The New CLiR Infrared Processing System and Photoshop panel!
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)!
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….
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:
So as you can see they are up and almost ready to start filling orders for these new filters.
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!
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.
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.
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.
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:
There are several ways to have a camera converted to deep B&W above 800nm.
With either the full or dual conversions you can shoot every of the following light spectrums:
* 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:
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!
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!
The cost is $29.95 plus shipping which will automatically be added when you order.
All prices are in USD
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!
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!
The cost of the video for US customers is $29.95 plus $5.95 shipping which will be automatically added when you order.
All Prices are USD
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.
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.
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.
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!
Images that are dark and moody tend to grab our attention. It is as though there is something hidden and dark that demands our attention. We stare at them and analyze the image for a deeper hidden meaning. This creates emotional impact that allows our viewers to share what we felt as we created the images!
Look for dark, stormy skies, moody clouds, dark trees or water. Work in Infrared and you will find that you have a much better chance to capture these kinds of images more often than when working in color. It is still possible to do so in color but you have to work harder at it!
As you can see in the image above, it is moody and draws the viewer into the scene, but it does not have that “dark and stormy” look and feel! As I stated before, it is much easier to capture these types of image when working in Infrared!
Work in both Faux Color and B&W. You never really know what you are going to get unless you take the time to post process both ways. You should even look seriously at the properly white balanced raw image right out of the camera! Sometime you can get a really stunning image there.
Here is the same image processed in B&W.
Try adding a lens vignette to your images to darken the corners. This will give more mood!
Here are some examples of RAW and B&W post processing!
As you can see both versions give stunning results. The most important thing for you to remember is that to get the best results from all of your images it is necessary to take the time to post process in all three modes. Do not short change yourself by cutting corners. Take the time to give each image your best try!
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.
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:
Save your image again with a NEW file name that reflects the difference in your master image library tree!
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).
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!
Sometimes Faux Color images simply do not work, then you still have the great B&W ones to work with!
Well, 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.
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.
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.
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.
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)…
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.
Next, is the same image post processed using CS6 and Nik’s Silver EFX Pro for B&W…
This 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:
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.
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:
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.
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!
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!
I just got back from a major workshop that Jamie Davidison and I led to the New River Gorge in West Virginia where to took our students on a hectic 4 day workshop/excursion. We explored waterfalls, grist mills, trains and vistas while studying Infrared and Color post processing back in the classroom each night till about midnight. This was EXHAUSTING to say the least but never the less, a great workshop full of great photographers who gave as much as they took! My days started every morning at 5am and ended about 1am. I am still recovering!
While the main focus was shooting in Infrared and its associated post processing, I needed to provide loaner IR camera systems to those who did not yet own one, so even though I own three IR systems I was forced to shoot color! The sky each day was free of clouds and very bright, so if I wished to photograph in color I was forced most of the time to shoot HDR images in order to overcome the dynamic range of the day! A lot of the time I was able to successfully capture an image with The X Pro 1 in a single shot like the one shown here on the right of the Glade Creek Mill. But the norm was indeed HDR. The X Pro 1 camera has an unfair advantage over most other camera systems, it has a wider dynamic range and can capture more image data!
Notice that the mill did have some running water which forced me to use very long exposures in the range of 10 to 5 seconds in order to slow the water down. While there was not a lot of water flow there was enough to make the images very nice. I used the 60mm lens on the camera along with a 10 stop ND filter in order to slow it down!
OK so let’s get to it! From this point on, we are going to be working with the same three source files. I will take you through the post processing for the following HDR tools:
I also will be using Nik’s Color EFX Pro 4 and Viveza 2 for post processing (fine tuning) after the HDR conversions are finished!
OK, what is HDR? HDR stands for High Dynamic Range. Think of it this way… You are out taking pictures during the brightest part of the day. You can get a good image of the foreground subject, but the sky is totally blown out, you know pure white. The total range of the light from black to white in your image exceeds what your camera is capable of recording, but our eyes can still see and understand the complete range. So, in the world of photography, we have developed the ability to take several photographs, say three to six, each one with a different exposure from way too dark to really blown out. With these pictures in hand you can now run one of several software programs available that will combine the best of each of these differently exposed image into one that can display the entire range of of the image from black to white!
Now this requires a image with more data than you can store in a 8 bit JPG image, and even more than your 16 bit RAW, TIFF or PSD image! Now we move into the world of 32 bit images that can hold and display a far greater range of black to white data. Now, 32 bit images are all but useless to us in the real world so the HDR software will compress it down to 16 bits by removing select bits of brightness data without really negatively affecting the view of the image and making it possible to view and print the image! Pretty neat technology don’t you think?
What I normally do when shooting HDR is to take a test image and evaluate the histogram. I will look to see what areas are out range, or totally black or totally white. Usually, the blacks will be fine but the whites will be blown out. I will then retake the same image with a negative EV dialed in and re evaluate the image again looking to see if the blown out white areas of the image are now in the proper range. This gives me an idea of just how wide the range of the image needs to be. If the blown out areas take two or three stops of adjustment to bring them back into range then I will then decide upon how many HDR images are needed to be taken to get the total range covered in 1/2 stop increments. You will need to set your camera on a tripod and have it locked down to assure that you get the same exact composition in each shot. You can either use the auto bracket mode on your camera to generate your shots or do it manually. Weather or not you change the ISO or shutter speed is dependent upon the scene or your artistic intent. Some cameras will bracket at most three shots, some 5 and some even 7 or more! You can usually choose to bracket with Aperture, Shutter Speed or ISO. It is important to keep the Aperture constant as to not change the depth of field.
For these shots, as long as I kept the shutter speed longer than 3 seconds I would not have any issues with keeping sharply defined slow moving water to generate the HDR. So I chose a 3 stop bracket using the Shutter Speed, leaving the Aperture and ISO steady.
These three images are the only ones that I will use to explore the various HDR processing software.
This HDR program comes built into Photoshop CS6. It is quite powerful and gives you a lot of options. I found it very easy to use and it gives very nice results. You will find it under the FILE > Automate menu and it will ask you to locate and open your component images or add images already open!
Once your images have been chosen, it will open them and drop you into a full screen dialog where you can make any image adjustments. Once done the software will drop the finished image into Photoshop where you can then do your final tuning with Nik’s Color EFX Pro 4. I like to use the Tonal Contrast filter due to the ability to adjust color contrast in the Highlights, Midtones and Shadows separately from each other. This one tool will really bring out the full potential of your images.
OK, onto Nik Softwares HDR EFX Pro. This is the first version that Nik offered earlier this spring (2012) It has a great interface and does a pretty good job, but requires a little more fine tuning after the HDR conversion is finished. The tuning process was again done using Color EFX Pro 4 and Viveza 2. This is a plugin filter for the Photoshop family and requires that you run a 64 bit operating system in Windows or OSX. It will NOT run on Elements and Lightroom.
I found that the images to be a little flat and lifeless until I applied the Color EFX Pro 4 in the after process tuning steps, then the images started looking pretty good.
OK, now, this is a MAJOR upgrade to Nik’s HDR software. This one revision corrected all of my complaints about flat and lifeless images! There is VERY LITTLE fine tuning needed at all. I think that Nik’s HDR EFX Pro 2 is my favorite conversion tool out there. But I will let the images speak for themselves!
Photomatix is likely the most popular HDR conversion package on the market. It cost around $150 and does NOT require CS5 or CS6 to run. It is a standalone system and when it finishes it will directly save a 16 bit version of your HDR image on your computer that you can then open for further editing. It has many recipes and adjustments and you can do great work with it. I highly recommend it even if you are already running a 64 bit operating system and CS6. You will not be sorry!
As you can see, the 4 converted HDR images are not at all the same. That would be difficult if not impossible to achieve. Each software package has its own adjustments and none of them are exact. I like Nik’s HDR EFX Pro 2 and Photomatix 4.2.3 the best. They are all easy to use and as long as you properly evaluate the scene that you are trying to photograph and properly choose the exposure values of the component images you will get really nice HDR shots!
Infrared photography means so many things to me… I have a popular Infrared Educational Blog at http://infraredatelier.wordpress.com/ where I have shared all of my secrets surrounding Infrared photography for several years, I have a book in work on Infrared photography, 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.
Understand this, you can create Infrared images several different ways:
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!
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!
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!
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:
The more of these items you can get in your images the better they will be! Here is an example…
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!
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:
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!