IR & COLOR POST PROCESSING VIDEO TUTORIAL!!


UPDATED – Color & Infrared Post Processing From Beginning To End – International Shipping!

2 – 1/2 hour video series on two DVDs by

Master Photographer Mark Hilliard

DVD OUTSIDE LABEL

DVD OUTSIDE LABEL

  1. This covers image ingestion using Ingestimatic for both Mac & Windows
  2. Raw conversion using Adobe ACR – Capture 1 Pro and Capture 1 Express
  3. RAW Library Setup
  4. Backup Strategies 
  5. Intelligent IR channel swap using the Khromagraphy PS Plugin Action
  6. Post Processing Color, Infrared and B&W using the Nik filter set in Photoshop. 
  7. Ideas on creating intense high impact images.

The majority of the video is screen capture taking you through the post processing workflow button by button, click by click.  All of the major RAW converters have their own separate video and you will learn about all 3 which will enable you to make intelligent decisions on which one is for you then be able to run it!

This is an in-depth tutorial and will give you the knowledge and recipe to take your own images from one end of the process to the other without pulling your hair out in frustration!

TO ORDER THE DVD SET:

US  Orders CLICK    HERE

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INTERNATIONAL ORDERS:

Pay via Paypal using the payee address:

ellen@thelensworkgallery.com

International Charges

  • England: DVD SET $29.95 SHIPPING $25.00
  • France: DVD SET $29.95 SHIPPING $25.00
  • Hong Kong: DVD SET $29.95 SHIPPING $25.00
  • Canada: DVD SET $29.95 SHIPPING $22.00

All prices are in USD

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If you would like to read a little feedback from my students please click HERE.

Video Course Inside

Video Course Inside

Kind Review Of Our West Virginia Fall Color/Infrared Workshop!


Sometimes we can be easily humbled….

A VERY talented photographer, Shaun Moss, who is established in the photographic community due to his extremely well thought out and executed Barns and Buildings images recently attended our West Virginia Fall Color & Infrared workshop deep in the New River Gorge.  He added a lot to the experience for all who attended.  His gritty approach to waterfalls and rapids due to his total lack of fear and wading into the streams with a tall pair of waders allowed him to get down an VERY LOW to the subject gave his images a different look and feel that no one else captured.  To say that I was stunned by his work is an understatement and I found myself walking away from the workshop having learned a thing or two from him as well!

You can see Shaun’s work here:  http://www.shaunmossphotography.com/blog/  highly recommend that you take the time to visit!

Shaun took the time to write an article on the workshop and I was so pleased and humbled  with the results that I wish to share it with you…

Hanging with the Zen Master of Infrared Photography

BY SHAUN MOSS | PUBLISHED 

OCT 18, 2013

2013-Oct-New River Gorge-590nm-Faux Color-0412In April 2012, I went on a photography workshop with a professional photographer whose work I greatly admired.

She told me she has seen several of my photos on the web and had concluded that I was wasting my money paying for workshops. That, at the level I had reached with my photography by then – I had been shooting for about three years by that point – the only way I was going to develop from there was to get out and shoot frequently; shoot at every aperture; shoot at every shutter speed; shoot at every ISO setting; shoot at every white balance temperature; shoot with every focal length lens I could lay my hands on.

I haven’t taken a photography workshop since – until last weekend.

In the meantime, I have continued learning but by many different means: books, online tutorials, reading the blogs of pro photographers whose work I admire, participating in my camera club’s monthly competitions and benefiting from critiques of my images by visiting judges.

Through reading so widely, I happened upon digital infrared photography and was immediately seduced by it. I loved the contrasty look, the succulent, other-worldly vegetation, the dramatic skies. I bought a used Nikon D200 with a standard IR conversion (720nm) from Tony Sweet and started taking infrared photos.

At first, I was thrilled with the images I was able to produce. But, after a couple of months, I hit a brick wall: I didn’t have a clue how to post-process IR images. White balancing IR is tricky because Photoshop doesn’t recognize IR WB settings and just produces a pink image. I fell into the lazy habit of circumventing this difficulty by simply converting all my IR images to black and white.

_DSC0287vivezaI quickly became frustrated with this approach, bought Deb Sandidge’s book on IR, started reading IR blogs and joined the IR Photography Group on Facebook, where I saw all these stunning IR images produced on cameras not dissimilar to own but which, in terms of their post-processing, were light years ahead of what I was producing. It was on the Facebook IR Group that I saw, for the very first time, something called “faux color infrared” images that had been tinted in post-processing to produce the most extraordinary shades of blue, green, yellow, pink, orange and brown.

Almost everything I read about IR post processing led me to one name: Mark Hilliard.

I started reading Mark’s “Infrared Atelier” blog, which was extraordinary for its level of technical detail (not all of which I understood), not to mention Mark’s breath-taking IR images, produced with a level of artistry and post-processing sophistication of which I could only dream.

At this point, I realized that reading books and blogs was only going to get me so far and that, if I really wanted to learn how IR post processing is done, I would have to learn it from the man who knows – Mark Hilliard.

2013-Oct-New River Gorge-590nm-Faux Color-BW-0412So, last weekend, I headed off to West Virginia to take a Fall Foliage Workshop which Mark runs jointly with Jamie Konarski Davidson. Over the course of four days of shooting, I got to ask them every question I had in my head about IR photography and, in two intense post-processing sessions, I finally got to see for myself the previously mysterious methods used in faux color IR processing. Mark even helped me to process two of my own images in faux color IR and B&W.

Mark has been a photographer for forty-eight years, forty of which he spent working for Eastman Kodak, travelling extensively, designing and setting up their film processing plants all over the world. He is one of those rare people who is a true master of his subject and who has earned the title “professional photographer”.

The images on this blog are all images which I shot and which Mark helped me process. Or, more precisely, he instructed me on what to do and I entered the keystrokes. I learned so much from shooting and processing with Mark: the level of care and attention to detail that he puts into processing each image was a revelation to me. And, having just gotten hold of his recently-released post-processing videos, I am continuing to learn from those.

So, sometimes, it really is worth it to spend the money and go on a workshop: when there is a specific subject that you a want to learn about or a particular photographer whom you believe can teach you something new.

And, of course, it’s always a thrill to meet one of your heroes…

Mark-Hilliard-and-SM with names

Thanks for the kind words Shaun!

New Fuji 55-200mm lens for IR!


Finally, a LONG X Lens for the Fuji Family!

Pawleys Marsh, Fuji X Pro 1 720nm IR conversion w/ the new 55-200mm lens.

Pawleys Marsh, Fuji X Pro 1 720nm IR conversion w/ the new 55-200mm lens.

Fuji X 55-200mm

Fuji X 55-200mm

Yes, the new Fuji 55-200mm lens arrived for my fuji camera systems!  I am currently shooting with a color X-E1, a color X Pro 1 and a IR converted (720nm) X Pro 1.   I know how well the 55-200 works on the color bodies but what I really needed to know how did it work with the IR system!  Would it give hot spots as so many of the Fuji lenses do?  This post is the report of my findings.  The final verdict is that it works very well and as long as you do not go higher than f/16 there are no hot spots to worry about at any zoom range! To me this is a really big deal.  

So far only the 14mm and 35mm Fuji lenses are usable in infrared. So the addition of another lens really helps.  

I am going to give you some examples of how this lens actually does at both the wide and long ends of the zoom range wide open and closed down so that you can get a feel of the usable Infrared range that you can use.  Next week I will do a posting using the lens for color work only.

Pawleys Marsh, Fuji X Pro 1 720nm IR conversion w/ the new 55-200mm lens.

Pawleys Marsh, Fuji X Pro 1 720nm IR conversion w/ the new 55-200mm lens.

OK, let’s take a look at the good and bad of the 55-200 in IR, the Wide end:

55-200mm @ 55mm, f/23.5 No hot spot

55-200mm @ 55mm, f/23.5 No hot spot

55-200mm @ 55mm, f/11  Small hot spot

55-200mm @ 55mm, f/11 Small hot spot

55-200mm @ 55mm, f/22 Bad hot spot

55-200mm @ 55mm, f/22 Bad hot spot

As you can see as you get to f/11 we start to develop a small hot spot, but nothing that cannot be fixed.  Above f/11 the lens becomes unusable at the wide end.

Now, let’s take a look at the long end of the zoom range:

55-200mm @ 200mm, f/11 Bad hot spot, NO HOT SPOT

55-200mm @ 200mm, f/11 Bad hot spot, NO HOT SPOT

55-200mm @ 200mm, f/4.8 Bad hot spot, NO HOT SPOT

55-200mm @ 200mm, f/4.8 Bad hot spot, NO HOT SPOT

55-200mm @ 200mm, f/22 Bad hot spot, SMALL HOT SPOT

55-200mm @ 200mm, f/22 Bad hot spot, SMALL HOT SPOT

The difference at the long end of the zoom is amazing and is usable over the entire range of the aperture!  This is great news for us IR shooters.

Pawleys Island Marsh, 200mm B&W Post Processing

Pawleys Island Marsh, 200mm B&W Post Processing

There is starting to be a large number of IR photographers out there who are using converted Fuji X Pro 1 camera systems.  There are currently 2 conversion companies out there who can do the conversion.  I HIGHLY recommend the X Pro 1 as an Infrared platform and with the addition of the 55-200mm lens to our shooting arsenal we are way ahead of the game!


A Simple Tutorial on Infrared Post Processing…

from my fine art photography blog

Murrells Inlet Marsh, X Pro 1 720nm IR Faux Color

Murrells Inlet Marsh, X Pro 1 720nm IR Faux Color

The Fuji X Pro 1 has turned out to be one of the best Infrared camera systems that I have ever used… period!  The only good Fuji lenses for Infrared have proved to be the 35mm f/1.4, the 18mm f/2 and the new 14mm.  The Viogtlander 75mm f/1.8 has also proved to be a STUNNING lens also!  So, the camera has proven its infrared capability, now it is time to discuss in detail the recipe for post processing!  It is all quite simple but there are a few requirements that you must understand in order to follow my workflow with understanding.

Needed:

  • Photoshop CS5 or CS6
  • Nik Filters, Viveza, Define Silver EFX Pro plugins for Photoshop, NOT LIGHTROOM.  (You can now purchase the entire library of Nik filters for $149)
  • Kromography False Color Action which can be downloaded here from the right menu bar under the box menu.  You can simply  click on it to download to your computer then drag it to photoshop to install.
  • A converted Infrared camera system capable of generating enough color data to make Faux Color images.  This means 720nm, 665nm, 630nm and 590nm conversions.
  • The ability and desire to experiment!

As you move your RAW (shoot only RAW for IR because of the ability to shift the white balance easily) onto your computer you should automatically tell yourself that you are going to process each selected image in Faux color and B&W.  Sometimes you will notice that the un processed image looks great also (wonderful bronze tones) and decide to do a version like this as well!

Lets talk about the RAW conversion process a little bit.  Photoshops ACR built in RAW converter will NOT apply the white balance correctly and your images will appear deep red.  For this reason I use Capture One version 7 from Phase One.  It is simply the BEST RAW converter that I have ever used.  You can download a trial version and decide for yourself if what I am telling you is true!

My Initial Editing Steps:

  1. Move images from my camera to my computer with an intelligent download tool that renames them with a meaningful name and create an intelligent directory tree for my RAW Library.  For this I have tested dozens of tools and found that Ingestimatic is the best and lowest cost one out there! You can find them here.
  2. Visually edit the RAW files by deleting the images that are simply no good.  Do not clutter up your computer with these useless files.
  3. Batch process my RAW conversion choices and adjust the exposure, contrast and angles.  Capture One will allow this and place the converted image files into a storage directory for later editing.
  4. Within Photoshop, open  each converted image one at a time for post processing
  5. Run Nik Define 2.0 in its default mode on the image for noise reduction, Save.
  6. Run Nik Viveza and without using any selection points increase the structure around 10% and the contrast about 5%, Save.
  7. Having installed the channel swap action that you downloaded here, run it on your image.  The last thing it will do is to open a Hue/Saturation window with the Master channel selected.  Simply select the CYAN channel  and vary the HUE a little bit to bring the sky to a normal blue rather than a blue/green.  Then select the RED channel and adjust the saturation up to a value you like, and repeat with the YELLOW and MAGENTA channels.  When you are happy with the results click on DONE to move on.  REMEMBER:  This is to only get the colors of the FAUX COLOR IR image into the ball park!  The real adjustment will happen next.
  8. Run Nik Viveza again.  Here is where you will use your control points to slightly adjust the colors and contrasts of various image elements to bring out a stunning, etherial work of art!  LOOK closely at your image, decide what you wish to adjust (Hue, saturation, contrasts and de-saturation). MORE ON THIS LATER!
  9. Run Nik Define one more time.
  10. Flatten the image, crop to taste, correct any imperfections (healing tool and content aware fill).
  11. Save the image with a meaningful name in a planned and thought out master image library.
  12. With the finished Faux Color image still open in Photoshop, now run Nik Silver EFX Pro to do your B&W conversion.  There are several built in recipes in this filter that can be used as a starting point.  My favorites are:
  • High Structure Harsh
  • High Structure Smooth
  • Full Dynamic Range Harsh
  • Full Dynamic Range Smooth
  • Fine Art Process
  • Wet Rocks (once in a while)

Save your image again with a NEW file name that reflects the difference in your master image library tree!

Murrells Inlet Salt Marsh, X Pro 1 720nm IR

Murrells Inlet Salt Marsh, X Pro 1 720nm IR

Remember:  Process ALL IMAGES as both Faux Color and B&W.  You really do not know what you are going to get till you do so.

All of this really is VERY SIMPLE and once you have done it a few times it will become second nature to you.  Soon you will be a post processing Infrared God or Goddess!  Congratulations

No, let’s take a look at the image below.  Notice the areas that I have circled as places where I desire to change the colors, contrasts and saturations (both plus and minus). Also consider that this is a 720nm converted camera and as such has a very limited color range (light pinks and warm tones and blues).

Annotated Faux Color, X Pro 1 720nm IR

Annotated Faux Color, X Pro 1 720nm IR

It is in this area and others like them (similar color values that are the same) that we are going to place control points on and change these values!  If you notice that the areas around them also change a little you can place what we call anchor points which are simply control points with no adjustments to bring those areas back to where you wanted them!

You will find this ENTIRE process from the initial loading into photoshop to finish will just take 4 or 5 minutes or less as you become more practiced!

Here are a few more images for you to consider that were taken on the 720nm Fuji X Pro 1 camera system:

Stormy Seas Faux Color, X Pro 1 720nm IR

Stormy Seas Faux Color, X Pro 1 720nm IR

Stormy Seas B&W, X Pro 1 720nm IR

Stormy Seas B&W, X Pro 1 720nm IR

Sometimes Faux Color images simply do not work, then you still have the great B&W ones to work with!

SC School Bus Boat, X Pro 1 720nm IR

SC School Bus Boat, X Pro 1 720nm IR

SC School Bus Boat, X Pro 1 720nm IR

SC School Bus Boat, X Pro 1 720nm IR

Was this information helpful?  Please let me know one way or the other!

1st Official Fuji X Pro 1 720nm Converted IR Post!


Here it is…

Fuji X Pro 1, Brookgreen Gardens, 720nm B&W processed.  Fuji X 35mm lens.

Fuji X Pro 1, Brookgreen Gardens, 720nm B&W processed. Fuji X 35mm lens.

frontnolensWell, it arrived!  After months of consideration after I got my X-E1 I finally decided to send off the X Pro 1 for  Infrared conversion.  It went to Dan at LDP (maxmax.com) and the cost was $500.00.  YIKES!  yes I said $500.00!  Dan explains that the X Pro 1 is the most difficult conversion that he does!  It required him 1.5 days to do the conversion and lots unsoldering/soldering to get to the sensor.  Still, better than sitting on the shelf or an attempted sale on Ebay, plus  I really like the camera and the hybrid viewfinder is just perfect for IR.

I had to decide between 720nm and 850nm so decided to go for the 720 in order to have a little color ( I really like the bronze tones right out of the camera at 720nm).  The total time for shipping – conversion – shipping was 8 days, door to door.  Very fast!

Importantly, the Fuji X Pro 1 camera White Balances perfectly. For these tests I white balanced on a green shrub in front of my gallery.  The process to do so on the camera is simple and fast!

The scope of THIS post is to talk about the conversion itself and to give you some sample images testing each of my normal Fuji and Voigtlander lens set that I use.

  • Voigtlander Heliar 75mm f/1.8 Lens
  • Voigtlander Ultra Wide-Heliar 12mm f/5.6
  • Fujifilm XF 35mm F1.4 Lens
  • Fujifilm XF 18-55mm F2.8-4.0 Lens Zoom Lens
  • Fujifilm XF 18mm F2.0 Lens
  • Fujifilm XF 60mm F2.4 Macro Lens

My first image out of the camera was with the Fujifilm XF 35mm F1.4 Lens.  It is stunningly sharp with great contrasts and tones without any processing at all! This is simply a perfect IR image right out of the camera.

Fuji X Pro 1, Brookgreen Gardens, 720nm RAW un-processed.  Fuji X 35mm lens.

Fuji X Pro 1, Brookgreen Gardens, 720nm RAW un-processed. Fuji X 35mm lens.

OK, the original hot mirror can tell us a lot about the capability of the Fuji body to take IR with no conversion.  The strength of the internal filter from the X Pro 1 is quite strong!  It is actually 2 filters sandwiched together.  They are very much like the B+W 486 IR blocking filter and the LDP CC1 IR blocking filter back to back.  The 486 is a pink/gold  filter that extends a little further into the visible light spectrum before falling off and allows a little less IR to pass through.  The CC1 filter is wider at the UV end.  The two filters together will pass light to the sensor from about  300nm to 700nm.  You can see this in the image below. This is the same filter arrangement (hot mirror) that we normally see in the Canon DSLR line and on the Panasonic Micro 4/3 camera line.

X Pro 1 Hot Mirror showing both Wide bandpass side (gold tint) and the Lower UV side (Aqua)

X Pro 1 Hot Mirror showing both Wide bandpass side (gold tint) and the Lower UV side (Aqua)

X Pro 1 Hot Mirror showing the Wider bandpass side (gold tint)

X Pro 1 Hot Mirror showing the Wider bandpass side (gold tint)

X Pro 1 Hot Mirror showing the Lower UV side (Aqua) similar to the CC1 filter from LDP

X Pro 1 Hot Mirror showing the Lower UV side (Aqua) similar to the CC1 filter from LDP

If you were to look at the 486 and CC1 filters they are the same general colors and pass band to what we actually see here!  So , what does this all mean to you?  If you decide (and convince Dan) to have a full spectrum conversion done on your X Pro 1, you can convert it back to a normal color camera by stacking both of these filters (B+W486 and the LDP CC1) on the end of your lens.  The full spectrum Infrared conversion is one where the hot mirror (IR blocking filter) is removed from in front of the sensor and replaced with a piece of clear glass.  Then, the camera is programmed to the specific UV or IR band with the addition of the appropriate filter on the end of the lens.

Normally, the hot mirror can bee seen as the colored layer of glass under the lens as shown here where you can now see the 720nm filter installed.

Inside the X Pro 1 showing the 720nm filter.

Inside the X Pro 1 showing the 720nm filter.

Lenses that Work/Don’t Work with the X Pro 1 720nm IR conversion…

Lens Hot Spots

As you may know (or guessed), not all lenses work well in the Infrared spectrum.  This is due to many things, but most commonly, the coatings on the lens elements and the coatings on the internal lens barrel and how they reflect IR light energy.  The common failure then is in the form of HOT SPOTS in the center of the image captured by the camera.  These are always dead center in the middle of the image and present as large round white areas.  Sometimes, they can be overcome by using a wider aperture, but not always…

Lets talk about the lenses that I tested that work (or in 1 case mostly work)…

Fujifilm XF 35mm F1.4 Len:

Fuji X 35mm Lens

Fuji X 35mm Lens

WOW, what can I say?  This lens works perfectly in the 720nm spectrum at all apertures!  The camera auto focuses perfectly and fast, the images are sharp and there are no hot spots at any aperture!  Lets take a look.  This first image is raw out of the camera.  I have done not post processing for B&W or Faux Color but there is enough color in the 720nm spectrum to have some interesting Faux Color results.  These types of images will be covered in another post next week and we will spend a lot of time and effort teaching and going through each step in the recipe used to create them in Photoshop CS6 and the Nik filter set.

Fuji X Pro 1, Brookgreen Gardens, 720nm RAW un-processed.  Fuji X 35mm lens.

Fuji X Pro 1, Brookgreen Gardens, 720nm RAW un-processed. Fuji X 35mm lens f/8

Next, is the same image post processed using CS6 and Nik’s Silver EFX Pro for B&W…

Fuji X Pro 1, Brookgreen Gardens, 720nm B&W processed.  Fuji X 35mm lens.

Fuji X Pro 1, Brookgreen Gardens, 720nm B&W processed. Fuji X 35mm lens f/8

Voigtlander Heliar 75mm f/1.8 Lens:

vt7518bThis lens from Voigtlander is one of the sharpest, easy to use lenses that I own.  The fit and finish on this lens is something to behold.  The lens has an included clamp on lens hood that works very well.  The focusing is so smooth that it is scary… It is a PERFECT match for the Fuji X system (X Pro 1 and the X-E1) and works just as well here in Infrared!  I was very happy to discover this in my tests at 720nm!  There are no hot spots at any aperture.  It takes Take a look:

Voigtlander Heliar 75mm f/1.8 Lens at f/11.  Raw

Voigtlander Heliar 75mm f/1.8 Lens at f/11. Raw (notice the nice bronze coloring)

Voigtlander Heliar 75mm f/1.8 Lens, f/8 Faux Color Post Processing

Voigtlander Heliar 75mm f/1.8 Lens, f/8 Faux Color Post Processing

Voigtlander Heliar 75mm f/1.8 Lens, f/8 B&W Post Processing

Voigtlander Heliar 75mm f/1.8 Lens, f/8 B&W Post Processing

Fujifilm XF 18mm F2.0 Lens:

Fuji X 18mm lens.

Fuji X 18mm lens.

This lens works well as long as you do not go beyond f/8.  Past that it generates very discinct hot spot in the center of the image.  While this can be overcome in post processing  with Nik’s Viveza, it is still slightly disappointing…  Still, when used at f/8 or wider the lens generates pleasing sharp images that make it worthwhile to carry in your camera bag!  Here are the RAW test samples for you to consider.

Fujifilm XF 18mm F2.0 Lens at f/2

Fujifilm XF 18mm F2.0 Lens at f/2

Fujifilm XF 18mm F2.0 Lens at f/4

Fujifilm XF 18mm F2.0 Lens at f/4

Fujifilm XF 18mm F2.0 Lens at f/5.6

Fujifilm XF 18mm F2.0 Lens at f/5.6

Fujifilm XF 18mm F2.0 Lens at f/8

Fujifilm XF 18mm F2.0 Lens at f/8

Fujifilm XF 18mm F2.0 Lens at f/11

Fujifilm XF 18mm F2.0 Lens at f/11

Voigtlander Ultra Wide-Heliar 12mm f/5.6

Voitlander 12mm

Voitlander 12mm

Another great lens from Voigtlander.  This one has a built in lens hood and while it will take screw in filters they need to be wide angle versions.  It also has that super smooth focusing feel but since it is so ultra wide at 12mm you can focus it pretty much at infinity and it will always be in focus.  I love this lens on the X Pro 1 and X-E1.  For 720nm Infrared, it works great until you hit f/22 then it gives a faint hot spot.  This is just fine with me as I rarely go beyond f/11 or f/16.

Take a look at the samples:

Voitlander

Voigtlander Ultra Wide-Heliar 12mm f/5.6 at f/8 RAW

Voigtlander Ultra Wide-Heliar 12mm f/5.6 at f/22 RAW with hot spot

Voigtlander Ultra Wide-Heliar 12mm f/5.6 at f/22 RAW with hot spot

Fujifilm XF 18-55mm F2.8-4.0 Lens Zoom Lens:

Fuji 18-55

Fuji 18-55

This lens is such a disappointment to me…  It is without a doubt my favorite walk around Fuji lens on the X-E1 camera. I hardly ever take it off.   Sharp and clear with great contrast.  That being said it is all but USELESS for Infrared!  There is a major hot spot problem at ALL focal lengths at ANY aperture past f/4.  At f/4 it did take nice images but as you understand, useless for landscapes.   Bummer…..  I am beyond disappointed over this one.

Fujifilm XF 60mm F2.4 Macro Lens:

Fuji 60mm

Fuji 60mm

I am going to initially tell you to simply forget this lens for Infrared.  It has a seriously bad hot spot at all apertures.  I will also share with you that I might actually have a bad copy of it.  It gives a terrible hot spot on my X-E1 when shooting in color as well, especially when using a flash.  I think that I am going to send it back to Fuji for repair and see what they think.  Depending upon that I might re-evaluate it for Infrared later on!

Ok this is all for the initial post.  

The next post will focus on post procseeing and what can be acheived artistically with this new Infrared Fuji X Pro 1!

Please let me know what you think!

Get Ready…. Here it comes!


Fuji X Pro-1 720nm Conversion!

 

Well I actually did it and sent off the X Pro-1 to LDP in New Jersey for a 720nm conversion!  The camera is due back today and the fun will begin!  Stand by….

Fuji X Pro-1  720nm IR conversion!

Fuji X Pro-1 720nm IR conversion!

Repost: Fuji X Pro 1 For Infrared, Part 1, Technical Details


Creating Emotional IR Images From Your Heart

This post was originally posted in my Fine Art Gallery BLOG at: http://markhilliardatelier.wordpress.com/

Using the Fuji X Pro 1 for Infrared

Infrared photography means so many things to me… It is more than a type of photography, rather a passion or better yet an addiction! I have a LOT of experience in Infrared, I have a book in work on it, but MOST IMPORTANTLY, I have practiced the art of creating emotionally charged Infrared images for longer than I can remember, even as long as 45 years ago with film.  Here, today, I will disscuss with you the technical details of using your Fuji X Pro 1 camera system to create these emotionally powerful images as well.

X Pro 1 Faux Color IR Image with only the channel swap

Understand this, you can create Infrared images several different ways:

  1. Film:  Rolli makes a great 720nm IR film in many different formats that with the addition of a 720nm filter on your lens will create great IR images at 100 ISO, and with no filter great B&W images at 400 ISO!
  2. Hoya R72

    Standard Digital COLOR Camera:  With the addition of a 720nm or 850nm IR filter on your camera lens your camera can capture Infrared images.  There is a tradeoff to this way though because each camera manufacturer places some sort of UV/IR blocking filter over the image sensor that allows only visible light to pass through.  Some of these filters are weaker than others and these cameras make for a system that will do well in Color and OK in Infrared with reasonable IR exposure times around a second or two.  Others have a strong filter allowing only a small amount of IR energy to pass.  These require VERY LONG exposure time in order to overcome this filter.  The Fuji X Pro 1 is one of the cameras with a weaker filter! This is exciting because it enables you to easily create IR images with an unmodified camera system!

  3. Converted Infrared Camera:  This type of system is the most popular by far.  There are 2 types:
    • Full Spectrum conversion: The internal UV/IR blocking filter is removed and replaced with a clear glass filter. You can then program the camera with an external IR filter in any range from UV to Color to Infrared!  This is the most adaptable IR system but costly because IR filters for your different lens sizes are expensive!
    • Dedicated Infrared Conversion:  This type has the internal UV/IR blocking filter removed and replaced with a specific IR pass filter and will create IR images in that band only.

What your camera sees!

So with regard for the Fuji X Pro 1 system we are going to discuss option #2, the standard color camera with an external IR filter attached to its lens.  But you ask: “What filter can I use?”. Well since we are not modifying the internal UV/IR blocking filter you must understand that the camera will pass normal visible colors as well as IR if the external filter allows it.  This is both good and bad!  If you were to install a 590nm IR filter on your lens the camera, it would see everything from 590nm up to 1000nm.  But because the internal UV/IR blocking filter allows much more visible light than IR through, it will poison the exposure metering system.  It is going to see the vast majority of the light as color (red) and expose for that rather than the IR portion.  So attempting to do this will cause very unreliable exposure and great frustration on the part of the photographer.

What we need is to attach an IR filter that blocks ALL of the visible light and only passes IR to the sensor!  So it is best to choose a 720nm IR pass filter to your lens like the Hoya R72 or a 800nm B&W IR only filter like the B+W 093.  The higher you go in nm the longer the exposure time will be…

Now, knowing that we are going to use the 720nm filter which will only pass IR energy from 720nm and up while blocking ALL of the visible light our metering system will now function as it should!

Considerations of problems that must be overcome within the X Pro 1 to get good IR images

  • Even though the Fuji X Pro 1 has a weak UV/IR blocking filter there is still one there.  Exposure time at a normal low noise ISO of 800 and below will still require an exposure time too long to hand hold and still get sharp images.  Most of mine were at 1/30s and longer.
  • Yes, the X Pro 1 works well at high ISO settings, but in IR the camera will still create noise in the dark areas of the image.
  • Fuji X Pro 1 with a custom WB right out of the camera. This is as close as you can get but will still generate a great image.

    White Balance is IMPORTANT when shooting in IR!  The X Pro 1 will NOT reliably do a custom white balance with the 720nm IR filter installed.  But it does have a manual Kelvin White Balance option, so when shooting IR you need to go to this sub menu in the WB settings and set it to 2500K.  I have talked to others doing this and have heard that they also take away green as well in the menu.  I personally think that this is unnecessary and by leaving the green neutral you will get more pleasing Faux Color images.  A properly white balanced image taken on your camera has s slight reddish cast, the sky should be bronze and the green leaves should have a monochromatic feel with a bluish cast. (more on this later) An improperly white balanced camera image will be pure dark red.  While you can still use this image in post processing the lack of a good white balance will throw off your exposure system. Read your camera manual on white balance and understand it!

  • Longer shutter speeds need a tripod to get sharp images!
  • Remote shutter cable to cut down on camera shake!
  • The Hoya R72 720nm IR filter will generate good Faux Color infrared images some of the time, but good B&W images all of the time.  Keep this in mind while shooting and plan to always explore both options in post processing!
  • Faux Color IR images require a channel swap in post processing.  ONLY the Photoshop family (CS through CS6) has this function built in!  Photoshop Elements has an optional plugin called Elements Plus that you can purchase to do this.  Lightroom and Aperture DO NOT have this function!

Ok, enough of this for now. Lets talk images…

 The Hoya R72 IR filter is almost black.  You can see very little through it but don’t worry, the camera can see through it just fine!  You can find these filters on Amazon for about $58.00 in 52mm.  There are a lot of other filter companies out there that make these, some good some not so good… I trust the Hoya!

Mount the filter on your lens, set the ISO to around 1000 and put the camera on a tripod.  Make sure that you have properly set the WB either as a custom on or as a Kelvin entry.  If you choose custom, the camera will require a lot of light to due this properly.  Use green grass to generate the custom white balance.

I like to use the optical viewfinder rather then the LCD or EVF for shooting in IR.  Choose and frame your subject carefully.  Hmm, a word about composition…

There are three items that can make IR images really powerful and full of emotional impact:

  • Sky with clouds!
  • Water reflections!
  • Green Leaves!

The more of these items you can get in your images the better they will be!  Here is an example…

Clouds, Water and Leaves! What more could you ask for? While not done on a X Pro 1, this image could just have well been so!

 As you can see, the sky, reflections and leaves create an emotionally packed, etherial image that draws your viewer into it!  Keep these three compositional elements in mind as you go forth and create your images!

Exposure Issues…

OK, last part of this post!  There are a few small exposure issues that you need to be aware of while doing IR work.  They are:

  • Red Channel over exposure: The RED channel will aways expose a stop or more higher than the blue and green.  After you have taken the image and see the preview on the LCD panel look at the histogram.  It only displays the combination monochrome histogram and if it is close to being overexposed you will get better results by dialing in -1ev exposure compensation and re-take the image.  This is due to the red channel being more sensitive to infrared and causing the overexposure.  You can really see this during the RAW conversion or in photoshop during post processing by looking at the RGB histogram there.
  • Hot Spots:  Some people have reported hot spots in the center of their images when using the 18mm lens.  I have NOT personally  seen any evidence of this with my system as of yet.  Hot spots are areas in the center of each picture that is usually a stop brighter.  They are caused by light bouncing back and forth between the sensor and the lens elements.  These are lens specific and very little can be done while taking the picture to stop or reduce them.  BUT, the aperture can have a drastic effect on them!  If you see these then try adjusting the aperture and review the results, you just might be surprised!  You MUST ALWAYS use a lens hood when shooting in IR.  This will also help stop hot spots by stopping light from striking the objective lens at extreme angles then bouncing around inside the lens between elements.  If you do notice the hot spot you can remove it in post processing very easily by using Nik Filters Viveza.  You use the selection point by placing it in the center of the spot and then reduce the brightness!

OK, this is enough for today.  The next post will be a detailed Post Processing tutorial that will take you through both Faux Color and B&W processing.  I even have a photoshop action that you can download to semi automate the channel swap and cut down your post processing time!

Grist Mill GPX Download Updated!


Updated Version (April 2012) Ready In The Downloads Window!

There is a new updated version of the Grist Mill GPX file available in the Downloads area on the right side menu!  I have added all of the Ohio and Indiana mills plus made repairs to older entries that proved to be incorrect!  Please download them and install on your GPS!

As ALWAYS please share the lat/long, name, location, address and description of any mills that you find that are NOT on this download!!

Glade Creek Grist Mill, WV

Thanks for your continued help.

Italy, 2012, Post 3


Images, Images and More Images!

Assisi, Road Thru Houses 590nm Infrared

Todays post are just a few more of my favorite Infrared Images taken around Italy.  All are 590nm with an equal mix of Faux Color and B&W.  The post processing on them are basically the same as in the last post.  All were taken with the Panasonic GH2 with the 14-140mm Panasonic lens.

Rome, the high fashion district at the Spanish Steps. Notice the vast crowds! 590nm

I will likely add some Color images here as well in the coming days to highlight the differences between locations done in both Infrared and Color!  But for now, on last gallery of Infrared images:

Italy, 2012, Post #2


Speciality 590nm Post Processing to OVERCOME Difficult Images!

Michelangelo's "Pieta" in Saint Peters Basilica, Rome, 590nm Faux Color Infrared.

Oh my, where to start… Hmm well I think that there is no need to proceed in any order so I will tackle the most important images in order rather than by location!

Looking at the image of the Pieta above the first thing that comes to mind is the full beautiful saturated colors.  One would look at this and never realize that this is a Faux Color Infrared image!  It is indeed a 590nm IR images taken on the Panasonic GH2 with the 14-140mm lens, INDOORS, THROUGH PROTECTIVE GLASS at a super high ISO of 1250, 1/60 s, f/5.6 HANDHELD. It is in fact not a scene that one would normally consider for Infrared.  This is EXACTLY why I did choose it.  Color was nice, but everyone shoots it in color.  I desired something different and new.  I cannot imagine that it has EVER been photographed in Infrared!

Post processing for this one took considerably longer than the standard 30 seconds with CS5 and the Nik filters.  There were also several problems with the scene that I had to overcome!  First and foremost was the Plexiglas shield between the public and the statue.  It was not exactly clear and there were literally thousands of people standing there shooting wildly all of them using their flashes which were just bouncing off the plastic making it more difficult to see through.  Also there was a large window just over the head of Mary which had the sun directly behind it.  Ok how I did this image:

  • I took my time moving up through the crowd until I got to the rope divider and placed myself directly in the center of the plastic so that I would not cause issues from photographing from an angle.
  • I made sure to have the flash turned off (its normal condition).
  • I set the ISO to 1250 so as to have a f/5.6 aperture at at least 1/60s shutter.
  • I chose a zoom range of 24mm so as to overcome lens bending issues.
  • I then choose the composition in the Portrait mode and set my exposure ON THE WHITE STATUE set to Zone 7 and 8.
  • I took a LOT of pictures as I needed to overcome camera shake, other folks flash reflections bouncing back at me and reflections in the plastic.  By a lot I mean 20 or so images…

Things to consider when shooting through plexiglass:

  1. Your overall contrast will be greatly reduced so PERFECT EXPOSURE is a must!
  2. Flash bounce back from others cameras will KILL your image.
  3. Low shutter speed will require a solid support.

Still, knowing all of the issues I knew that I could overcome them in Post Processing, so I simply set everything up and shot away with the thousand other tourists!

I trusted my ability to set the exposure perfectly on the white statue in the spot meter mode of the camera and then wisely selected ZONE 7 & 8 by dialing in the appropriate positive exposure compensation.  I also knew that I could hold the camera quite still and trusted in its built in image stabilizer to help.  I used the LENS HOOD to cut down on flash reflections striking my lens objective and causing further loss of contrast (you do this also… right?)

After getting back home I went through my 20 images and selected the absolute best version to move into the post processing phase.

My Post Processing Recipe:

  1.  Using Capture One RAW converter I made sure that the image was straight.  I adjusted the contrast up about 10% and adjusted the exposure so that the RED channel was from edge to edge in the histogram. I also insured that there were no hotspots on the statue.
  2. After converted to a 16 bit TIFF image I opened it up in CS5
  3. I cropped the image to my master image size of 8.5″ x 12.5″ at 300 dpi.
  4. I ran Nik Define 2.0 and manually chose measurement points on the statue and the marble wall behind it.
  5. I ran Nik Viveza and increased contrast up again by 10%, structure up 10% and brightened the overall image a few percent.
  6. I used the lasso selection tool and selected the window behind the statue and then via edit > fill with content aware allowed CS5 to remove the window and replace it with more marble from around it. I had to reselect the edges a few times  and go through the process again to make sure that the marble blended perfectly!
  7. I now ran the Channel Swap Action that you can download from here.  At the end of the action it pops up a window with the color channels.  From that window I selected RED and made saturation and hue adjustments, Yellow with saturation and hue adjustments, Cyan  for saturation and hue adjustments (cyan is the most important adjustment, this is where you overcome the blue/green sky during the channel swap by adjusting the hue control towards the blue end!) then selected OK to end the action.
  8. I ran Nik Define 2.0 again to clean up some noise generated by the channel swap action.
  9. I now ran Nik Viveza AGAIN and using selection points I started at the top of the image and worked my way down to the bottom adjusting BRIGHTNESS, CONTRAST, STRUCTURE, RED, GREEN & BLUE levels and finally SHADOW adjustments.  All in all I placed about 100 selection points in the image to get it just right.  As you can see, this recipe is much more detailed than that which I usually use for normal Infrared post processing!
  10. I ran Nik Viveza AGAIN and darkened the four corners to force the viewers eyes into the image center.
  11. I ran Nik Color EFX Pro and chose the Vignette: BLUR filter and adjusted the outside edges of the image to be slightly blurry.
  12. Flatten and save image as a PSD file with a name that is meaningful!

That is it.  The entire process took about 20 min from start to end and I feel that the process was very much worth the time investment.

Here is a B&W version generated by Nik Silver EFX Pro 2 for you to compare.  It looks good, but the color image just grabs me by the throat and screams, LOOK AT ME!

Michelangelo's "Pieta" in the Saint Peters Basilica, Rome, 590nm B&W IR

What do you think?  Please give me some feed back on how you feel the images look and feel to you!