Hi All,
I'll respond to the above 6 or 8 comments en-masse.
DHart and Vivek, Uwe is more correct in what I was meaning.
Jim Collum's philosophy is vastly different from mine on this topic. Jim likes soft, flat light, and when the light's like that, he won't stop shooting even to eat -- seriously! However, if the Sun is out in full force, he will often ride in the car and never pull more than his cell phone camera out to shoot. As a matter of fact, I was joking with him about this very thing the other night. This is also not to say Jim is wrong and I am right, but more an example of differing philosophies on photographing. In this case, harsh light simply does not have anywhere to fit into Jim's artistic style. I on the other hand, am not so easily discouraged by it. But then Jim does what he does very well, and his style clearly comes though in every image he posts and maybe I could learn a thing or two from that...
For IR, I feel you get more dramatic false-color effects in the pre-dawn light or under heavier overcast shooting conditions. In the beginning this is what I was after for IR and why I limited my shooting to those times. Mid-morning through later evening, assuming it's been a sunny day, the IR (heat) lingers in everything, so you do not get the same effects as you will in the early morning as everything has an abundance of IR.
However, during harsher direct daytime light, I feel you can still make interesting IR images. These tend to be the really high-contrast monochrome as there is so much IR present it pretty over-powers the slight bit of color needed for false color -- as in Vivek's example above. Though as can be seen in my full-color images earlier in the thread, at least with this last GF1 conversion, a tiny bit of color hangs in and can be put to interesting use too. All that said, I think straight, harsh Noon light with no clouds in a sky, make for pretty boring images. If one wants to shoot, this is the time for longer lenses and isolations whether you shoot for normal color, monochrome or IR. Invariably though, at least for me, since this type of shooting is usually about capturing shape, form and textures, so this is when my color captures typically get converted to monochromes... What's new for me, is this is also a time when I now am beginning to see and think in monochrome myself. So when that happens, IR can be more interesting than normal due to the inversions and juxtapositions of normal tonal values.
Finally, having a tiny camera all ready to go, makes it convenient to shoot IR and hence I do more of it. With the M8, I had to want to shoot IR bad enough to take the time to screw the IR/UV cut filter off and screw the IR pass filter on, and I am admittedly lazy enough I usually wouldn't bother expending that simple effort to try it. Having a little, dedicated camera all primed and ready to go has changed that for me.
As to HDR blending, I do not see it for IR. Bottom line is even in harsh light, the band is so narrow I almost always have a complete histogram to manipulate, so HDR would be kind of pointless.