Shop Mobile More Submit  Join Login


Extra-Visible Imaging

May 2016 News

The May Infrared Showcase Gallery is now open.

I shall be taking a break for a while to attend to business in Scotland.


Gallery Folders

March 2015 Infrared Showcase
March 2015 Exposure Techniques
Experimental Submissions
HDR Images
Infrared animals
Infrared Architecture and Structures
Infrared landscape
Infrared panorama
Infrared people
Infrared Trees and Plants
Lomo and Similar
Reference and Tutorials
Leucareth's Choice
Possible Video Images Septemebr 2015


Members' Journals
Test Collection

Revesre Image Searching

I posted a Journal on my Home Page on this topic and I think all our members should take note of the methods described if they wish to check on their own images or are suspicious of images that they come across here.

Reverse Image SearchingReverse Image Searching
From time to time here on DeviantArt, I come across or am told about images that may not be the work of the artist or photographer who has posted them. Sometimes, I also find that my images turns up, without attribution, elsewhere on the Web. In the first case, posting work that is not yours without attribution is morally wrong, and in some cases is illegal. In the second instance, you have been the victim of art theft.
DA has a "Report this image" button on the display page of each image. If you find a dodgy work, you can click this and follow the menu of options to report your suspicions. I have done this on several occasions for works I know to have been filched from elsewhere, and nothing appears to have been done about it  the doubtful works are still displayed. On one occasion, I tackled the perpetrator, but to no avail  I was just blocked.
Often these dodgy deviants are highlighted by vigilant members who post Journals flagging the miscreant, an

I decided to check on some of my infrared images and found several on a site Further, one of our Expert Members, helios-spada has much of his work displayed and credited to the famous American photographer - helios-spada. Needless to say, he was not aware of this accolade.

I found IR photography to be very popular on this site with hosts of shots that thought I recognised. You may wish to check for yourselves to see if any of your works are there. If you find any, let me know and I'll post a list to the site asking for credit to be given.

Here are two links……



Affiliate News


A Gallery/Collection folder "Affiliate Submissions" has been created in the Favourites area for submissions from affiliate members. Such submissions are subject to a one vote acceptance/rejection. Images need NOT be directly related to infrared or extra-visible imaging as we are providing this feature to showcase our colleagues' work.

For affiliate members to submit, they would use the normal "Submit to Group" button on the image display page, followed by selecting Infrared-Club, followed by "Suggest to Group Favourites", selecting the "Affiliate Submissions" folder.
:iconfine-art-nudes: Fine-Art-Nudes :icontandemfeatures: TandemFeatures #Collaborations #TandemFeatures :icondevexposed: devExposed Photos using exposure techniques :iconstellar-landscapers: Stellar-Landscapers :iconextra-visible-images: Extra-Visible-Images :iconinfrared-people: Infrared-People InfraPeople :iconwhoneedscolour: WhoNeedsColour Tell me: Who? :iconnz-ir-hdr: NZ-IR-HDR :iconphotoseries: PhotoSeries :iconphoto-logic-sense: Photo-Logic-Sense Photography Techniques :iconcolorfulphotos: ColorfulPhotos :iconlove-nikon: Love-Nikon :iconnon-real: non-real non-real :iconindoinfrared: IndoInfrared Indonesian Infrared Photography :iconartworldtoday: ArtWorldToday Virtual First Friday Art Walk :iconhdrscapes: HDRscapes :iconstudio-28: Studio-28 Sharing the world around us! :iconabstract-and-surreal: Abstract-and-Surreal :iconinfrared-anonymous: Infrared-Anonymous :iconr72: r72 Infrared Photography


Following a recent poll which showed members were interested in having more tutorials, here is a list of current tutorials and discussions in the Infrared-Club (Extra-Visible Imaging) Group .

“How to take and postprocess infrared photos” by Francy-93 (Francesca)


Very good introduction and guide for newcomers.

“The Complete Color IR Tutorial Guide Walkthrough” by Vlue (Evan)


More detailed description of working and post-processing infrared images.

“Infrared color gradation” by Aerobozt (Goldy)


A Photoshop based tutorial on how to vary colour in IR photographs by gradients.

“Infrared Photography Preset” by comicidiot


Adobe Photoshop Lightroom preset for post-processing.

“IR Conversions and White Balance” by jythie


A more advanced description of filters and aspects of white balance.

“IR Workflow” by mIkeschwaRz


Excellent post-processing workflow, Photoshop based, but portable to other editing software.

“Canon 40D Conversion – Full Spectrum Imaging” by Okavanga


Some notes about starting out on full spectrum imaging.


Mature Content

or, enter your birth date.



Please enter a valid date format (mm-dd-yyyy)
Please confirm you have reviewed DeviantArt's Terms of Service below.
* We do not retain your date-of-birth information.

Best of April 2016

Journal Entry: Fri Apr 29, 2016, 2:20 AM

Welcome to this month's Best of April 2016 Feature.

New members: SteveCampbell :iconstevecampbell: DerrickButler814::iconderrickbutler814: eDDie-TK :iconeddie-tk:

Two items of news: Lady-Compassion is setting up a new Gradients Package,  and I had an extensive look at Raw Files and IR Photography Raw Files and Infrared Photography following discussions with eprowe and Lugal. For those who are interested in the nuts and bolts of RAW files then I highly recommend the RawDigger software ==> One conclusion from this study was that we can probably afford to over exposure by about 1 stop (at least on Canon cameras) before any clipping is likely to occur in Raw files of IR photographs. Experimentation  with your own cameras is worthwhile to see if this holds for other makes. The advantages of this IR version of Expose to the Right (ETTR) could be better signal to noise ratios, and better contrasts. Fell free to add comments.

We have had over 100 submissions this month - now that Spring is here in the Northern Hemisphere - buds are bursting - shutters are clicking! As with last month, I have picked my Top Submissions (15 this month, and added some comments about each.

  How far's Oz ?  IRD200-1755, with story by harrietsfriend  Weathered barn.IRD200-1773, with story by harrietsfriend

Eugene harrietsfriend is a fine photographer of long-standing. He has recently been working out with his new Infrared Nikon, and I have chosen these two of his submissions to show  not only his compositional expertise but also the surreal effect added to his subjects by using this particular colour combination.

Continuing with the theme of colour in IR work helios-spada and bamboomix offer a stimulating comparison, see below.

     At Mt. Greenwich by helios-spada     Valley of dreams by bamboomix

The shot by Helios (left above) provides a classic reflection shot of trees in water with a classic composition of the main elements, but it is the interpretation and implementation of colour that drives the eye. There is no need these days to limit IR work to simple red-blue channels swaps or monochrome - colour freedom rules the IR wavelengths. Similarly, Olivier's shot of Rocamadour is a classic composition - I know that spot well - with its sweep of buildings and road around on the left echoed by the valley floor and railway track on the right, but his interpretation in terms of colour is unique - rockin', red Rocamadour!

I'm moving to people for my next picks with robpolder , one of our most enthusiastic and talented IR photographers of beautiful women (tough, but someone's gotta do it, Rob) introducing us to Hana.

Introducing Hana by robpolder

I think this is an absolutely stunning portrait, and I cannot understand why the shot has so few views and faves - go fave it now! The detail, the precision, the pose, the highlights, the shadows, the focus, the little tangle of hair, that opal in the ring with its highlight winking at you, rhyming with the catch lights in the eyes, the pearly opalescence of the skin - IR to the fore - the droop earring matching the ear - why on earth is this not a top image on DA? Go check out the rest of the photographs of Hana on Rob's page right now!

For my second people pick, I've chosen one from grandart. Peter is a regular contributor to the Group, but his fine work has perhaps been overlooked in the past. I've chosen this shot, rendered with what is likely to be the out-of-camera reddish colour cast, because of its dynamism, from the wild thrown hair, to the outstretched arm, diagonal leg, to the twist of the body. The overall effect, to me, seem as if it has been shot underwater. The IR component reflected in the "white" foliage and pearly skin adds to a super image.

Extasy on the Roof by grandart

From colour and people on to monochrome works. Perhaps the outstanding monochrome shot this month is from one of our new people, SteveCampbell .

Bondi - Infrared by SteveCampbell

A long-exposure, infrared, HDR panorama, with exposure times from 15 to 208 seconds (!) on a Canon 1Dmk3 fitted with a 720 nm filter - hmmm... well a least I have Canon equipment, but from then on I reckon most of us are out-gunned. The composition is outstanding with that dominant boulder set in its rocky surrounds with the backdrop of time-stretched clouds and silky sea. The IR effct is seen not only directly in the whitened trees to the right background, but also indirectly in the tonal values/balance of the rocks. Stunning work.

No Best of Feature would be complete without a contribution from Elvis's eprowe continuing series of the byways of the States. This example is number 95, if my Roman Numerals do not deceive, in a series currently standing at 103. This image stands close comparison with that of SteveCampbell . Elvis uses the bright white tree on the right hand side to capture the eye (the Woods Effect par excellence - pardon my IR pun) and uses the road to lead our vision around the rest of the panorama. That dramatic cloud-streaked sky also makes us of the IR effect for its deep tones, while greys and textures dominate the landscape aspects of the scene. There is an almost mirror image version in the XCVI composition.

Byways XCV by eprowe

A third monochrome image that struck me with its considerable merit is that from another new member eDDie-TK , below left. Simplicity of composition is matched with an excellent tonal range, a feeling of open lands to conquer, and a wonderful sense of windy movement from the stretched out clouds. A similar approach to openness and the vast expanse of sky and land is taken with Rizone 's colour shot of a lonesome tree, below right. I think the shadow from the tree is particularly telling, black against the colour.

Avalo School by eDDie-TK   Solitude by Rizone

Heading into flower power, we have two excellent examples, one from mIkeschwaRz: and the other from vw1956. For IR photographers who have not ventured into the realm of flower photography, it is a rich area for dramatic effect, use of colour channel swapping, and rendition of detail. Basic composition is often starightforward, and using a large aperture allows the background to be blurred. Both Mike and Volker are masters of these techniques.

IR.Tulipa by mIkeschwaRz   left blue by vw1956

Finally, some other shots that caught my eye.

Big, bright and blue, this image from Elandria (below left) hits all the classical IR buttons - bright whites in the foliage to bright blues from a channel swapped sky, and the memento mori of grey tombstones! The ecclesiastical feel continues with swiftmoonphoto 's study and its (unintended?) irony of an empty car park, but full graveyard. The contrast of full majestic tree next to the man-made church and spire also invites speculation about which will last the longer! Food for thought.

Not So Alien 12 UNRESTRICTED by Elandria  Church in IR by swiftmoonphoto

And, finally, Alexandre1950 provides a good example of an IR image with a total blue hue, reminiscent of cyanotypes, and full of deep shadows from shady trees, deep depth from the perspective, and perhaps just a touch of deep Russian soul.

Img 9903-1 by Alexandre1950

With such a large number of submissions this month, and many photographers submitting several excellent pieces, my choices for the Best of April are necessarily very subjective. I've tried to combine examples of the different styles and areas in IR photography with works from the top photographers. I hope you have enjoyed them. Many Thanks to all members for their support and for all contributions.

Don't forget to visit our sister Group #r72: :iconr72:


David aka Okavanga :iconokavanga:

This Journal Skin was designed by Night-Beast modified by Okavanga

Raw Files and Infrared Photography

Journal Entry: Fri Apr 22, 2016, 4:27 AM

Raw Files and Infrared Photography

This is, primarily, a technical monograph, and may not be of interest to the general reader. However, writing such Journals summarises for me what I have been doing, helps clarify in my mind some issues, and may provide other like-minded photographers with details that may have escaped their attention.

A number of recent matters have caused me to look into the nature of RAW files in photography, and how their makeup influences infrared (IR) photography. Andrew Lugal mentioned how he felt that contrast was a bit of a problem in his IR work; my own delvings into what I call the Okavanga Effect have unearthed oddities about exposures in IR photography; and general perusal of how IR photographs are rendered by different software such as Adobe's Lightroom (LR), Photoshop Elements (PE), Canon's Digital Photo Professional (DPP) and RawDigger - software designed to study RAW files directly - has shown how variable the interpretation of RAW files can be.  To study this, I have made some Test Case RAW files and photographs of the same subject using my Full Spectrum (FS) converted Canon 40D camera. I have analysed the images and RAW files using, principally, Lightroom, and RawDigger. In addition, I have re-examined several of my previous IR photographs and RAW files to see if the results from these Test Cases are replicated.

Most people will be familiar with Lightroom and Photoshop Elements; those using Canon cameras will be conversant with Canon's DPP software; those using other camera makes will have their own manufacturer's software which they will know and use. The one application with which many may not be acquainted is RawDigger ==> As the home page to the site says:
" RawDigger is a tool allowing (you) to view, study, and analyze pure raw data as recorded by digital photo and certain video cameras. RawDigger is a microscope of sorts that lets you drill down into raw data both on Mac OS X and Windows." I have to say that this is not the simplest of systems to use, and my understanding is still rudimentary. Nevertheless, some very interesting information comes out of the application.  (There is a 30 day free and fully functional trial.)

If the reader is new to this sort of thing two preliminary matters need addressed. First, what is a Raw file?  Most serious photographers nowadays work in Raw Mode, that is they capture their images as Raw files that, subsequently, are processed by the camera's own firmware and/or on a computer using the equipment manufacturer's software (eg DPP) and/or third party software such as Lightroom. A Raw file is the photographic information captured by the sensors in the camera when exposure takes place. That information is stored as a file that contains the data itself, along with any other processing information that may or may not be used at a later stage. We are concerned with that original Raw data. Raw files allow much greater creative control and flexibility for processing than the other common image presentation file, the JPG or JPEG file. Second, in order to study these data we need to make use of histograms. What is a histogram? The photographic data comprises lots of points (pixels) that have different brightness (lightness, luminosity) values - some black, some dark, some mid-tone, some highlights and so on. A histogram displays how many pixels have each value of brightness; the value of the brightness being along the X-axis, and the corresponding number of pixels being displayed as bars along the Y-axis. Histograms are an essential tool in serious photography as they provide, inter alia, information about exposure (including clipping), distribution of brightness across the image, and colour balance. With colour images, the three primary colours are red (R), green (G) and blue (B), and these all have their own data in the Raw file, and so are often displayed as three different histograms, and referred to as the colour channels. Just to complicate matters, although this turns out to be important for IR work, there are two green channels associated with Canon camera sensors, so that they are referred to as RGBG or RGBG2. That is, there are twice as many green sensors as there are red or blue ones.

Let's have a look at the first Test Case file. This is the visible spectrum image, obtained from the Raw file shot with my Canon 40D camera, so no IR light has reached the sensors. I chose this view because it contains a number of useful features - blue sky, green grass, different greens in the trees, an ochre coloured wall, lots of different textures, a wide variation in tones including what turns out to be very bright highlights on the car and on the alarm box. The first image below, on the left, shows that photograph itself, as rendered from the original Raw file with the Standard settings from the DPP menu. To illustrate the problems of working with different photo-editing software, the next three shots are the histograms as produced by Canon's DPP, from Photshop Elements and from Adobe's Lightroom, after it has finished importing and "converting" the Raw file, and before you have had a chance to work on it yourself. You see that they are different in structure and balance.

Visible Test Case by Okavanga         VisibleDPPHistogram by Okavanga          VisiblePhotoshop by Okavanga     Visible by Okavanga

Now let us look what RawDigger makes of our original Raw file. If you follow what is going on here, then just about everything else is easy. RawDigger can display the photographic data as an RGB render, i.e. what the image may look like when converted, or as a Raw composite, i.e. what the image would look like if no colour/white balance were added, and as any one of the four colour channels, R, G, B, and G2. These last renderings are necessarily monochrome images. In order to display any sort of visually meaningful image, RawDigger allows two parameters to be used - the so-called gamma factor which is set at a standard value of 2.2, and a white (or colour) balance which can be set for daylight, automatically from data in the Raw file, or as an "As Shot" setting. I've used the "As Shot" setting. The actual rendition (landscape presentation only) is not that far from the finished image I have presented.

            VisibleRGBComposite by Okavanga       VisibleRawHistogram by Okavanga

Of much greater interest are the histograms: red at the top, green, blue and green2 at the bottom. I have tried to use the same scale on all these graphs. You will notice the term "EV0" on the grid top center right. This is the central exposure value (EV) as far as RawDigger can determine. The X-axis scale is divided into EVs, although some photographers will know "EV" better as stops. The red channel shows a range of brightness of about 8 or so stops, from a small pimple just after EV2 down to truncated values below EV -5. Similarly, for the other channels. The Canon 40D is allegedly a 14 stop camera, although realistically you would be lucky to get a dynamic range of 10 stops. So, our histogram is showing a Raw range of values of a reasonably creditable 8+ stops. Next, look at the profile of each of the channel histograms. The greens are virtually identical, as expected, but quite different from the blue and red channels, which themselves differ. This is what you would expect - there is no reason why they should be the same. The blue sky will dominate much of the blue channel, but contribute little to the green channel, and almost nothing to the red channel, and so on. The third point we can see from a close look is that much of that dynamic range is being wasted on the light and highlight side of the histogram. Look closely, and you can see a tiny green bar just below EV3 and even smaller red and blue channel bars there. Those are the clipped  levels of those very bright whites on the car and the alarm box. If you look at the rendered image you can see a red area on the car and on the Secom alarm box, indicating over exposure. (I ticked that option on the render screen.) Nearly two stops from that over exposure limit down to about EV1 has virtually nothing in it - wasted. Yet when you look at the histograms of the finished image, that over exposure has vanished and the data appears to fill the whole range of brightness! This is an artificial enhancement of the dynamic range by the software, particularly seen in Lightroom and Photoshop Elements.

We now come to the main event - the IR Test Case.

The first image below is my best exposure case, as per the histogram seen on the camera at the time of the shoot, and in the histogram from the DPP software. Note, again, the difference between that histogram and that from Lightroom. My IR shot has used a custom white balance that effectively removes any predominance of the red channel. Such a predominance causes the well known red or magenta cast on IR photographs. With Lightroom, the red channel has supplanted the blue. The IR image itself shows what the seasoned IR photographer might expect - a black sky, lots of "white" foliage, and greys for the brick work and slabs. There may be a slight bluish tint in some of the foliage, again expected because of the custom white balance. Overall, perhaps an OK shot.

IR Test Case by Okavanga     IRDPPHistogram by Okavanga Ir by Okavanga

However, look at the RawDigger data. The RGB render is much duller and flatter than our DPP image with no blue tint at all - RawDigger makes no concession here to my white balance. But the real surprises are in the histogram data. First, look at the profiles of all the channels. They are effectively the same! Although the sensors in each channel have their own response profile to IR light that matters not a jot. All the channels give the same profile response across the brightness spectrum, although they vary in their position on the brightness axis. What is going on here? We must look at what has become my favourite graph, the spectral response curve for the Canon 40D, shown below, courtesy of http:\\ For the IR response you need to look from just to the left of the 750 nm point on the wavelength scale, all the way to the right. You can see that the green and blue channels do not make significant contributions to the IR response until about 750 and 790 nm respectively. Recalling that there are two green sensors for every red and blue, the green response is about double that implied be the response curve. From about 830 nm onwards, all three curves decay in a roughly parallel manner. Thus, the actual Raw data profiles probably will look more or less the same, with the red one having the lightest values and the blue one the lesser response.

IRRGBRender by Okavanga   IRRawHistogram by Okavanga

Canon 40D Spectral Response by Okavanga

There is a second major surprise from the data presented in the IR histograms. Compared to the visible spectrum histograms, those from the IR shot show that the tonal response, i.e. the dynamic range, is less than in the visible image. To my eye, we have a range of just over 5 - 6 stops in the red channel, with an extra stop provided by the blue channel in the shadows and blacks. If you relied solely on one channel for your final IR image you will have lost 2 - 3 stops of exposure. I think this is down to three factors: the sensors being less sensitive in the IR range, the IR light itself having a lesser range of frequencies, and there being less IR light available, except in very bright situations, compared to visible light. 

The third point from the IR histograms echos a point from the visible image. If you set your "best" exposure to what the camera histogram suggests, then you are losing about 1 stop at the bright end of the range. You can afford to set an apparent over exposure of about 1 stop and still not have any significant clipping in the Raw data. As far as post-processing is concerned you simply reduce the exposure/brightness slider in Canon's DPP by 1 stop before exporting/converting the file. To test this out, I deliberately over exposed the next image by about 1.25 stops. From the uncorrected image there is no doubt about over exposure, and you would think to discard this shot. However, perusal of the Raw data histograms shows the green and blue channels using most of the exposure range, and the red channel, while clipped, has lost less than 4% of its pixels to clipping; combining with the other two channels will mask any red clipping. The final image in this set shows RawDigger's rendition of the over exposed red channel.

IROverExposure by Okavanga  IRRawHistogramOverExposure by Okavanga

IRRawOverExposureRedChannel by Okavanga

What is the importance of this finding? The great debate about the best possible exposure in digital photography rages still with arguments about fitting the exposure to the histogram on the camera, never having any channel clipped, giving yourself a bit of leeway at both ends of the exposure.... The most commonly held view now and the one that I support is that you should always "expose to the right" - ETTR, as it is known. Your settings should be such that the histogram on your camera should show as much as possible of the exposure to the right hand side. The reason for this is that senors receiving bright light receive more potential detail than sensors receiving low levels of light, so by pushing ETTR you record more detail and less noise*, even in shadow areas. What this analysis of Raw data and IR photography shows is that you can push to a stop (possibly more) of apparent over exposure before actually losing any pixels to clipping, even though the camera histogram suggests otherwise. There is actually visual information in the histograms for the "best" exposure" and over exposed IR shots that bear out this conclusion. I shall leave it as an exercise for the reader to find out and explain that information. The full set of images associated with this Feature is to be found in this Stash File ==> It includes data for the Full Spectrum version of the Test Case, so that you can see what difference mixing visible and IR light has.

Summary and Conclusions

This has been a long and complicated Journal, but as I said at the start this is a technical monograph about Raw files and data, information that can be explored using the RawDigger software. The first conclusion is that you cannot trust the camera and JPEG histograms to give an accurate assessment of the best exposure for IR work. If you are working in RAW mode then, at least for the Canon 40D, you can happily over expose by at least 1 stop, and not lose any significant percentage of pixels to clipping. Experimentation is the key, and half-an-hour's work taking a range of shots followed by half-an-hour checking with your camera manufacturer's software and RawDigger should give a good indication for your camera's best exposure settings.

Second, the RawDigger analysis shows that IR exposures are, probably inherently, going to have less of a dynamic range than visible exposures. The current information suggests at least one stop and up to three stops less range. One implication of this is that using high dynamic range (HDR) techniques could provide substantially better IR images, particularly for the low end of the range. There is plenty of scope for photographers to take up this challenge.

Third, the analysis shows that, perhaps counter to what might have been expected, all the channels, red, green and blue have effectively the same profile of exposure in their histograms, unlike the different channels in visible images. If you are working in monochrome IR and do not wish to make any colour renditions, then you might be tempted to use a single channel, say the green one, as the basis of your final image. RawDigger allows you to save, as a TIFF file any or all of the individual channels.This is something I am going to explore, although in picking a single channel you are limiting the amount of data in your image to about 1/3 of the original (perhaps 1/2 if you use the green channel).

Finally, one issue that has not been resolved is that of white balance. RawDigger allows three different settings, "Daylight", "As Shot", and "Auto", and some setting is needed to give any kind of display that is meaningful. However, having played around with this aspect of RawDigger, I am not convinced these settings are particularly accurate. "Daylight" ought to be accurate as it refers to a colour temperature, but different software suites use different values (Here's a useful reference for colour temperatures ==>…). Similarly for "Auto" - that depends on the original firmware, and as for "As Shot", I'm not sure at all that this is really correct.

ManyThanks for viewing, and Many Thanks to eprowe and Lugal for previous discussions.

David aka Okavanga :iconokavanga:

* For a more technical description of ETTR, data and sensors please refer to the comment by eprowe and the link therein. 


This Journal Skin was designed by Night-Beast modified by Okavanga
More Journal Entries

Group Info

This Group is for all photographers interested in infrared photography, UV photography and in exposure techniques such as HDR, long exposure, light painting and so on. that generate extra-visible images.
Super Group
Until Dec 28, 2016

Founded 6 Years ago
Dec 23, 2009


Group Focus
Extra-Visible Imaging infrared HDR exposure techniques

698 Members
752 Watchers
51,193 Pageviews
Daily Pageviews

Recent Journal Entries


Locations of Site Visitors


Admin Help Required


The Group has expanded considerably from a few months ago, and with the expansion has come additional work running the Group. We have many able and talented members whose contributions have been recognised by becoming Expert Members.

However, I am now looking for (experienced) members to help out at the Associate level. This is the level where development of Groups occurs as well as the main day-to-day running. Ideally, I would like someone who has some experience of CSS to help develop a house style, and/or someone who could develop affiliations.

If ANY member (including Expert Members) is interested, please note me.

Many Thanks



Poll History


Add a Comment:
vw1956 Featured By Owner Apr 21, 2016  Hobbyist Photographer
Thank You very much for requesting Dwarf Beech II by vw1956 ! :)
ratinrage Featured By Owner Nov 22, 2015  Hobbyist Photographer
:wave: thanks sooo much for the request :)
vw1956 Featured By Owner Aug 11, 2015  Hobbyist Photographer
Just wanted to say Goodbye as  a member of Your group. Reason(s) given at my actual journal...
Okavanga Featured By Owner Aug 13, 2015
I copy here my reply to your comment in your Journal, Volker, and repeat that I am sorry that you feel you must leave the Group.

Volker - I'm very sorry to see that you have left Infrared-Club Volker; your contributions will be sadly missed. I am a little concerned about the comment that I as "Founder" (and the Admin) have ignored your "stuff". As I recall, your work, usually many images, has featured in every monthly Best of ....Feature since I took over running the Group a few years ago. I have tried to highlight your work on several occasions, and supported and promoted particular features such as your excellent calender last year - I even bought a copy and made some suggestions for your forthcoming one. In addition, we have discussed very recently the difficulties of trying get attention for work within Groups, not just your work but everyone's. There are no easy answers to getting more attention on DA.

I hope you will reconsider that part of your Journal and acknowledge the role that :iconinfrared-club: has had in promoting your excellent photography.

LightSculpting Featured By Owner Jun 21, 2015  Professional Digital Artist
I thank you so very much for the honor!! Your works are wonderful, it's such a pleasure to be a part of this great group, thank you!!
Add a Comment: