Infrared photography is traditionally used for landscapes, as IR tends to make distant details better defined. On the other hand, you might, depending on your technique, get a lot of out-of-this-world colour frenzy as a kind of collateral damage.
Books might be written on how you address such issues and ultimately turn them into your advantage. This example portraying a sea-weed covered coastline at Jeløya, the Oslo Fjord, came out pretty much as I wanted, but caused consternation for the pre-press editors when it was to be printed in a fine-arts book. Actually, the editors begged me to change the colours to make the photo more "manageable" in the limited CMYK gamut used for the printing press. After a good deal of back-and-forth debate, it was accepted as is, and came through beautifully.
Any connection to the works of a certain British writer is purely coincidental.
