Apr 13 2019

CLiR Infrared Post Processing Photoshop Panel, 1st New IR Software In Years!

The New CLiR Infrared Processing System and Photoshop panel!

CLiR Aerochrome Processed

Working with the new CLiR Infrared Post Processing Panel in PS using my standard test image of the Covered Bridge!

This was shot on a XPro1 converted by Kolari to 720nm

Download Here: https://f64elite.com/hilliard20

I have to tell you that the power of these editing tools are beyond amazing! They are easy for beginners and the advanced functions are awesome!

Will be teaching the CLiR process in all of my workshops with Jamie Konarski Davidson as well as in the NECCC Photography Conference in July!

These 3 images edited in CLiR took me about 15 min to complete all three, one in my normal fashion, one emulating Aerochrome (TOP) and another normal but textured! You folks are going to love using this software.

CLiR My Normal Processing

I have a 20% discount code hilliard20 that will give you a 20% discount or you can direct order with it applied at:

https://f64elite.com/hilliard20

For the NECCC conference I will have a slightly larger discount code for my Infrared Sessions!

CLiR Normal Processing with Texture overlay

If you are interested in the new IR Chrome filter with my discount you can purchase it from Kolari at:

https://kolarivision.com/?ref=52

Had you heard of this new IR system? It has been a LONG time since new IR editing software has come out to the market. I am still exploring the capabilities of this package but I am super impressed. It does not matter if you are new or experienced in post processing IR images you will quickly learn to navigate the panel. This is possible due to the great video tutorials that come with the panel!

Let me know your thoughts on this when you have tried it or watched their online intro video!

Apr 7 2019

Presenting at the NECCC Photography Conference

I will be presenting at this years NECCC Photographic Conference from July 12 to the 14 at the University of Massachusetts. Please consider attending if you are in the area!

I have posted a short video on what the session will be covering that my dog and I made today (she says to watch it to the very end)!

Here is a link to NECCC: http://necccphotoconference.org/

Here is a link to Kolari :http://www.kolarivision.com

Here is a link to CLiR: https://f64elite.com/hilliard20

Aug 6 2017

Testing the New Kolari Vision AR 720nm Screw On Filter

720nm Medium Format Film Photography with Rollei IR400 Film

Tomotley Plantation in 720nm Infrared with Rollei IR400 film and the Kolari Vision 720nm Filter

Infrared FILM photography has always been on the difficult side, but not because of lack for film because there are several films on the market. Rather it is due to the poor quality of the available 720nm filters on the market.

Kolari 720nm FIlter

Recently Kolari Vision www.kolarivision.com has come out with a new series of infrared filters with their AR (anti reflection) that stop or greatly reduce hot spots in the center of your film or digital sensor. These hot spots are due to the various coatings, paint and other reflective coatings on the glass elements and coatings on inside of your lenses causing the light to bounce back and forth several times then hit the film dead center causing the hot spot.

The main filter on the market has been the Hoya R72 filter which works but gives a low contrast washed out image. Along come the new Kolari filter and now I am getting more contrast and even images with greatly reduced hot spots. AMAZING!

So lets take a look at the image above. This is the Tomotley Plantation about 20 min west of Beaufort, SC and was taken with the Rollei IR400 film rated at 720nm. Without a IR filter the ISO is 400 and the emulsion generates a very good likeness of Kodak TriX 400 film. If you add the 720nm filter the ISO drops down to 12 or 6 but you get the amazing whites on the grass and leaves. You even get the Wood Effect where the green items BLOOM out with an etherial soft white energy on the image!

Few things beat a beautiful sunrise photographed in color when you want to create a dramatic image. The same scene photographed in infrared may be disappointing unless there’s some IR reflective subject matter (we’re talking about deciduous trees here) to add interest. That’s because of the “Wood Effect,” which is the bright, white reproduction of the chlorophyll layer of deciduous plants. The effect is named after infrared photography pioneer Robert W. Wood (1868-1955) and not after the material wood which does not strongly reflect infrared.

Normally the Wood Effect is difficult to achieve at 720nm and is better seen at 800nm and and above. I have been very happy with this new filter from Kolari in combination with the Rollei IR400 film because I am constantly getting the effect plus deep contrasty images. It simply works as expected which is way more than I can say for others on the market!

Technical Data:

Fuji GF 670 Medium Format (120) folding Rangefinder with a Voigtlander 85mm Color Scopar lens.
Kolari 720nm AR filter
ISO at 12 and 6, both are close to perfect because they are only 1 stop apart.
Aperture: f/32
Tripod mounted

Development:

Ilford Perceptol Stock mixture 1:0, 20c, 14 min with 5 seconds of agitation every min.
Water Rinse
Stop Bath
Ilford Quick Fix for 5 min with 5 seconds of agitation every min.
Water Rinse
Clearing Wash
Water rinse for 10 min
Distilled Water rinse with 3 drops of wetting solution
Dried overnight in filtered Mistral Drying Cabinet.
Wet mount scanned on a Epson 850 pro at 6400dpi.

If you are considering working in 720nm whether in film or digital I highly recommend this new filter from Kolari!

Nov 22 2016

Going Home to Mama…. Returning to Film!

The joys of returning to our photographic roots…

Murrells Inlet Fleet, Polaroid Type 55 4×5 film, Wet Mount Scan

Have any of you considered film photography?

There is something about working with film that is very calming which can center one’s soul allowing you to really connect with your art. For me it was like going home to Mama. The feeling of working with your hands as part of creating your art will make it more involved and enable you to to really influence the hidden nuances in your work. It will add a bit more complexity to your workflow but trust me it is worth the effort. The single largest change is forcing you to slow down in your creative process, it forces you to really consider every part of your workflow. It really is not any more difficult than digital photography, but it is a bit more involved.

Polaroid 900, Tmax 100 4x5 @ 64, Perceptol

Polaroid 900 with a Fujinon 150mm lens, Tmax 100 4×5 @ 64, Perceptol 1:1 developing

Take a really close look at the details in this image, click on it and look at it in the full screen mode. Look at the GEARING on the edge of the wheel. The detail there will take your breath away!

Film Cameras

Olympus XA 135mm

I have way too many film cameras to list them all, some really small like the Olympus XA which is the worlds smallest 35mm rangefinder and a joy to use.

I also have an Olympus RC 35 camera that is another fixed lens rangefinder. It is simple and fun to use and can be found for very little money. I have mine rebuild and given a bright blue suite that suites it quite well!

My Custom Olympus 35 RC

My Leica M7 Film Body

My last 35mm camera system is a Leica M7 system. It has interchangeable lenses and is one of the best built camera systems that I have. Couple it with the world class Leica lenses and you have an unbeatable 35mm system.

Confusion, Petri 7S 35mm, Eastman XX flim

Fuji GF670

Moving up to Medium Format 120 film systems I have three. I have the Voigtlander Bessa IIIw system that is 6×7 format and the Fuji GF670 camera (also sold under the name of Bessa III) with a longer 85mm lens (left & right). The 670 is my medium format travel camera of choice. Not only is it a functional camera with a built in meter but it is attractive and it always will draw a crowd when I get it out to use! Another nice point to the GF670 is that it folds down on itself to a thin easy to store camera in your bag!

Mamaya RZ Pro II system

And lastly the Mamaya RZ Pro II SLR ( Right) with interchangeable lenses and a world class metering system. This camera is large and heavy but easy to use and a very powerful camera system! I have a f/4 65mm and f/4 180mm lens for it. I also have both the waist level finder and a metering prism with spot and matrix! Like I said, heavy and big, but I use it for ultra long exposures on the coast with the Fuji Acros 100 film which has almost NO RECIPROCITY failure up to 140 seconds then only 1/2 stop after that! The film base is a little on the thin side but still my film of choice for long exposures.

Stormy Seas, Fuji GF670, Tmax 100, Perceptol 1:1, Wet Mount Scan

Polaroid 110 with 90mm lens converted to 4×5!

My 900 converted to 4x5 by Alpenhause Kamera Werke

Polaroid 900with 150mm Fujinon lens converted to 4×5

Moving up to 4×5 Large Format cameras, I have three. first I have a Shen Hao cherry field camera. Functional as it is beautiful. I rarely take it out, rather I am using a Polaroid 900 converted to 4×5 with a Fujinon 150mm lens and a Polaroid 110B camera converted to 4×5 with a Schneider Super Angulon 90mm lens. It is a beauty and very wide!

Yes, as you may have noticed, some of these cameras are quite large. This is due to the negative size. Let me give you some idea as to why digital cameras can never come close to the resolution of film.

Focus Test - Epson Wet Adapter Across 100 Perceptol 1:2 Springmaid Pi

Montreat Cascades, 4×5 Tmax 100 developed in Perceptol and wet mount scanned.

Lets start with medium format:

Medium Format 6×7 format makes an image 2 1/4 inches tall and much wider. Scanned at native resolution of 6400 dpi on an Epson 850 Pro scanner gives me a file resolution of 16452 x 19668 dpi or a print size at 300 dpi of 4.5 feet by 5.3 feet! This is huge.
Large Format of 4″ x 5 ” scanned at 6400 dpi (native) gives a file size of 29107 x 36070 dpi or a print size of 8 feet x 10 feet! There is not a digital camera system in the world that can come more than a small fraction of this!

Film

Film has turned wildly popular again in the past several years and many of the big film manufacturers have started increasing their film production lines again. This is especially true in the medium format lines (120) and 4×5 large format films! Film can be found in single rolls or in bulk almost everywhere again. The big box companies like B&H, Adorama and many others carry almost every type and format that you could ever want!

Processing in B&W has never been easier at home with eco friendly chemistry with no darkroom needed. Only an initial outlay of around $150 will get you started. Cameras can be found anywhere for next to nothing! You will need:

Dark Bag, a cloth bag that it light proof with arm sleeves that enable you to put your film, developing tank, reel an lid inside with your arms to move the film into a light tight developing tank!
Developing Tank, I recommend a stainless steel version.
Film Reels, I like the Hewes stainless steel ones.
Developer, comes either in a powder or a Liquid. I like Perceptol and/or Rodinal R09.
Fixer, to remove un-used silver
Liquid wetting agent to prevent drops to dry on your negative.
Clips to hang you film up to dry!

You can scan your film into your computer with a good Epson scanner like the 700, 750, 800 or 850. You can also buy an adapter for your camera allowing you to scan by photograph!

While I work in both color and B&W, digital and film I find time after time I pick up a film system and load it up with a good B&W film. The process of developing your film can really help you connect to your work as well.

I like several films, here they are in order of favor:

Kodak Tmax 100 in 35, 120 and 4×5, very small grain, good dynamic range easy to process
Fuji Acros 100 in 35, 120 and 4×5, very small grain, good dynamic range NO RECIPROCITY FAILURE, easy to process
Rollei IR400 in 35, 120 and 4×5, Infrared or normal B&W, good dynamic range, easy to process
Rollei Retro 80S in 35 and 120, amazing clarity and sharpness, good dynamic range easy to process
Eastman XX in 35, motion picture film used in B&W movies of the 50’s, smooth gradient transitions.

As an example here is the top image from last week of the fishing fleet taken on 20 year out of date Polaroid Type 55 monochrome instant film. The camera is also a Polaroid 900 that my daughter sent me years ago from a garage sale that I had converted to 4×5 with a Fujinon 150mm lens. A MOST beautiful camera in a bright new blue suite that is just fun to use. It is both rangefinder and ground glass focusing that forces you to slow down and really consider each and every image you capture!

The Type 55 film, even outdated, works flawlessly and generates amazing images where the edge markings add to the artistic impact of your subject

Pelican Dock - Type 55 4x5 Film, Wet Scan

Pelican Dock – Type 55 4×5 Film, Wet Scan

So what do you think? Are you tempted to try this out? It is easy. For starters, you can look at the continuing education departments at a local college or hight school. Most offer B&W film photography with darkroom work. This will teach you enough to allow you to determine if you would like to further investigate this wonderful medium!

You can also contact me and request info on one of my film workshops held in Pawleys Island SC. I would love to have you and share this amazing link to our past!

Please let me know what you think of this post!

Jul 3 2016

Amazing Polaroid 4×5 Camera Conversions: Alpenhause Kamera Werke

Let me introduce you to Steven Icanberry!

My 900 converted to 4×5 by Alpenhause Kamera Werke

The story begins…

Several years ago my oldest daughter and her husband gave me a complete Polaroid 900 Camera system for fathers day. I like old cameras and this one sat in a glass display case in my studio for years. It was a beautiful camera but with film no longer being made it was living its life as a hanger queen only.

My Polaroid 900 Camera Set

Steven Icanberry at
Alpenhause Kamera Werke

One day while exploring one of the 4×5 Facebook groups I came across a post from Alpenhause Kamera Werke and Steven Icanberry, He was advertising a conversion on the older Polaroid Land Cameras like my 900 to 4×5 film with a film back and a coupled rangefinder calibrated to the new 4×5 lens he would install! Steven is a disabled veteran who makes his living from converting these cameras!

This was simply too good to be true and after calling him and with his advice for options and lens selection I sent off my camera to him to be converted.

About the film holder!

Now, a little bit of info on his designs and options. His 4×5 film back is of his own design and is small and lighter than any other on the market. He has them made by a local machine shop and I can attest to the quality of it! He removes the old lens and makes a new lens plate mounting your choice of lenses.

I choose a Fujicon 150mm lens. He couples the lens to the rangefinder system in the camera and calibrates it to be perfect. (This was the big draw for me as I was looking for a simple 4×5 carry around camera).

He also cleaned all of the rangefinder optics assuring sharp clear viewing.

I was offered a large selection of colors and new clothes for my camera, I choose bright blue and a silver top along with a built in shutter release cable. Look at the top image above and tell me that the camera doesn’t look stunning!

His camera conversions are simply stunning in their beauty and functionality! For those of you who like and desire to shoot film I strongly suggest picking up one of his cameras. You will not be disappointed at all and you will be helping a disabled US Veteran make a living. But more importantly you will have a camera system that is as beautiful as it is functional. I am going to close this with a few images of some of Stevens cameras and the first shot I took with mine.

He advertises starting pricing at around $500 for a converted camera in stock and also does custom conversions (like mine). I paid $900 for mine, but I chose a new custom lens and several other options!

Am I satisfied? YOU BET!!

Please consider having Steven Icanberry and Alpenhause Kamera Werke do a conversion or sell you a stock conversion! It is my wish to spread the camera goodness around and this is one good company!

Handheld Converted 900 image with TMX 100

Hand held image from my Converted 900 image with TMX 100

Colors colors colors

Beautiful!

Stevens custom designed 4×5 Film Back

My converted 900

Jun 7 2016

Learning To See The SOUL Of Your Image: Black & White

Removing The DISTRACTION of COLOR!

Do you enjoy the purity of a finely crafted B&W image?

Look closely at the image below of the neither regions of the Folley Beach Pier. This was taken with a B&W only DEEP CONTRAST Infrared camera converted by KolariVision.com with their new AR coating. Look at the detail and depth captured here. Do you think that if the sand was actually in color that you would even notice the pier going off into the distance past the initial structure? This is what the power and purity of B&W gives to us!

Fuji X100s 850nm Deep Contrast B&W Infrared: Under The Folley Beach Pier

Fuji X100s 850nm Deep Contrast B&W Infrared by KolariVision.com with their new AR coating: Under The Folley Beach Pier

I love working in B&W, so that I would only create them if the market would support such endeavor. There is something about a well crafted monochrome image, having the distraction of color removed leaves you with the soul of the image.

I find that it is so powerful for me that I look at EVERY scene I approach with B&W in mind. Yes, I can visualize in B&W. So can you! It only takes a little practice… OK, a LOT of practice really, but it is well worth the investment in time and energy!

I am so into fine art B&W that I even have a Leica Monochrom digital camera that is dedicated to it in that it only takes B&W images! Not to mention digital B&W infrared cameras!

But DON’T forget film…. Which really is a post for another day.

The baby blue is a Olympus 35RC rangefinder that I had rebuilt, cleaned and given a nice new set of baby blue clothes! The second is a Polaroid 900 that my daughter found at a garage sale and sent to me. I kept it in a display case for a year or 2 then sent it off to WWW.Alpenhause.com where Steven Icanberry took it apart, cleaned, re-gasket, replaced the lens with a Fujicon 150mm lens and added a 4×5 film back. He also calibrated the internal rangefinder to the new 150mm lens and gave it an adult blue suite! It is a dream camera come true!

My Custom Antique Olympus 35 RC Film Camera, one of dozens of film systems I shoot.

Polaroid 900 converted to 4x5 with a Fujicon 150mm lens.

Polaroid 900 converted to 4×5 with a Fujicon 150mm lens converted by Steven Icanberry

I shoot 35mm, 120mm and 4×5 film systems. Usually, I will expose about a dozen rolls a week in 120, Develop, Dry and Scan then treat them as I would a digital image except for the fact that I will never be starting with a color image!

Rollei IR400 Film – M7 28mm Elmarit – Rodinal 1-50 processing, scanned and printed

I mainly shoot with my Sony A7rii camera and a selection of 4 lenses in my normal day to day work. I shoot in COLOR but always process both color and B&W in post processing. I can just hear you say “why not just shoot in B&W in camera?” Well the easy answer is while you can do so, you will get much better B&W images by shooting in color then post processing to get the best possible color image, THEN convert to B&W. I use The NIK filter Silver EFX Pro for my B&W conversions, and by feeding it a finished color image it will have enough data to generate a wonderful B&W image!

Here is an example of just what I mean:

Sony A7rii w/ Sony/Zeiss 24-70 f/4 lens. Daddy’s Girls, Bluffton, SC

First an image of Daddys Girls, a shrimp boat out of Bluffton, SC. The image is a great one, full of colors and textures with an interesting sky! I feel that in color this makes a wonderful image and think that there is a market out there for it. I spent the time with the image during post processing to bring out the colors, textures and contrasts to make the image pleasing.

Sony A7rii w/ Sony/Zeiss 24-70 f/4 lens. Daddy’s Girls, Bluffton, SC

Then, and ONLY THEN I ran the image through Nik’s Silver EFX Pro B&W converter. I Chose a deeply sepia tinted output with a slightly scratched texture and a minor border. This to me is a pure image with which you can witness and feel the soul of the scene!

Sony A7rii w/ Sony/Zeiss 24-70 f/4 lens. Stormy Seas, Head On with the clouds of tropical storm Colin.

Another example from the Sony that I took and post processed today is this image of the shrimper Stormy Seas, likely the MOST PHOTOGRAPHED shrimp boat in South Carolina, IN COLOR.

Again, I shot in COLOR in order to have as much data as possible for the B&W conversion. Again I found myself in a sepia mood and processed it as the examples above! As you can see, it has a totally different look, feel and emotional impact from its color version above!

Sony A7rii w/ Sony/Zeiss 24-70 f/4 lens. Stormy Seas, Head On with the clouds of tropical storm Colin.

B&W images can be really powerful in their emotional impact. There was a time when B&W was all you could have, then color became popular because of the fact that it was different! But guess what? B&W is again VERY POPULAR to the point of actually out selling color in fine art shows and to collectors! This should give you pause if you are concentrating in color only. You are missing have of the scene, the most important half!

Roanoke River Lighthouse, Leica M Monochrome Camera system, B&W only!

Apr 25 2016

Out And About With Film….

Wandering the shrimp fleets of Georgetown with my Voigtlander Bessa III 120 film camera….

Voigtlander Bessa IIIw 120mm camera system

Yep, early this morning I grabbed the bag with my wide angle 120mm camera system and headed out to Georgetown where I was going to spend a bit of time with the shrimp fleets and some film…. I chose the Voigtlander Bessa IIIw system. It has a 55mm lens on it which at 6x6mm equates to around 35mm and at 6x7mm to 30mm. This is pretty wide and allowed me to capture several very wide angle shots of various shrimp boats around the water front.

One of the other things that I do when shooting film is to keep a accurate written record of the exposure data for each and every frame. This assists in keeping my process the same once I get the proper exposure, contrast and desired grain for each of the film types I use.

I enjoy this camera system very much. It has a lot going for it specifically its 6x7mm negative size which makes for some pretty big scanned files when all is said and done. I also like the fact that it is a rangefinder which pretty much defines my youth and what I had learned to use when very young! It is not too heavy, has a leaf shutter which is totally silent and goes up the 1/500 second for exposures. This could be a little faster but I can work with it. A 120 roll of B&W film gives me 10 exposures at 6×7 which is the format I like the most.

Rodinal One Shot

I normally use stand film processing with Rodinal at 1:100 ratio with water, a water bath then the 1 hour processing and normal fixing and a wash, but for these rolls I am going to use Ilford Perceptol ultra fine grain developer in hope of a sharper image with greater contrast. So, we will see next week how this new combination works for my finished film!

Stand processing is not dependent upon chemistry temperature, ISO or even Film type! You put the film in its can, give it a 5 min water wash, then pour the developer in, gently agitating for 1 min then letting it sit for another 60 min!, Water Stop, since and done! But there are trade offs with Stand processing, namely Bromide Drag which is shown as the slightly darker vertical streaks in the image below. These come from the developer chemistry being exhausted.

Voigtlander Bessa IIIw with Rollei IR400 120

Jordan and his film camera

So with the Perceptual chemistry (6 min develop time) I will not see Bromide Drag and it is supposed to give sharper smaller grain and higher contrast. So instead of a 1 hour develop time we are looking at 6 min now, sharper negatives with higher contrast! We will see….

I will hold of processing these images till the first weekend in May so that my 7 year old grand son come come with me to the studio and process his own 35mm film at the same time! Yes, I am teaching him how to photograph and process film! You gotta start them young so that they catch the film bug!

Cooking the film!

Come on back in a few weeks to see the results of todays outing!

Apr 21 2016

Amazing New AR Coated IR Filters from KolariVision.com

Kolari Vision introduces a NEW Anti Reflective IR coating for their conversion filters!

Fuji X100s, 850nm Kolari AR conversion – Under Foley Pier

I LOVE shooting IR and have a long history with it in both Film and Digital. I have had over 25 conversions from ALL of the big conversion companies around the country! But, once in a while I would get a camera that no mater how hard I tried, I will get a hot spot with it or the lenses I used. You learn how to deal with this by selective use of the aperture but once in a while you would just not be able to get around the problem and loose the shot….

Fuji X100s, 850nm Kolari AR conversion – Shrimp Boat

Well about 3 weeks ago Ilija from Kolari (http://www.kolarivision.com ) sent me a note telling me about a new coating process for his conversion filters. I have a long history with Kolari, LDP and Lifepixel but I have never heard of this till now. Ilija offered to do a free conversion with this newl IR AR coating for me in return for evaluating it in the real shooting world! So I told him that I would send the X100s off as a test camera and that I needed it back fast in order to allow others to play with the camera also! Off it went on Tuesday. Imagine my surprise when I got it back in hand the following Wednesday!

Here is what Kolari says about this new AR IR coating:

Uncoated glass has a reflection of around 4-5% at all wavelengths, and we found that this reflection off the sensor filter was bouncing off the glass and reflecting back from the lens housing and aperture blades to cause the hotspots. We developed this anti-reflective coating that is centered around the IR wavelengths that cause hotspots, and reduced the 5% reflection down to <0.5% (see the attached graph for reflection % by wavelength scan, and the picture of the IR filters for the visual difference of IR reflection).

The coating does not reduce visible light reflections as much, and does not reduce blue reflections at all. This gives the glass we use a blue shine, since that is the only range that is fully reflected still (see picture of black filters).

AR coating test on Visible Light

AR coating tests on BLUE light

I am getting ready with a new website which I hope to launch in 1-2 weeks, so I have not put the coated version of the conversions online yet, but they will be offered on our Full spectrum, two spectrum, 590, 665, 720, 850, and Blue IR/NDVI conversions. There will be a $50 optional upgrade on all of our conversions at this point.

I plan on offering only the coated version eventually, but the batch runs are expensive and I cannot coat our full inventory at once. I’m not sure if you are aware, but we stock custom made custom thickness filters for all our camera/filter combinations so that each conversion gets a piece of glass that maintains the original optical distance (refractive index x physical thickness) as closely as possible, which changes for each filter material. Other companies use a few general size pieces of glass, glue them directly to each sensor, and calibrate the focus for an arbitrary lens, which reduces what they have in inventory. Our design choice means that we have around 200 unique pieces of glass in inventory for DSLR and mirrorless cameras, and another 200 for point and shoot models, so you can imagine the challenge in getting them all coated. – Ilija

Fuji X100s, 850nm Kolari AR conversion – Thru The Door

So as you can see they are up and almost ready to start filling orders for these new filters.

Fuji X100s, 850nm Kolari AR conversion – McClellanville Fleet

I have to tell you that with my test conversion on the Fuji X100s to AR 850nm that ALL of my hot spot issues simply went away. This camera has always had a tendency for IR hot spots. I have converted, tried and sold so many IR systems in the past that I have lost count. I could not, would not sell this one as it is one of my most prized IR systems. To say that I am pleased with the results of the Kolari IR AR Coating is the understatement of the year!

Remember, if you decide to order from Kolari, give them my name for a $15 discount!

Nov 6 2015

Overcoming the Back Focus issues of the Leica 135mm M mount lens…

Yes, HOW could such a high quality Leica Lens be so problematic….

Leica 135mm

In todays world of modern digital camera systems, the Leica M 240 really stands out above the others. One of the reason for this is the duality of an electronic viewfinder with a robust peaking focus system coupled with a real range finder focus as well! This makes this camera IDEAL for mounting any lens that can be manually focused with reasonable expectations of good focus!

But what happens if you have some of the older Leica systems like the M9, Monochrom, M8 or a film body like the M7? Should we not be able to expect the same focus quality of the M 240 using the built in rangefinder?

Well for ALL of my Leica and Voigtlander glass this has been a truism until I met the famously hard to focus 135mm lens. Now understand that this lens has been through 5 (FIVE!!) versions and each and every one has had the same bad press on their inability to sharply focus! If you ask Leica about them you are told to set your aperture to f/11, focus and shoot hoping that the DOF will overcome the shortcomings of the focus cam system inside of the lens!

Now, I badly desired a longer reach lens with a M mount but was convinced that I could not overcome the focus issues with these lenses. So one of my students from the Arcanum (a online photograph school) had one of the 135s and sent it to me to experiment with. It was one of the older models, looked kind of funky but had a tripod mount on the lens! Reviews of ALL the 135s said that this model was the best one for the money!

So with the lens on camera (M 240) I set out to test the rangefinder focus vs. Electronic focus with peaking…

Suffice it to say that the lens BACK FOCUSES so badly that unless you are shooting at f/11 or f/16 you have very little chance of a sharp image! I focused the lens using the range finder then again with the electronic peaking system and discovered the following failure:

7 meter subject. The lens needed to be adjusted to 6 meters to be in focus!
50 meter subject. The lens needed to adjusted to 20 meters to be in focus!
Infinity subject. The lens needed to be adjusted between Infiniti and 50 meters!

The adjustments were the difference between the rangefinder focus and the peaking focus!

Well….

If you were to turn over and look into the mounting flange on it you will notice that there is a focus cam that moves up and down as you focus the lens. This is NOT adjustable! But… I had an idea!

Enter High Tac Copper Tape…

High tack copper tape

Tape Application Leica 135mm

What if…

What if I were to tape one or two layers of this really sticky copper tape onto the end of the focus cam? Could I at least get the infiniti focus point dialed in?

YES! It can be done!

So, I ordered a very thin roll (1/2 inch) from Amazon, cleaned the cam and cut 1 thin sliver of the tape and applied it to the end of the cam and redid my focus tests!

After cleaning the cam with Alcohol I applied the tape, smoothing it down with a wooden dowel and allow it to sit for an hour giving the adhesive a chance to cure.

Mounting the lens again onto my M 240 I re-ran my range finder and electronic peaking focus tests on the same subjects and distances! I carefully (on a piece of tape attached to the lens marked the two focus marks for each test on the lens so that I could visualize both the size of the focus error as well as where it was on the overall focus scale.

Here are my results with only ONE layer of copper tape. I knew that my target was to get my infinity focus dead on and that the closer distance focus points would still be off but hopefully by smaller amounts.

Test data is marked on the lens showing both RF focus/Electronic Peaking focus points. The peaking points are dead on and hopefully we could bring the two closer together!

If you look at these points you will see the non cam taped focus dat on the bottom and the corrected cam data on the top. The V stands for Electronic Peaking and the M for Range Finder focus.

7 Meter Focus Tests…

7 Meter Focus Test Leica 135mm

So for the non corrected cam we see a subject at 7 meters as focused with the rangefinder, but with the Peaking focus it is moved down to 6 meters to be sharp! This is a 1 meter difference and unless you are shooting with a small aperture you will get a very soft focus! When we do the test after the cam change the difference between the range finder and peaking is actually a bit wider. This was expected…

Now, The 50 meter tests…

100 foot focus test on Leica 135mm

As you can see on the uncorrected cam side focusing at 50 meters on the rangefinder we needed to adjust down to 20 meters… That is WAY OUT OF RANGE! Yet at f/11 we can get it into focus!

With the corrected cam the difference between the range finder focus and the peaking focus gets closer together at about 30 meters which is a 10 meter reduction of focus error! Better and better!

Infinity Focus Test

Infiniti Focus tests on the Leica 135mm

Ahh, the pre cam measurement using the rangefinder sets the lens to the infinity as expected but the peaking focus sets it down about 1/3 of the way towards 50 meters. Way off to be sure but small than before.

BUT…

The corrected cam BOTH THE RANGEFINDER AND THE PEAKING focus match at infinity!! We are now dead on on the far end of the lens!

What this means is that knowing the differences between the rangefinder and peaking that we can adjust the 135mm lend down about 1/3 of the way between the major distance measurements to get much closer to being dead on. As long as we shoot at a reasonable aperture (f/8) we can be reasonably assured of a sharp focus!

I have found that these measurements are the same with the current Leica 135mm as well!

So there you have it. The online posts of issues with these lenses have been endless over the years. They are known as very difficult lenses to get a sharp focus with and now we know why and more importantly how to overcome it!

I hope that you enjoyed this discussion on what could be a very nice and powerful lens to have in your bag!

Mar 9 2015

Using Fumed Alumina To Fix Paper Issues in Van Dyke Brown

An Easy & Cost Effective Way To Fix Paper Issues!

Stormy Seas, Van Dyke Brown, Lana Paper, Fumed Alumina Brush Coated, Gold Toned, 720nm Infrared

Testing Fumed Alumina…

Van Dyke Brown emulsion is basically on the acidic side of things chemically and as a result of this I have been forced to wash most of my papers with a acid bath. This caused a increase in my process by 2 days. So I am testing Fumed Alumina which is acidic unlike Fumed Silica which is neutral. I decided to go with the Alumina test first and will do a followup post down the line with the Fumed Silica.

Bent Tree, Van Dyke Brown, Lana Paper, Fumed Alumina Brush Coated, Gold Toned, IR400 120 Film

Initial results were quite pleasing with both Revere Platinum and Lana Aquarelle papers. I got a MAJOR increase in Dmax with both the Lana and Revere papers, but upon completion of my final wash the Revere was VERY EASY to damage with finger smudges until it dried. The Revere had a tendency for the Alumina to easily rub off the Alumina while wet whereas the Lana was strongly attached.

Anderson Mill, Van Dyke Brown, Lana Paper, Fumed Alumina Brush Coated, Gold Toned, Leica M Monochrom

The Alumina did fix ALL of the spotting issues that I had when using the Revere Platinum paper but the fact that it will rub off when wet causes some concern but it is easily overcome with careful handling.

Magnolia, Van Dyke Brown, Lana Paper, Fumed Alumina Brush Coated, Gold Toned

The Process:

Dry roll on the Fumed Alumina in 2 directions and rap the paper edge on the table to remove the excess. Make sure that you use a good mask to filter out this dust as it might irritate your lungs. DO NOT OVER COAT or you will get streaks when you coat the emulsion. The rolling step only takes about 30 seconds! You will need to put about 1 TSP of the Alumina into a small paint tray then pre load a small (3″) HARD foam roller with it.
Coat as normal after you roll on the Alumina. You will need about 12 extra drops of VDB emulsion due to it absorbing more. My basic quantity of VDB emulsion for a 8×12 sheet of paper coated with Alumina is 48 Drops of emulsion and 2 drops of Tween 20 at 25% (you will need to dilute the Tween from 50%) solution. For this post I brushed on the emulsion. In the past I would normally use a glass rod for coating but the Alumina creates a very rough surface and I was afraid of damaging the paper.
Dry and Expose. Here you will find that the addition of the Alumina will DECREASE your exposure about 1.5 stops!
1st water bath with distilled water and a pinch of citric acid, 2 min. This bath will remove any extra ferric ammonium citrate which will cause a yellow paper stain. This bath will darken the print. Do not worry as the FIX will balance contrasts and bring out the highlights!
Fresh water bath to remove citric acid. 2 min. If you are Gold Toning, this step is VERY important as any Citric Acid will destroy the toner bath!
Gold toning bath 2 to 5 min to taste. The toning process requires CONSTANT AGITATION! After 2 or 3 prints toned add 5ml/print of Gold Chloride to bring the bath back up to strength. This toning bath will further darken the print. Do not worry as the FIX will balance contrasts and bring out the highlights!
Fix for 2 min with Sodium Thiosulfate for 2 min. 30g/L. I do not believe that any further time will help the process.
Final moving fresh water bath for 30 min.
Air dry, I spread out old towels on a table top and place the print on it for about 10 min to absorb most of the water thru the back of the print. I will then hang the prints to dry by a corner.
Use a heat press to flatten your prints at 170deg for 20 seconds. The heat press step is to make the paper flat again.
Hand rub in SOFT custom wax coating for protection then heat to force the wax to be absorbed into the paper fiber with a hair drier (more about this in a future post).

Dinghy, Van Dyke Brown, Lana Paper, Fumed Alumina Brush Coated, Gold Toned, Leica M Monochrom

All in all this was a VERY easy fix to the acid washing step and only added about 30 seconds to roll on the Alumina. The Fumed Alumina can be purchased at Bostick & Sullivan for $15/500g which will do about 100 sheets of 8×12 paper.

2 Dinghys, Van Dyke Brown, Lana Paper, Fumed Alumina Brush Coated, Gold Toned, Leica M Monochrom

The increase in Dmax with the Fumed Alumina is amazing and the resulting images are stunning.

Please let me know what you think of this post and with suggestions for future posts!

Jan 25 2015

Continued Work In Van Dyke Brown Alternative Print Process!

Perfection in Brown…

Glade Creek Mill, Van Dyke Brown, Revere Platinum Paper exposed for 5 Min

Oak Reflections in Infrared, Van Dyke Brown, Revere Platinum Paper, 3 Min Exposure

After another 2 weeks working on the negative density, I have finally gotten to the point of good negatives, not great yet but I will get there. I have to master the use of UV blocking color in the negative for them to be perfect and that is a project for the future. To date though I have reached perfection using normal B&W negatives.

My CORRECTED Digital Negative for the Van Dyke Process

Here is the corrected negative that I used in the image of the Oak trees above. It is much dense and has been corrected for the mid tones as printed in the Van Dyke Brown Process! It has much greater contrast and required only a 3 min exposure in my UV unit.

One thing that you have to remember when making your UV exposures is to place the ink side of your negative down on the paper surface. If you reverse this the picture will be backwards, but more importantly, the UV light will burn the ink surface and ruin both the negative and the print.

B&W Negative for Van Dyke Brown Print exposure calculated for 3 Min.

Compare it to the negative on the right. This negative was used in the previous post here where the image printed much darker and with less mid tone data. Take a close look at the difference between the two negatives, the first has much brighter areas for increased black contrast and more detail in the trees. The difference is amazing and was easily achieved by the process discussed below…

Here is a small copy of the print generated by the 2nd negative from the previous post. Notice how much darker it is and that there is no detail in the mid tones of the image! It only took me a short while to create the Gradient Map from the process that I learned in Peter Mrhar’s book below.

Van Dyke Brown Print, Over Exposed by 2 stops due to the uncorrected negative

Easy Digital Negatives is another remarkable book by Peter Mrhar

Easy Digital Negatives is another remarkable book by Peter Mrhar that I use in the creation of my negatives. It enables you to easily create Gradient Maps to adjust the mid tone values of your negative tailored to the alternative process that you are printing with! I highly recommend this text over all of the others!

There are several good books on Digital Negatives out there but As I said the is the easiest that I have read and used plus the results of using a Gradient Map over a Custom Curve. I suggest that you purchase several texts and try them in your workflow to see what works best for you!

I hope that you enjoyed this short post on the Van Dyke Brown Process. You can look for more about it in the future!

Jan 19 2015

Van Dyke Brown Printing, 1842

A new (read OLD) way of printing!

8×12″ Van Dyke Brown Print

Alternative Printing from History!

Van Dyke Brown is an early photographic printing process. The process was so named due to the similarity of the print color to that of a brown oil paint named for Flemish painter Anthony van Dyck.

The Vandyke brown print is based on the first iron-silver process, the argentotype, invented in 1842 by the English astronomer, Sir John Herschel. Both processes utilize the action of light on ferric salts and their chemistry is very similar. The Vandyke process gets its name from its similarity in color to the deep brown pigment used by the Flemish painter Van Dyck. Vandyke brown prints are very simple and economical to make, with the sensitizer consisting of three readily available chemicals. Clearing is carried out in water and fixing is done in a weak solution of hypo.

Van Dyke Brown Step Wedge Calibration Chart for 3 Min Exposure

As you can see, this is a very early way of printing developed a long time before our current Silver Salt paper process. The images are a deep brown instead of the normal black and white that we are used to seeing. They are somewhat easy to create provided that you have done your homework and created the proper calibration images to create a calibration Gradient Map or Curve to apply to your negatives which adjust them for loss of mid tones in the printing process.

This is strictly a CONTACT PRINTING technique that requires a true negative that is placed on top of paper that YOU as the artist coat yourself with the Van Dyke Brown emulsion that you mix from simple chemistry! The coating process is done with a special brush that requires a very light touch or a glass coating rod that you use to push a line of liquid emulsion across the paper.

B&W Negative for Van Dyke Brown Print exposure calculated for 3 Min with the calibration applied.

The liquid emulsion is measured by the number of drops from a glass eye dropper into a small glass then with a drop of two of a wetting agent like Tween 20 to help the coating process. The paper/emulsion is allowed to dry then the negative which was created using my Epson 7900 printing on transparency material is placed on top of the coated paper. This sandwich is then placed in a printing box filled with 12 Fluorescent Black Light tubes which then expose the paper with UV light. The exposure for the current paper I am using (Revere Platinum) has been calibrated to 3 or 4 min based upon the test chart above.

Van Dyke Brown Print, Over Exposed by 2 stops.

Van Dyke Brown Print, Over Exposed by 1.5 stops.

This process is a POP process in which the image after being exposed can be seen on the paper once removed from the UV box. It is orange and yellow in color. It is placed in 2 consecutive distilled water baths that remove the yellow and darken the orange. Then it is placed in the fixer solution (Sodium thiosulfate) for 2 min. When the image is placed in the fix, it IMMEDIATELY changes from orange to a very dark brown and white picture. Finally the print is placed in a live water wash for 30 min then dried!

This is a simple process that creates beautiful images that will leave you breathless as you view them! I am going to further develop and learn the process over the next month or two before I start on mastering the Platinum/Palladium printing process as well!

Look forward to many more posts on the processes as I master them!

Jul 7 2014

Fuji X100s 830nm Infrared and Long Exposures

It just keeps getting better….

Pawleys Pier, 830nm 300 seconds, f/16, ISO 200, 8 stops of ND with the 10 stop B+W 110 ND filter

Normally you do not see much in the way of Long Exposure photography in the Infrared world. The reason is that it is necessary to use Neutral Density filters (ND) to cut down the amount of light reaching the sensor to enable very long shutter speeds. The infrared spectrum will reduce the the effective value of any ND filter that you attach to your lens from between 20% to 30%. Have you ever taken a photograph of a person wearing a pair of sunglasses in infrared and noticed that they are totally clear? This is the effect that I am talking about. The general rule is that the cheaper filters suffer much greater loss in infrared and the variable ND filters do not work well at all (yes, even the expensive Singh Ray).

B+W 110 10 Stop ND

Should you desire to pursue this style of photography I strongly suggest that you purchase and use B+W ND filters which loose around 20%. I am also told that Lee filters do not loose too much effect as well but I have not yet tested them even though I own them all.

The B+W ND filters display the ND values on the side of the ring, but the easiest way to understand them is to simply look at the 3 digit number.

110 equals 10 stops
106 equals 6 stops
103 equals 3 stops
102 equals 2 stops
101 equals 1 stop

Fuji X100s

I am using the Fuji X100s for the images in this post. It is a 16 mpix camera that is a rangefinder styled system. I includes an internal, drop down 3 stop nd filter that actually gives about 2 stops of reduction when used in the infrared spectrum. I had the camera recently converted via Kolari Vision, http://www.kolarivision.com to what they call the Dual Spectrum conversion. This is where the internal UV/IR blocking filter is removed and a strong UV filter is put in its place. This gives you the same capabilities as any Full Spectrum conversion except that it will not work with any IR or UV filter that combines multiple spectrums that include UV. This means that the 047b in camera Faux Color or Super Blue filter and the UG1 UV/IR dual band filter will Not work. All of the others work fine from 590nm up!

Plus you can convert the camera back to normal visible color with the addition of a filter on the lens to block UV and IR. With the Full Spectrum filter you need to stack the B+W 486 reflective UV/IR blocking filter with the LDP http://maxmax.com CC1 absorption filter. With the Dual Spectrum conversion you need only add the B+W 486!

So, I have ALL of the normal IR filters sized for 49mm which is what the X100s uses including the B+W 486. I am using the B+W 093 820nm IR filter for this camera almost 100% of the time though.

Another nice thing about the X100s is the fact that it has aperture priority mode with a shutter speed up to 30 seconds and a BULB MODE that goes up to 60 minutes! Where the X100 really excels is the fact that is gives a count up timer in the viewfinder or on the back LCD panel for timing your bulb exposure!

The camera is so small and easy to handle that it is a pleasure to work with and as you can see, the images are stunningly sharp!

I will be posting more long exposure images here in the future and discussing the various post processing recipes with you. Now, one last image. Here is the same shot with only the 3 stop internal filter engaged in the X100s. The shutter speed at ISO 200 and f/16 was 1/6 second. Not nearly long enough to slow the water down or blur the cloud movement but it would likely work for slowing down the moving water in waterfalls!

Pawleys Pier, 830nm IR, 3 stop internal ND, 1 second, f/16, ISO 200

If any of you all out there shooting in Infrared work in long exposures please drop me a line or comment and we can share data about the various ND failures and successes!

You can also consider signing up for one of my (along with Jamie Davidson) Infrared/Color Workshops. We take you to amazing locations in the South East Coastal area for world class photography and INTENSE post processing classroom training! You will find posts here talking about each workshop as it approaches!

Jul 5 2014

Going to the Dark Side: 830nm Infrared and the Fuji X100s

830nm Infrared Conversion on the Fuji X100s

Image 1: Oak Reflections, 830nm

Infrared photography with digital camera systems have been around for several years now and a lot of photographers have embraced this different spectrum of photography. Infrared is wildly popular in photography and fine art galleries now and my workshops are full of lots of talented photographers who desire to learn or expand their infrared skills.

Pawleys Marsh, 830nm X100s

The typical starting point for most infrared shooters is 720nm (standard) or 590nm (Goldie) IR conversions. We have all seen the amazing color images that these two conversions can generate. As previously discussed, we always process not only in Faux Color, but for B&W also. The B&W images are usually more accepted among the arts community though.

Image 3: Pawleys Marsh, 720nm

But did you know that with each increase in the IR Nano Meter band (the frequency goes down as the number goes up) that the contrast levels go up in B&W as well? This increase in the NM band starts to generate the most stunning, contrasty, ethereal images that have to be seen to be believed! The higher you go in the NM range also increases the white “glow” around the leaves and grass and the blue sky takes on a deep black. This effect is named the “Wood Effect” after doctor Robert Wood who discovered it 1910. What happens is that the leaves get a bloom or glow of white around them that generate that wonderful ethereal feel in the image. Take a look at image 1 which was taken at 830nm. Do you see the dark black where the blue sky is? Look at the leaves on the trees and how they take on the pure bright whites! Now compare that to 720nm image above in Image 2. The most striking difference is the gray sky rather than black, plus the leaves are grayer rather than white.

Image 3: Shrimp Boat at 830nm

I would like to suggest that if you shoot in IR or are interested in doing so then you should consider a deep contrast IR conversion beyond 800nm. There are a lot of benefits to be found in that spectrum. This new spectrum sees ONLY in B&W, which will force you to visualize your scene in B&W.

The benefits to a Deep B&W IR conversion are:

Extremely sharp images.
Wood Effect bloom on plant leaves.
Dark moody skies.
Only works in B&W
Post processing is easy and quick using Nik Viveza and Silver EFX for texturing and contrasts. Photoshop CC, Elements or Lightroom, they all work for Deep B&W IR!
White Balance is easy.

Image 4: Mabry Mill, 830nm

There are several ways to have a camera converted to deep B&W above 800nm.

The easiest is to simply take ANY digital and have it converted by removing the internal UV/IR blocking filter and replacing it with a 800nm, 830nm or a 850nm internal filter. With this type of conversion you can use any digital camera type or style because only the sensor will see the infrared light and you will either see the scene via the optical path or via a live view from the sensor. Typically, this type of conversion should cost around $300 to $350 thru any of the normal conversion companies.
If you are shooting a Full Spectrum or Dual Spectrum conversion then you can purchase and attach a B+W 093 830nm filter to your camera lens! This filter blocks ALL visible light so you MUST have a camera with a live view only to use this otherwise you will never be able to see thru the optical path to focus and compose. The Full Spectrum camera is one that has had the internal UV/IR blocking filter removed and replaced with clear glass and the Dual Spectrum conversion is where the internal UV/IR blocking filter is removed and replaced with a strong UV filter.

Image 5: Rock Run Mill, 830nm

With either the full or dual conversions you can shoot every of the following light spectrums:

Ultra Violet Full Spectrum *
UG1 UV & IR Full Spectrum *
047b In Camera Faux Color Full Spectrum *
530nm Faux Color Full & Dual Spectrum
590nm Super Color Full & Dual Spectrum
630nm Pinkie Faux Color Full & Dual Spectrum
665nm Enhanced Color Full & Dual Spectrum
720nm Standard Full & Dual Spectrum *
800nm B&W Full & Dual Spectrum *
830nm Deep B&W Full & Dual Spectrum *
Normal Visible Color Full & Dual Spectrum

* Requires Live View capable camera

Now, Normal Visible Color simply means that your camera can take normal color images as it did from the factory! This means that you have a multi purpose camera that can take anything.

The only issue is that if you have a Full Spectrum conversion you need to stack a B+W 486 reflective IR/UV blocking filter on your lens with a LDP CC1 absorption filter to get back to good normal color.

For the Dual Spectrum conversion you only need to put the B+W 486 reflective IR/UV filter on your lens and it is back to normal color!

Disadvantages to the Full or Dual Spectrum Camera Conversion:

More expensive to convert.
External filters for each of our lens sizes.
Color filters (530 – 665nm) are not expensive but the B+W 093, B+W 486 and the LDP CC1 filters are VERY expensive.
Your camera MUST have a live view mode to focus and compose.

Image 6: Charlotte Marie, 830nm X100s

I have several cameras converted to above 800nm and several full spectrum and a new dual spectrum converted Fuji X100s. The images that I am getting from the Fuji with a B+W 093 830nm filter are the sharpest and most stunning deep IR images that I have ever produced! But that doesn’t mean that you need to go out and purchase that one. Any camera with live view will work great with the 830nm spectrum. Keep in mind though, that the more modern your camera is the higher the usable ISO will be!

You can contact Mark at his web site at http://www.MarkHilliardAtelier-blog.com for information on his Color & IR workshops, which he teaches with Jamie Davidson, and for his IR Post Processing DVD Tutorials!

Fuga City, 830nm, Georgetown, SC

May 3 2014

Going Home to Momma with the Leica M7…. Film Photography Returns!

Ahhh… It Feels So Good!

Spring in the South… Rollei IR400 Film – Leica M7 50mm Lux – Rodinal 1-50

Oh my, I do NOT know where it came from but I got the BUG again for more film photography! I have a cabinet here in the Gallery just full of old film cameras plus a Leica M7 film body that works with ALL OF MY M MOUNT LENSES! (see the last post HERE for more info on the lenses). I decided to purchase a new stock of several films:

Kodak Tri-X 400, Ohh
Eastman Double X 200, Ahh
Rollei IR400 400, WOW!
Kodak Tmax, Ho hum…
Ilford HP5+ 400

Rodinal One Shot

I picked up some stainless 2 roll developing tanks with a bunch of Hewes (don’t skimp on your reels, buy the best!) Stainless Steel 35mm Reels. For developing I like Rodinal One Shot due to its ease of use and a life span of around 40 years. I simply mix it one tank at a time usually at a 1:50 ratio with water using a small syringe. It allows a very wide latitude of contrast and iso control. I have used several other developers but I keep coming back to Rodinal!

Now, I am playing with several cameras. As I said my main and BEST camera is my Leica M7. But here is a current list of those cameras I am using:

Leica M7 with Leica & Voigtlander Lenses
Petri 7s, 1962
Olympus XA
Olympus 35 RC
Shen Hao 4×5 Field Camera (about 12 years old)

1962 Custom Petri 7s Film Body

The Petri 7S has been in my hands since 1962 and still shoots great ( I did send it off to have the light seals replaced and a new leather covering ). The Petri has no batteries but rather a solar cell around the lens that drives a needle exposure meter that you simply place into its center notch for a good image!

All of the cameras in my list above have proven reliable but with the Petri you get a link to the past, specifically MY past as this was my 2nd camera I owed when I was young!

The Olympus 35 RC is an amazing small rangefinder with very nice controls. It is smaller then the Petri 7s and actually has better control functionality. It does require a battery to run its metering system though which is a step down from the Petri 7S in my opinion. The nice thing other than the size is the fact that EVERYTHING is displayed inside of the viewfinder. Unlike a refurbished Petri 7S which can be found for around $100 used on Ebay, the Olympus 35 RC camera refurbished is demanding around $250! This is a big difference in price and tells you a lot about its quality and demand! I was lucky to find one from a collectors inventory that he sent off to be totally refurbished and re-skinned for much less than $200.00! For you film shooters out there on a budget this is the camera that I recommend if you find yourself desiring a rangefinder.

My Custom Olympus 35 RC

The Olympus XA was a 35mm rangefinder camera built by Olympus of Japan. It was one of the smallest rangefinder cameras ever made, together with the Contax T.

Olympus-XA

It was designed by Yoshihisa Maitani who had joined Olympus Optical Co Ltd in 1956. He was the chief camera designer and managing director of Olympus Optical Co Ltd., having developed a number of legendary cameras during his career. These included the Pen series, the OM series, the XA series, the IS series and the [mju:] series of cameras.

The original model, the XA, was sold from 1979 to 1985. The original XA features true rangefinder focusing, a fast 35mm f/2.8 lens, and aperture prioritymetering. The lens was protected by a sliding dust cover.

This is the smallest 35mm rangefinder ever made. It will fit in the palm of my hand and will make a great system to have with me everywhere I go!

The Leica M7 uses batteries and sports a center weighted spot meter measured either off the film or off the shutter. I find that it meters very reliable. It is the top of the heap when it comes to 35mm film cameras. There are a lot of high end rangefinder cameras on the market but the Leica is the top. I really excels in the area of long exposures with either a count down timer in the viewfinder for images metered and controlled in the aperture priority mode or a count up timer for exposures done in the bulb mode. In bulb, it will count up to 16 min then stops counting for battery conservation, but will continue exposing until you release the remote shutter release. It will use NO battery power after the 16 min count up timer turns off until you release the shutter then it requires a pulse of electricity to close the shutter. NO other rangefinder can say this unless you use a pure mechanical camera like a Leica M2 which has no metering system at all.

The Leica M7 is surprisingly heavy but easy to handle. I keep reading about other high end rangefinder bodies out there but when you do the comparison of features I always come back to the M7.

My Leica M7 Film Body

All of my cameras are fun to use and reliable. With the Leica M7 you get the world class glass but with the Petri 7S you get a link to the past, specifically MY past as this was my 2nd camera I owed when I was young! The Olympus 35 RC is an advanced rangefinder from the 1970 era and is slick and fun to shoot. You will see examples from these cameras towards the end of this post!

______________________________________________________

I usually develop my negatives on Sundays. I have a film drying cabinet that I use to dry the film without dust spots overnight. I then will scan the negatives on Monday or Tuesday using a Nikon 4000 ED film scanner at 4000 dpi into the DNG format for editing and cleaning later in the week. I usually shoot 2 or 3 rolls a week.

Rollei IR400 Film

My favorite film is Rollei IR400. This is available at the big camera stores like Digitaltruth, Freestyle and B&H. What makes this film so special is the fact that is very much like Kodak Tri-X 400 as shot. It has a VERY THIN film base which really makes scanning easy. BUT the most amazing thing about this film is that it is sensitive to INFRARED! If you place a Hoya R72 IR filter on the camera lens the film will record 720nm IR images! There is an ISO hit due to the filter being so dark down to 12 ISO but it is worth it being able to shoot in both normal B&W and IR B&W!

Next I like the Kodak Tri-X 400 film. It gives great contrasts and has a very wide latitude in development. It is well known and tested and for ultra long exposures.

Eastman Double X 5222

Then comes Eastman Double X Cinema film. This is a GREAT B&W film that gives a very smooth gradation and lovely warm tonality with slightly increased contrasts. This is motion picture film so unless you are going to buy a 400 foot reel you will need to purchase it from the store at Film Photography Project. They will sell it in either 24 exposure rolls or a 100 foot bulk loader roll. It develops nicely in Rodinal at 1:60 for ISO 200 but there are ratios for 100 up to 800 ISO! This film is very much worth experimenting with.

I need to say a few words about the folks at Film Photography Project. They offer an amazing wide selection of films and old cameras! This includes Polaroid cameras and film also! Their Podcast is amazing and I find that it is so good that I now have it running all day while I am working at my gallery in Pawleys Island. Good Stuff, check them out here: Film Photography Project.

Whatever film you decide to use you will be pleased with the results. Processing is easy to do with a VERY small investment. You will need:

Film Camera
Film
Chemestry: Developer, Stop (you can use water), Fixer and water bath with a Wetting Agent. $40 to get started

Film drying hanger clips $3 for a bag of 2
Film tank, either stainless steel or a Peterson. Peterson tank and reel is about $40
Film tank reels (if stainless do not skimp on these). Hewes Steel are about $25 each
Dark changing bag to move the film from the canister to the developing tank. $40
You will also need some way to scan your film into a digital image or pay someone to do it for you.

That is it. It normally takes me about an hour to develop 2 rolls. I will let them dry for several hours then cut them into strips of 6 and put them into plastic storage sheets.

For scanning, as I said above, I use a Nikon 4000ED film scanner. As you can guess from the name it will scan at 4000 dpi and has a lot of adapters for different types of film scan feeders. It has slide auto feeders, single slide feeders, a 6 position film rail for troublesome film and an automatic roll feeder to scan entire rolls automatically. If you couple this with VIEWSCAN software you have an amazing scanning system that rivals those that pro labs use!

Nikon 4000 ED system

Ok, lets take a look at the results of 3 types of film in 2 cameras!

Pawleys Pier M7 Elmarit 28 Rollei IR400 film in Rodinal at 1:50 240 second exposure

1962 Petri 7S, Eastman Double X film in Rodinal at 1:60

Eastman Double X Film – 1962 Petri 7S – Rodinal 1-50

1962 Petri 7S, Eastman Double X film in Rodinal at 1:60

Rollei IR400 Film – Leica M7 50mm Lux – Rodinal 1-50

Rollei IR400 Film – M7 28mm Elmarit – Rodinal 1-50

Rollei IR400 Film – M7 50mm Lux – Rodinal 1-50 240 second exposure

Rollei IR400 Film with R72 IR Filter – M7 50mm Lux – Rodinal 1-50

Rollei IR400 Film – M7 50mm Lux – Rodinal 1-50

I hope that you enjoyed this post and its associated images. I have been using film since I was 9 years old. At 13 I had my first darkroom at home. I worked in film in my own darkroom until I was 18 when that period of my life can to an end. 42 years later I re-engaged film photography again and cannot help but ask “Why did I wait so long?” I have been shooting digital since my career at Eastman Kodak when you could ONLY get B&W digital camera systems! I have spent fortunes on digital and have loved every moment of it. Film will NOT take any of that away, I still have digital and continue to use it. But I have to be honest and admit that working in film again fills me with a sense of peace that I have not experiences in a very long time….

Please let me know what you think of this post!

May 3 2014

Leica M240 Digital..

Oh, No… Another Camera System…

Leica M240 24 mpx Digital

Well, in a wild turn of events I have picked up some new camera equipment… This is a really no surprise as it is a sickness or rather addiction! But onward and upward!

I do have to tell you that I am REALLY excited over acquiring these new systems though. And unfortunately, one thing has let to another and thus a long journey has also been started into the realm of film again!

But first let me highlight the “What”!

As you can see in the top image, the newest body is the new Leica M240 24 full frame 24 mega pixel body. It also has a true “live view” which allows use of all sorts of other lenses like the Leica R series that you would NOT normally be able to focus. This means everything from long telephotos to true macro (subject of the next post!). After a few months of use I can tell you that this is the BEST digital system that I have ever used! Along with it I also picked up several lenses.

Leica 50mm Summalux ASPH f/1.4

First, the main lens is the Leica M 50mm f/1.4 Summalux ASPH lens in silver. This is a HEAVY lens. If attacked by a bear I could use it to beat him half to death. The lens itself has turned into my main lens that I use 60% of the time. It has a built in leans hood and takes 46mm filters. The Bokah that this lens can generate is amazing beyond description. It is extremely smooth and easy to use and generates images that are truly amazing!

Tulip at f/1.4, Leica 50mm Summalux ASPH

Tulip at f/1.4, Leica M240 w/ Leica 50mm Summalux ASPH

Leica 28mm Elmarit ASPH

The next lens is the Leica M mount 28mm f/2.8 Elmarit ASPH. This is a TINY light lens that takes 39mm filters. These smaller filters sized considerably cut the cost of purchasing top of the line B+W filters. Since the M240 camera is a full frame sensor the 28mm really is 28mm! The lens is sharp beyond words and quick to focus. I am really please with this lens and use it for landscapes and lightning photography when mounted on my Fuji X-T1 camera.

The example image for this lens below is a texture overlay. The main image was an Infrared image taken by placing a R72 (720nm) infrared filter on the lens giving a white IR image of a palm leaf, then doing a texture overlay of colored flowers.

M240-1916-Palm Overlay-2014 in both 720nm Infrared and Color

Leica Macro-Elmar-M 90 mm f/4

The next lens is the Leica Macro-Elmar-M 90 mm f/4 and its macro adapter with split image view. This is a very unique lens in that it collapses for storage. By itself it is a great 90mm lens and has proven useful for mid range subjects as well as for Infrared work with the addition of a R72 IR filter. When you add its macro adapter (extension tube coupled to a viewfinder modifier) it will then give you macro capabilities down to a 1:3 image ratio! Below is an example of a macro image shot with this lens last week at Moore Farms in Lake City .

Leica Macro-Elmar-M 90 mm f/4

Now, I already had my two Voigtlander M mount lenses that I was using with the Fuji systems, but they are M mount!

Voigtlander 75mm f/1.8

First is the Voigtlander Heliar 75mm f/1.8 Lens. This is an amazing lens that is very fast at f/1.8. The focus is smooth and long and it works very well with M mount extension tubes for true macro work (1:1 image ratio). I do have 3 of the 10mm extension tubes for it as well as a Canon 500D closeup lens. For my really small stuff this is my goto lens. It is a little long but has a very nice clam on lens hood. While it is NOT a Leica lens it is very close in terms of quality and ease and the f/1.8 aperture gives lovely bokah!

Here then is an example of a 1:1 life-size macro shot with it!

Green Dots…

Voigtlander 12mm Ultra Wide Hellar

The last lens that I am going to talk about here is the Voigtlander Ultra Wide-Heliar 12mm f/5.6 Aspherical M Mount lens. Another heavy all metal lens with remarkable focus and DOF. Since it is so wide you can almost have a DOF from right in front of the lens out to infinity! Plus 12mm is really 12mm on the camera! Given that the camera is both full frame and has a live view you can see the power of using this lens and the ease of composition and focus!

In the example image below please notice the extreme range of the depth of field!

Stormy Seas, down low and dirty… Voigtlander 12mm

As you can see, all of the system components are extremely high quality and easy to use giving stunning results. I like to create Long Exposure and Infrared images as well so I thought that I would share some of them with you below.

Pier, Leica M240 60 second exposure

M240 w/ R72 IR Filter

Leica M240 w/ 28mm Elmarit

6 Shot HDR, Leica M240

Blue Hour in B&W, Leica M240, 60 second exposure

Low Tide, Leica M240, 45 second exposure

I hope that you enjoyed this post. I will have several more shortly in the future highlighting more of this system as well as some new FILM work!!

Stay Tuned!

Dec 28 2013

How to get the BEST B&W images out of your Infrared camera!

Final B&W Version!

I am VERY particular in how I process my images, either color or IR it doesn’t make any difference! This comes from years of visualization, photography, a career at Eastman Kodak, endless hours of post processing and just plain being old and cranky! I look for specific compositional elements in each and every image I create then look to create a stepped series of varying contrast levels to draw the viewer into the image. This is important in my color work, but CRITICAL in my B&W images.

This post though, is specifically about B&W IR post processing. But before we actually get to that point I wish to share with you my workflow that I go through up to the point of processing it for B&W.

Assuming that our images have been edited for choice and artistic content and been processed from RAW to 16 bit TIFF…

I evaluate each image to see if it is viable as a processed RAW image. This means that it has been converted to TIFF, then evaluated as is. If it looks good (nice bronze skies and monochromatic leaves), I will then post process it according to the the same workflow below that I use for B&W and save it. Then…
Convert the image to Faux Color IR but running the Faux Process (channels swap and color saturation & hue adjustments) and save.

Step 1 Evaluate the RAW image to see it it stands on its own!

Step 2 Process the RAW image into Faux Color.

Only when these steps are completed do I start my B&W conversion and processing. The reason for this is that the best B&W conversions are generated when we have gotten the best possible color adjustments done! The better the colors the better the B&W! This is true of both color camera or an IR camera.

As you can see from the B&W image above of the bone yard at Cape Romain here in South Carolina, the image is full of alternating contrast areas that draw the viewers eyes into the image from the bottom left corner up to the center. This was a choice made in post processing.

So remember, you will get a much better B&W image if you first post process the color version! This will give the software (Nik’s Silver EFX Pro) a greater latitude of colors and contrasts to work from rather than just converting the RAW version directly into B&W.

Compositional Elements

In Infrared photography, there are 3 main elements that we need to get an emotionally charged image:

Sky with moody cloud structure.
Water
Green plants.

If you can get all 3 you will get a much more powerful image, but as long as you can get at least 1 you will have more to work with to get a good image. If you find yourself in a location where none of the 3 desired elements can be found then look for repeating patterns! Look at the example below. This image is of old Rt. 66 through the west taken at the height of a world class snow storm a few years ago in 720nm IR. There is no water, clouds or plants to work with. But we have a vanishing perspective due to the repeating telephone poles plus great structure in the snow cover scrub! There is also just a hint of the sun behind the top of the first telephone pole which adds interest and change of contrast.

Old Rt. 66. A hint of sun behind the top of the first telephone pole. 720nm IR

Now, as easy as all of this sounds, it really does take some planning and simple photoshop skills. Plus the more you practice it the better and faster you will get!

So lets take a look at our sample B&W converted per post processed B&W image below. To get to this point, you take your color image and open it in Niks Silver EFX software filter. You would then choose the recipe that you like the best from the left hand menu watching the effect on the preview image on the screen. When you find the version you like the best you would then adjust the contrast, structure and highlights/shadows to get your starting image, then accept it and drop it back into Photoshop!

This then is the results of what we just did:

Adams Mill Bridge, IN, B&W Converted NO Post Processing!

This is a very nice image to be sure! But, it can be drastically improved with very little work. By selecting areas of alternating contrasts we can enhance the emotional impact of this image and draw the viewers eyes into the image giving it an almost 3 dimensional feel! Lets take a look at these areas!

Take a close look at the image. Look for ways to give alternating areas of light and dark, low contrast and high contrast. Use these areas to create steps into your image. For the image above of the Adams Mill un processed this is how I approach it:

Visualizing areas of light/dark, low/high contrasts to step your viewer through the image!

Looks like a puzzle doesn’t it! But is is really easy once you decide HOW you want to approach the image. We are going to use the Nik plugin filter called Viveza to accomplish all of these changes. Simply start on one edge of the image and work your way across. Nik gives you a very powerful selection and masking tool call selection points. These points pick out areas of similar color or shading.

So here is how it all works:

Start Nik Viveza in your editor.
Start from one edge and work across the image.
Using a selection point, place it on the first area to be edited.
Adjust the size if the selection point as necessary.
Adjust the brightness slider to set the light/black point you desire.
Adjust the structure (sharpness) with the structure slider.
Adjust the contrast with the contrast slider.
If you find that your edits affect areas outside of your desired area simply add another (or several) adjustment points with no editing in those affected areas to bring them back to where they were. This is called an anchor point. You will find that you will add anchor points all over your image to bring areas back to their un edited version.
Simply work your way across the image editing as you go. Create areas of alternating contrasts and you will generate a powerful B&W image in very little time!

Here is the finished version of the image above!

Adams Mill Bridge, IN, B&W Converted Post Processed

Go back and forth, look at the differences between the 2 images. In the 2nd image, there is a tonal range of complete black to complete white. The un-edited version has a little contrast but lacks punch and it does NOT have a complete tonal range!

This looks very simple doesn’t it! Well it is!! It just requires that you pre visualize what you desire in your finished image then simply make it so.

I hope that you enjoyed this simple tutorial. If you would like an enhanced version with complete step by step instructions and screen captures please visit my BLOG at:

http://www.markhilliardatelier.wordpress.com

and look at the post on my Color & Infrared Video Post Processing Tutorial on a 2 DVD set.

Please let me know what you think of all this!!

Nov 18 2013

Fuji X-E2 – Amazing Quality!

My Fuji X-E2 – Just Perfect!

Shrimper Carolyn Ann, Fuji X-E2

I have to tell you that I am REALLY a Fuji fan. I have the following Fuji bodies:

X-Pro 1 – Color
X-Pro 1 – 720nm Infrared Conversion
X-E1 – Color
X100s – My walk around companion!
X-E2 – Color

I also have ALL of the lenses but 2!

I moved to Fuji after a long search for a small light weight camera system after loosing 80% use of both hands and arms. I went through ALL of the micro 4/3 systems (and even kept 2!). I sold $40,000 in Canon bodies and L glass and have NEVER looked back!

In the Fuji, not only have I found perfections but being a range finder styled system it is like going home to mom!

X-E2

I have a X100s that I use for most of my walk around work, it is just so tiny and generates amazing images. So when Fuji announced the X-E2 with the same sensor and with even more upgrades I ordered one from Amazon. Much to my amazement it shipped a week later! I have had it in hand now for about 2 weeks and just yesterday took it out to a local fishing port for a bit of creative work. I love the upgrades and how fast this camera is. It even passes the X100s in ability. I originally purchased the X-E1 in order to take advantage of its electronic remote shutter release. It enables me to hook it up to devices like a lightning trigger and my water drop collision system. The X-E1 did a great job with these devices and I expect no less with the X-E2 but that is for another day.

X-E2 Top Panel

Yesterday I took it out to shoot shrimp boats in North Carolina and have to tell you that the camera just blew me away. It is such a major upgrade over the X-E1 that I cannot believe that they came from the same company! The controls are CRISP, the knobs just snap from position to position with no play and they stay where you put them. The larger LCD is nice but the faster EVF is a sight to behold. I dressed the camera in a RRS L bracket with grip and put on a nice soft release. Physically except for new buttons and placement the camera is identical to the X-E1. One MAJOR improvement is the addition of 3 stops of EV adjustment instead of the normal 2 that Fuji has provided in the past.

All in all I am really happy with this upgrade. I will keep the X-E1 and convert it to 800nm IR in the near future. There is no sense in letting that viable and great camera go to waste!

Little Scrapper, X-E2, RAW converted in ACR

Next I put the camera into the JPG mode and shot color & B&W images in camera. The results speak for them selves!

Shrimper Donkey X-E2

Shrimper Donkey, CAMERA B&W X-E2

Carolyn Ann, Color, X-E2

Carolyn Ann, In Camera B&W X-E2

Working Shrimper Deck, X-E2

Working Shrimper Deck In Camera B&W, X-E2

This posting was never meant to be a review, rather a statement of its impact upon me with sample images!

Please let me know what you think…

Nov 16 2013

Video Workshop Customer Comments & Feedback!

Customer Comments on the Color & Infrared Post Processing From Beginning To End Video Workshop

IR Post Processing in Color and B&W

I have started getting feedback and comments on the new IR/Color Video Tutorial. As they arrive I will share them here in this post with you. I am very excited over these. So far there are about 100 shipped videos out there!

TO ORDER THE DVD SET:

US Orders CLICK HERE

The cost is $29.95 plus shipping which will automatically be added when you order.

___________________________________________

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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I attempted IR several years ago and was totally frustrated when it came to post processing. Despite enrolling in an online course and spending hundreds of dollars on IR books, it was a hit and miss proposition in getting any decent images. Everyone said the same thing – “swap your red & blue channels in Photoshop”. Sorry, that doesn’t work all of the time.

Everything changed after taking Mark’s IR workshop. Now it’s even easier to learn IR though this wonderful DVD set. Get your White Balance right in the beginning, watch your red channel in your histogram, then follow Mark’s IR post processing methods. He makes it that simple.

Mark is truly a master!

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Mark, I demand my money back on the IR & Color Post Processing Video tutorial ! How dare you sell DVD of that quality for $30 when it is easily worth 3 times that amount! Mark – this was the best training DVD I ever saw. You covered everything perfectly. I watched it twice yesterday and intend to watch it again today. You covered everything perfectly. You are truly a master! Thanks

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The DVD arrived today, thank you. The cover, case, packaging all looks great: very professional. Will delve into it while traveling next week.

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I really like your suggested folder structure, of leaving the original RAW files untouched, then having a separate Develop folder, for work in progress images, and another Archival folder for final, processed images. I’ve spent the past 5 years processing my original RAW files. Goodness know what damage I’ve done. Your system is much smarter. Thank you!

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I have Ingestamatic working reasonably reliably now and am coming to appreciate its utility in naming files and organizing sub-folders. It’s certainly smarter than any other uploading programs I’ve used.

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I love my videos!

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I would like to thank those who have taken the time to send feedback and comments! It means a lot to me and will help improve on the next Video Tutorial that I put together!

Please keep them coming!

Nov 12 2013

UPDATED: IR & COLOR POST PROCESSING VIDEO TUTORIAL!! INTERNATIONAL SHIPPING

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

This covers image ingestion using Ingestimatic for both Mac & Windows
Raw conversion using Adobe ACR – Capture 1 Pro and Capture 1 Express
RAW Library Setup
Backup Strategies
Intelligent IR channel swap using the Khromagraphy PS Plugin Action
Post Processing Color, Infrared and B&W using the Nik filter set in Photoshop.
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

The cost of the video for US customers is $29.95 plus $5.95 shipping which will be automatically added when you order.

___________________________________________

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 USD

___________________________________________

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

Video Course Inside

	Presenting at the NE… on Presenting at the NECCC Photog…
	Creative B&W Edu… on Creative B&W Educational…
	James Martin Duffy on Railroad Day Trip and the Fuji…
	CLiR Infrared Post P… on CLiR Infrared Post Processing…

The New CLiR Infrared Processing System and Photoshop panel!

Let me know your thoughts on this when you have tried it or watched their online intro video!

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720nm Medium Format Film Photography with Rollei IR400 Film

If you are considering working in 720nm whether in film or digital I highly recommend this new filter from Kolari!

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The joys of returning to our photographic roots…

Film Cameras

Film

Please let me know what you think of this post!

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Let me introduce you to Steven Icanberry!

Am I satisfied? YOU BET!!

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Removing The DISTRACTION of COLOR!

Do you enjoy the purity of a finely crafted B&W image?

But DON’T forget film…. Which really is a post for another day.

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Wandering the shrimp fleets of Georgetown with my Voigtlander Bessa III 120 film camera….

Come on back in a few weeks to see the results of todays outing!

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Kolari Vision introduces a NEW Anti Reflective IR coating for their conversion filters!

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Yes, HOW could such a high quality Leica Lens be so problematic….

Enter High Tac Copper Tape…

7 Meter Focus Tests…

Now, The 50 meter tests…

Infinity Focus Test

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An Easy & Cost Effective Way To Fix Paper Issues!

Please let me know what you think of this post and with suggestions for future posts!

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Perfection in Brown…

I hope that you enjoyed this short post on the Van Dyke Brown Process. You can look for more about it in the future!

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A new (read OLD) way of printing!

Alternative Printing from History!

Look forward to many more posts on the processes as I master them!

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It just keeps getting better….

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830nm Infrared Conversion on the Fuji X100s

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Ahhh… It Feels So Good!

Please let me know what you think of this post!

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Oh, No… Another Camera System…

I hope that you enjoyed this post. I will have several more shortly in the future highlighting more of this system as well as some new FILM work!!

Stay Tuned!

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How to get the BEST B&W images out of your Infrared camera!

Compositional Elements

This then is the results of what we just did:

So here is how it all works:

Here is the finished version of the image above!

and look at the post on my Color & Infrared Video Post Processing Tutorial on a 2 DVD set.

Please let me know what you think of all this!!

Share this:

My Fuji X-E2 – Just Perfect!

Please let me know what you think…

Share this:

Customer Comments on the Color & Infrared Post Processing From Beginning To End Video Workshop

TO ORDER THE DVD SET:

US Orders CLICK HERE

INTERNATIONAL ORDERS:

Pay via Paypal using the payee address:

ellen@thelensworkgallery.com

International Charges

Everything changed after taking Mark’s IR workshop. Now it’s even easier to learn IR though this wonderful DVD set. Get your White Balance right in the beginning, watch your red channel in your histogram, then follow Mark’s IR post processing methods. He makes it that simple.

Mark is truly a master!

The DVD arrived today, thank you. The cover, case, packaging all looks great: very professional. Will delve into it while traveling next week.

I have Ingestamatic working reasonably reliably now and am coming to appreciate its utility in naming files and organizing sub-folders. It’s certainly smarter than any other uploading programs I’ve used.

I love my videos!

Please keep them coming!

Share this:

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

TO ORDER THE DVD SET: