It is an entirely new and different approach to taking pictures - one that is fun, energetic and new. Each photograph portrays the outstanding qualities/differences of infrared film - truly a new way to vision photography and the world around us. I recommend this book highly as both a teaching tool and as a coffee table piece sure to inspire much conversation.
Rating:
Summary: ****brilliant! astounding! awesome!****
Review: great images! informative! relevent information for beginners and experts alike! i picked up the book judging it by cover alone and feel like i have ventured into a terrific new medium. well worth the cover price many times over!
Rating:
Summary: Infrared an ingredient to good photography
Review: I have been a photography teacher for over 20 years and have always seen infrared photography as an obvious technique that packages pictures instead of a technique employed for interesting work. This book came to my attention and I was surprised at the range and subtlety that can be employed with these materials. The book is layed out beautifully, easy to follow and understand. I highly recommend this book.
Rating:
Summary: Mixed feelings on this book
Review: I just bought this book recently, and while I think it might be a useful technical reference, it gives little new insight into the possibilities of CIR film. Charts and graphs are all well and good, but I don't find them terribly helpful. Mr. Begleiter also gives very little information on color filters other than Wratten 12Y and seems to use only that filter except for the one image taken with an orange filter. I would've liked to see more exploration into the color results from different filters other than yellow. Don't get me wrong, there is useful information in this book, primarily the information on filters to correct for tungsten or fluorescent light and what happens to the film when it is outdated. This book, however, should not be the only book you read on infrared photography. This book could work as a companion piece to Joseph Paduano's "The Art of Infrared Photography", which provides more information on which color filters to use to get certain color results. The two together would make a fairly complete course in IR photography. Begleiter's book is good on a very technical level, though I think it would be more helpful to see actual images made with different conditions and exposures instead of graphs or at least in addition to the graphs.
Rating:
Summary: Begleiter is a Genius!
Review: If you are interested in adding some zest to your color photography, this book will lead the way. The images in this book are goregeous and the descriptions on how to create images of your own are excellent! I highly recommend purchasing this book!
Rating: 
Summary: A Good Place to Start
Review: Mr. Begleiter's The Art of Color Infrared Photography seems to be the only book on the subject of color infrared photography that is currently on the market, so if you are looking for guidance on the subject, this is it. The good news is that this book does do a good job of providing enough information to get you off to a good start. You will be confident that you know what you are doing the first time you load a roll of Kodak CIR film into your camera. The book covers all of the topics essential to infrared photography, such as: the physics of infrared light, how the film works, film handling, processing, pushing/pulling, using filters, focusing and various light sources. I give the book only 4 stars because it is not what I would call comprehensive. I wish some of the above topics had been covered in more detail and with more examples. There is only one example of using a yellow filter vs an orange filter, and no examples of doing this under different types of light. Filters are rather essential to IR photography, and I would have liked to see them treated in more depth. There is mention of the alternative AR-5 process for developing the film, but there is only one example of that, too. It peaked my interest, but I couldn't find out more. There is no information on cross-processing color IR film as a negative, which I know some people do. Mr. Begleiter probably doesn't cross-process his film, but some information on the subject would be nice. A little color IR goes a long way, but this book does showcase some nice examples of subjects for which color IR is actually appropriate and attractive, which is helpful and encouraging. All in all, this book not perfect, but it is a worthy addition to the library of any photographer.
Rating:
Summary: A new way of seeing
Review: Section #1 Basic Color Infrared theory
This section describes the electromagnetic light spectrum and details the
history of Color Infrared film. It is interesting to note that this film
has only been around for about 40 years and the new version for only several
years. Unlike many other areas of photography where everything has been done
before, CIR (color infrared ) is a relatively new medium that has not been
explored much. Section #2
Dispels some of the more popular myths about IR photography such as "IR
photography can record heat" This is of course not true and the author
drives this and other points home. Section # 3
Starts off with a couple of nice film characteristic curves that show why
CIR film has such a narrow exposure latitude compared to conventional slide
films. This section then goes on to describe how the film creates false
colors; its a little technical, but most photographers should be able to
grasp the concepts. This section also has a few side by side examples of
AR-5 vs. E6 processing, Images shot in full sun vs. partially shaded, pushed
and normal development. There are a few points on page 28 that I
disagree with, namely the author says it is imperative that the film is
loaded and unloaded in complete darkness. This is very conservative advice.
Most of the time you can get away with loading and unloading in dim light.
I have personally had this film get the first 3 or 4 frames fogged when I
loaded it in bright sunlight, so his advice is good, but maybe a little
frightening for first time users of this film. Secondly the author says he
packs his film in checked baggage in leadlined bags for airline trips. This
is a definite no no. Take your film as a carry on item and have them hand
check it or go through the x-ray scanner. Lead bags will only arouse
suspicion in today's terrorist world, causing x-ray operators to rescan the
baggage at a higher x-ray dosage. However it is interesting to note that the
author has done this and not experienced any fogging from x-rays. Section 4 deals with Basic Color and Light Theory. Additive and Subtractive
Colors are discussed as well as color contrast and how to apply these
theories to CIR film. Might be a bit boring if you are an experienced pro
but it is a good foundation to those new to CIR. Section 5 deals with working with filters and there are some good side by
side examples of how polarizes, neutral, Color correction, and be&w filters can be used with CIR film. I wish there were more examples of how
different color filters effect CIR images, but it gives the reader an idea
of what to expect. Section 6 talks about getting the colors you want. He talks about shooting
on overcast days, using outdated film and pushing the film Section 7 is a very interesting section that deals with how different light
sources affect CIR photography. It is similar to Laurie White's book that
deals with this same subject matter. I especially enjoyed seeing the
various comparisons of Mac Beth Color Charts shot under different light
sources. However please note that on page 69 there is a typo. The captions
for the Fluorescent light and Tungsten light pictures should be switched
around. The author also has a few studio shots done with CIR film that are
very interesting since it is such an unusual choice to do studio photography
with . Section 8 Putting It all Together is my personal favorite. It gives
practical advice on using this film for portraits and studio still life's
and how different makeup turns different colors. The resulting pictures
remind me of cross processed fashion pictures, but are different enough to
be exciting. This section ends discussing one of the most popular "fine
art" uses of CIR film, landscape photography. Section 9 is a series of Waterlillies pictures which are very well done.
There is a huge waterlillies garden in Franklin NC that I take pictures of
every year, I think it is the largest in the USA. This will inspire me to
take some CIR shots next year. Section 10 is a portfolio of his CIR work, composed mostly of people and
landscapes. The book then finishes off with a summary and list of Appendices....
Rating:
Summary: great book!
Review: Section #1 Basic Color Infrared theory
This section describes the electromagnetic light spectrum and details the
history of Color Infrared film. It is interesting to note that this film
has only been around for about 40 years and the new version for only several
years. Unlike many other areas of photography where everything has been done
before, CIR (color infrared ) is a relatively new medium that has not been
explored much. Section #2
Dispels some of the more popular myths about IR photography such as "IR
photography can record heat" This is of course not true and the author
drives this and other points home. Section # 3
Starts off with a couple of nice film characteristic curves that show why
CIR film has such a narrow exposure latitude compared to conventional slide
films. This section then goes on to describe how the film creates false
colors; its a little technical, but most photographers should be able to
grasp the concepts. This section also has a few side by side examples of
AR-5 vs. E6 processing, Images shot in full sun vs. partially shaded, pushed
and normal development. There are a few points on page 28 that I
disagree with, namely the author says it is imperative that the film is
loaded and unloaded in complete darkness. This is very conservative advice.
Most of the time you can get away with loading and unloading in dim light.
I have personally had this film get the first 3 or 4 frames fogged when I
loaded it in bright sunlight, so his advice is good, but maybe a little
frightening for first time users of this film. Secondly the author says he
packs his film in checked baggage in leadlined bags for airline trips. This
is a definite no no. Take your film as a carry on item and have them hand
check it or go through the x-ray scanner. Lead bags will only arouse
suspicion in today's terrorist world, causing x-ray operators to rescan the
baggage at a higher x-ray dosage. However it is interesting to note that the
author has done this and not experienced any fogging from x-rays. Section 4 deals with Basic Color and Light Theory. Additive and Subtractive
Colors are discussed as well as color contrast and how to apply these
theories to CIR film. Might be a bit boring if you are an experienced pro
but it is a good foundation to those new to CIR. Section 5 deals with working with filters and there are some good side by
side examples of how polarizes, neutral, Color correction, and be&w filters can be used with CIR film. I wish there were more examples of how
different color filters effect CIR images, but it gives the reader an idea
of what to expect. Section 6 talks about getting the colors you want. He talks about shooting
on overcast days, using outdated film and pushing the film Section 7 is a very interesting section that deals with how different light
sources affect CIR photography. It is similar to Laurie White's book that
deals with this same subject matter. I especially enjoyed seeing the
various comparisons of Mac Beth Color Charts shot under different light
sources. However please note that on page 69 there is a typo. The captions
for the Fluorescent light and Tungsten light pictures should be switched
around. The author also has a few studio shots done with CIR film that are
very interesting since it is such an unusual choice to do studio photography
with . Section 8 Putting It all Together is my personal favorite. It gives
practical advice on using this film for portraits and studio still life's
and how different makeup turns different colors. The resulting pictures
remind me of cross processed fashion pictures, but are different enough to
be exciting. This section ends discussing one of the most popular "fine
art" uses of CIR film, landscape photography. Section 9 is a series of Waterlillies pictures which are very well done.
There is a huge waterlillies garden in Franklin NC that I take pictures of
every year, I think it is the largest in the USA. This will inspire me to
take some CIR shots next year. Section 10 is a portfolio of his CIR work, composed mostly of people and
landscapes. The book then finishes off with a summary and list of Appendices....
<< 1 >>
| 
