Category Light House Photography

Oct 27 2017

Testing the new Fuji GA645zi Medium Format Camera


A Light Weight 120 Autofocus Travel Camera with a Zoom Lens!

Fuji GA645zi

Fuji GA645zi

Well…. I have been waiting to test out my new Fuji GA645zi camera for about a week now but due to family issues I have been unable to do so.
I finally made it out to visit the shrimp boats just west of Tybee Island and the light house there! The sky was very plain with no clouds but I really needed to test this camera out. I put on a yellow filter to slightly darken the sky and used Fuji Acros 100 film.
 
This is the shrimper Agnes Marie.
Shrimp Boat Agnes Marie

Shrimp Boat Agnes Marie

Data:
Fuji GA645zi – Acros 100 – f19 1-30 Plus 1 EV, Yellow Filter 9-18-17 – Wet Mount scanned – Agnes Marie – 2017-10-27. Processed in Xtol 1:1.
Fuji GA645zi

Fuji GA645zi

Please note that along the bottom of the frame ALL of the exposure data is recorded!  This is a feature that I really like.

 
The auto focus system is very robust, fast and dead on! It is not as loud as people claimed and I really enjoyed using it! I had an issue with my first roll in that it did not clear the take up reel and bulged out fogging most of the roll. Bad me, I used the one that came with the camera, so I then used the reel that the Acros came on and all is well there now. 
 
I know that the sky is plain but I am still happy with the results!
 
I am looking at this camera as a small light 120 travel camera. I know that the 6×4.5 negative is smaller than my 6x7and 6×9 systems but it still gives a large enough negative for sizable prints.  An other nice feature is that the camera has a 7 position zoom quasi zoom lens which again makes it attractive for travel!   
I only had time to wet mount scan 1 image today but I put 4 rolls of film thru it so there will be more on the way including the Tybee Lighthouse!
 
Jul 5 2014

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


830nm Infrared Conversion on the Fuji X100s

 

Oak Reflections, 830nm

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

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.

Pawleys Marsh, 720nm

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.

Shrimp Boat at 830nm

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.

 

Mabry Mill, 830nm

Image 4:  Mabry Mill, 830nm

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

  1. 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.
  2. 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.
Rock Run Mill, 830nm

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.

 

Charlotte Marie, 830nm X100s

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

Fuga City, 830nm, Georgetown, SC

 

May 20 2013

Moody Images in Infrared & Color! Fuji X Pro 1 and X-E1


Grabbing your viewers by the throat and not letting go…

A dark and stormy night

A dark and stormy night, Fuji X Pro 1 w/ 14mm fuji lens at 720nm Infrared.

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!

Paradise Island Light, Nassau

Paradise Island Light, Nassau

 

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!

A dark and stormy night

A dark and stormy night

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.

Lady Katheran

Lady Katheran, 720nm Infrared, Fuji X Pro 1 with Fuji 14mm lens.

Here is the same image processed in B&W.

Lady Katheran

Lady Katheran

 

The workflow to getting great images in post processing is to ALWAYS process in the 3 main ways:

  • RAW:  Check how the images looks right out of the camera.  In 720nm and 590nm you can get some stunning images with beautiful bronze skies!
  • Faux Color:  If your camera captures any color data at all (720nm and lower) then you should ALWAYS take the time to process in this mode.
  • B&W: You just done know what you are going to get unless you try!

 

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!

McClellanville Shrimper

McClellanville Shrimper, RAW right out of the camera!

 

McClellanville Shrimper

McClellanville Shrimper, B&W

 

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!  

 

You will be rewarded for you work!

 

Jan 12 2013

Photo Quote…


Things that I think about. It is just so sad…

 

“I drifted into photography like one drifts

into prostitution.  First I did it to please my friends, 

and eventually I did it for the money”

-Philippe Halsman

 

Sea Strike...

Sea Strike… Panasonic GH2

Nov 18 2012

A DETAILED look at X Pro 1 long exposures….


The Fuji X Pro 1 camera system is VERY WELL suited to this style of photography!

Outer Banks FIshing Pier Sunrise, Fuji X Pro 1 + 10 stop ND filter

Avalon Pier Sunrise, 30 second exposure

I just got back from leading an advanced photo workshop & excursion to the outer banks on Nags Head Island in the Outer Banks!  The subject was HDR and Long Exposure Photography.  It was an amazing workshop filled with great students and we visited amazing locations.  What was so special about this was the sunrise locations at the Avalon Pier (which was broken into 3 parts) and the Outer Banks Fishing Pier.  The wave conditions were a little high due the the North Easter having just passed and made for tough long exposures due the the required shutter speeds!

As you can see with the image on the left, the waters surface was still a little bit misty even with a 30 second exposure.  The light was simply too bright and the waves too large to get a slower shutter speed.  Still, the image is pleasing and as you can see from the blue sky it is just after the sunrise was finished.

Ok, some discussion on equipment is in order here.

  • A sturdy tripod is a must.  It must be able to hold the camera steady even if the water washes over the tripod legs.  I use a large Gitzo Carbon Fiber Tripod with the Really Right Stuff large ball head on top.  The X Pro 1 has the Really Right Stuff L bracket installed.  This system works very well.
  • A remote shutter release is also a must.  The X Pro 1 can only use a mechanical one so I have two in my bag, a 14 inch and a 40 inch.  Both have a BULB lock which enables you to lock the shutter open.
  • A 10 stop and 6 stop ND filter.  I like the B+W versions due to their German Schott Glass construction.  BUT, be aware, the X Pro 1 (in fact most camera systems) cannot meter through the 10 stop ND filter.  If you have a hand held spot meter you can get accurate exposures even with the ND filter!
  • A lens hood is an absolute must for long exposures.  This will keep light from striking the objective element of your lens and reducing contrast and causing lens flare.
  • Know where the sun is going to rise!  There are several great apps for smart phones out there that will tell you this right on the spot!

For rough seas, the longer you can get the exposure the smoother the water will become.  The X Pro 1 will allow up to a 30 second exposure in the T mode. You simply use the arrow keys to change the exposure up or down, but 30 seconds is the max.  For longer, you must use the BULB mode.  The Fuji has a very well designed  BULB mode!  When you trip the shutter, a counter will start on the back LCD screen counting up!  This makes for very easy timing control.  Here then is an example of a 90 second exposure in both Black & White and color.

Outer Banks FIshing Pier Sunrise, 90 second exposure with the 35mm lens. Exposure: 90 seconds, f/16, ISO 200, 10 stop ND filter.

Outer Banks FIshing Pier Sunrise, 90 second exposure with the 35mm lens. Exposure: 90 seconds, f/16, ISO 200, 10 stop ND filter.

Voigtlander Heliar 75mm f/1.8 Lens

Not all long exposures require such a long shutter speed.  For some a shorter speed can generate a nice image as well.  Here are two for your consideration.  The first is simply a daylight shot of a creek mouth into the bay but with the exposure slow enough to smooth out the water and show a little pattern there! This was a 15 second exposure using the incredible Voigtlander Heliar 75mm f/1.8 Lens with the Fuji M mount adapter shot at f/16 and ISO 200.

Mid Day Creek Mouth, CV 75mm f/1.8 lens.

You can see patterns in the water just at the point on the right side.

The second image is of the Roanoke Marshes Lighthouse at sunrise. This was a .3 second exposure at f/3.2.  This image was a bit challenging as I wanted detail in the front of the lighthouse.  I used a Sekonic 758 DR hand held spot meter to measure the building and set the exposure accordingly. This is a very easy to use metering system and will NEVER fail you in use.  Sometimes you simply cannot use the cameras metering system to get the proper exposure.  This is always a factor when you are using ND filter attached to the lens!

For this shot I used the Fuji 35mm lens with a lens hood attached to keep incident light from striking the objective element at an angle.

X-Pro1-Roanoke Marshes Lighthouse Sunrise

Here are a few more sample images for you to think about.  I hope that you enjoy them!

Avalon Pier Sunrise

Outer Banks Fishing Pier Sunrise, 60 second exposure

Sunrise

60 second exposure, Outer Banks FIshing Pier Sunrise

So, take heart, get a ND filter and go out and try some long exposures at sunrise or sunset. If you do not have access to the ocean then use the exposures to slow the motion of the Clouds!  There are all sorts of possibilities out there for you to experiment with!

May 27 2012

Using Light Painting with Very Long Exposures!


Bringing Out Foreground Details..

A few months ago Jamie Davidson and I led a photo workshop and excursion to Charleston, SC. The workshop was in both Infrared and Color photography and we had several sunrise shoots in various locations.  One of my favorites was on Foley Beach looking out at the Morris Island Lighthouse.  There was a groin  (rock break wall) there as well as a boneyard (driftwood forest).

Morris Island Lighthouse Sunrise

My Vision:

What I had in mind was to photograph the  Morris Island lighthouse in silhouette  with the sun rising behind it with driftwood in the foreground as a very long exposure to flatten the ocean surf.  I also wanted to have some surface detail in the driftwood and beach in front of the camera so I knew that I would have to use a very high power flashlight to paint those items during the exposure. Long exposure photography will generate very etherial images that will draw the viewer into the image.  Learning how to generate these types of images is a very worth while endeavor and I hope that you are interested enough to experiment with it as well!

My Equipment:

  • I wanted to shoot this with my Fuji X Pro 1, but at that point I was still waiting for its delivery.
  • Canon 7d camera body.
  • Canon 17-40L lens.
  • Remote shutter release cable.
  • A very stable carbon fiber tripod!
  • Sure Fire U2 variable LED tactical 100 lumen flashlight.
  • Fortitude to get up very early and drive/walk out to the beach (no small task!).

Singh Ray Variable ND

After arriving on site, I looked  for a suitable piece of driftwood to place in the foreground and have it frame the lighthouse.  I setup back about 20 feet so that I could get enough depth of field to have both the tree and the lighthouse both in focus. Setting up the tripod well back from the surf to keep the water from under cutting its legs I framed the shot above.  It looks bright enough but it was so dark that I could not even see the tree!  Please keep in mind here that I also wanted to slow down the movement of the water, so I have installed a variable 8 stop neutral density filter from Singh Ray on the lens.  Even at its minimum setting there is still a 2 stop darkening of the image throughout he viewfinder.  What I am looking for is an exposure time of at least 30 seconds  but longer if possible. What I do is to set the ND at 2 stops then use the flashlight to provide a bright spot for focus. After focusing, I setup the camera in manual mode by adjusting the aperture to f/11 to f/16 and the shutter speed to a starting point of 30 seconds.  I then adjust the variable ND filter to give me a 0 ev exposure in the metering system!

It is this special filter that allows me to really slow down the shutter speed  enough to smooth out the ocean surface!  You do not have to use a variable ND, a set filter like a 6 or 10 stop ND from B+W filters will work fine, but you have to setup the composition and focus before you attach the filter because you will not be able to see through the viewfinder once it is installed.  All of these ND filters are expensive, the B+W ND’s will be over $100 and the Singh Ray will be just at $400!  But EVERY photographer needs some sort of ND filter in order to slow down the shutter speed to smooth out water or cloud movement for a soft etherial image.

The viewfinder must also be covered up once everything is set and before the exposure is made in order to not effect the camera meter.

Ultra Bright Tactical Light

Trip the shutter and step away from the camera/tripod.  Now taking the ultra high power flashlight I use it to paint the surface of the tree and sand around it.  This is a continuous movement of the flashlight over the tree and sand again and again.  I do not want them brightly lit, rather I am looking for just enough light to ensure that the tree is  not a silhouette and that the sand has some detail and structure in its surface.  This can be difficult and you might have to walk closer to the tree in order to have more light from the flashlight fall on it.  But being digital we can take several images before the sky becomes too bright to work!

You can use any light source but you do need to be careful not to use a light that is yellow in color.  The tactical lights are expensive but do not fail due to the bulb and will last a lifetime.  At high power the batteries will only last for an hour or two, but most of these lights have several power levels and can stretch the battery life up to 20 hours!  They are great for photography but they can also save your life in an emergency as well.

Here is a Black & White version of the image above.  This was converted in Photoshop CS6 with Nik Filters Silver EFX Pro 2.

Morris Island Lighthouse Sunrise

If you look up at the very TOP of this page you will see my Blog Banner Image, which was also taken at this location within moments of the Lighthouse image!  This type of photography (long exposure can be very pleasing in it process and is certainly easy on the eyes!

Below is one further image, this time taken by the Fuji X Pro 1 without light painting in the mid morning.  For this image I did use a 52mm B+W 10 stop ND filter, but no light painting as it was already too bright out and was not necessary.

Ultra Long Exposure with the Fuji X Pro 1

Please let me know what you think!

Apr 28 2012

Tybee Island, GA, Hidden Paradise!


Once here it is difficult to leave!

Tybee Island Beach in front of our rental!

Every year I try to make it down to Tybee Island, GA for a visit.  It is one of the hidden treasures of the Southeast coast!  There are two lighthouses there, shrimpers, beaches, birds and many more photographic subjects!  Last year, my wife Ellen made arrangements for a family vacation there with a rental right on the beach.  There were 9 of us there in all and we had a great time!  For me the exciting parts of the week were the photographic excursions out and about.  I am always excited to visit the same places many times as they will always present themselves in a different fashion on each visit!  Below is a small selection of the many things to experience while visiting…

The sand on the beaches there is a fine off white sugar sand and the kids loved to play in it.  There were ALWAYS large ships lined up  to leave and enter the river going up to the port!  Every morning there were shrimp boats going back and forth just off of the beach fishing!

The Tybee Island Lighthouse is a MUST SEE!  It is one of the better looking lighthouses on the coast and always makes a great photographic subject!

Tybee Island Lighthouse in 590nm Infrared.

Cockspur Lighthouse , the 2nd local light house is up the river a mile or so from the Tybee Island Lighthouse.  You can visit it by heading north off of Tybee Island and stopping just before the first bridge and taking the small dirt road off to the right to the marina.  You will then have access with a longer lens to photograph it.  I have done this many times but for this trip we took a Dauphin boat trip out into the river and went around the lighthouse several times.

The Cockspur Lighthouse in Tybee Island.

One of the more interesting things about Tybee Island is the fact that during the summer there are usually daily thunderstorms the come thru the area and this makes for a good opportunity to grab some high speed lightning shots!

High speed daylight lightning capture from the deck of our rental!

Tybee Island is worth taking the time to visit anytime of the year.  Go for a day or a week, you will not be disappointed!

My grandson Jordan pondering the lighthouse keeper's hat as he gets ready to climb the lighthouse stairs!