Going Home to Mama…. Returning to Film!


The joys of returning to our photographic roots…

Pier

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

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 Film Camera, one of dozens of film systems I shoot.

My Custom Olympus 35 RC 

My Leica M7 Film Body

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

Confusion, Petri 7S 35mm, Eastman XX flim

Fuji GF670 Medium Format

Fuji GF670

Fuji GF670

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

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

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

Beautiful!

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:

 

  1. Kodak Tmax 100 in 35, 120 and 4×5, very small grain, good dynamic range easy to process
  2. Fuji Acros 100 in 35, 120 and 4×5, very small grain, good dynamic range NO RECIPROCITY FAILURE, easy to process
  3. Rollei IR400 in 35, 120 and 4×5, Infrared or normal B&W, good dynamic range, easy to process
  4. Rollei Retro 80S in 35 and 120, amazing clarity and sharpness, good dynamic range easy to process
  5. 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!

Amazing Polaroid 4×5 Camera Conversions: Alpenhause Kamera Werke


Let me introduce you to Steven Icanberry!

 

 

My 900 converted to 4x5 by Alpenhause Kamera Werke

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

My Polaroid 900 Camera Set

Steven Icanberry at Alpenhause Kamera Werke

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!

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

Colors colors colors

Beautiful!

Beautiful!

Screen Shot 2016-07-03 at 7.51.07 AM

 

4x5 Film Back

Stevens custom designed 4×5 Film Back

 

My converted 900

My converted 900

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

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

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.

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.

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.

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.

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, M Monochrome

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

 

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

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

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).
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  • 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 test on Visible Light

AR coating tests on BLUE 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

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

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!

 

Creating Digital Negatives For Van Dyke Brown Printing


How I make my Image Stack for Digital Negatives…

Green Negative for UV blocking.

Green Negative for UV blocking.

Easy Digital Negatives is another remarkable book by Peter Mrhar

Easy Digital Negatives is another remarkable book by Peter Mrhar

This post is about how I create my Digital Negatives for printing in Van Dyke Brown.  Before I get into the meat of the subject I need to tell you that I am a follower of Peter Mrhar’s gradient maps for creating my negatives rather than using curves.  The maps will allow you to create a much more controlled negative without the issues normally seen in curves like wild spikes and twists which can really mess up your image.  Peter has written a book on the subject called Easy Digital Negatives which can be purchased on Amazon for a small fee.  The entire book leads up to the last chapter where he gives you an automated script that plugs into Photoshop that will create the gradient map.   Read the entire book first to understand how to develop a exposure test strip and a 245 step print that his script need in order to build the map.  

The basic recipe that Peter gives is:

  1. Create a exposure test strip to get the correct exposure under your UV lights for perfectly exposed dark tones (black/Brown).  You do this with a piece of sensitized paper with a strip of un printed negative material covering 1/2 of the paper.  You then place a total UV blocking material leaving 1 inch of uncovered space, and expose for 1 min.  Then move the UV blocking material to uncover another inch of open paper/film for another min.  Repeat this procedure for about 10 min to create your test chart.   Annotate each exposure with pencil on the paper prior to developing to know what the exposure time was for each movement of the blocking material.  Process and completely dry.  Where the darkest tone that was under the unprinted negative material matches the darkest tone next to it on the paper only side you get your max exposure time.  This then becomes your base exposure for the paper/emulsion comes from.  You will need to do any paper treatments to your paper first like acid washing or applying Fumed Alumina.
  2. Van Dyke Brown Step Wedge Calibration Chart for 3 Min Exposure

    Van Dyke Brown Step Wedge Calibration Chart for 3 Min Exposure

    Now print your 256 step chart that Peter provides on a piece of paper treated the same as in step 1, with a UV blocking color which you will learn about below.  Process and dry.  Scan the resulting image according to Peter’s instructions and feed it to his script in Photoshop and it will pop out a Gradient Map for you to place in your image stack (example below).   

That is all there is to it to create your gradient map (his script will also create a curve if you so desire).

Ok, lets talk about how you put together your file to create your digital negative once your have your gradient map in hand! Below is a copy of my adjustment layers in my digital negative file.

Image Stack in Photoshop for Digital Negative

Image Stack in Photoshop for Digital Negative

Starting at the bottom and working up, take a look at each layer:

  1. Background, default layer in every PS file.
  2. White Background, if you select this the non image area of your negative will print black (green) and leave the emulsion unexposed and white.
  3. Transparent Background, basically the same as layer 2.  I have this here so that I can select it and be able to read my text layer above on the negative.
  4. Black Background, if you select this layer then you will get a negative with the non image area printing white which will force expose the paper black.
  5. 256 step tablet.  You can select this layer to print a test chart.
  6. Picture Goes Here.  Place your image to be printed above this layer.
  7. Picture, REMEMBER even though we are printing a B&W image it MUST be in RGB mode because we are going to print the negative in COLOR to have a UV blocking layer on the top of the stack!
  8. Text layer  with data to be printed on the paper but separated from the image.  This is the bottom of a grouped set of layers that are all selected by simply selecting the group name, read on…
  9. Gradient Map for Lana Paper, acid washed and exposed for 2.5 min.  This is the meat of the layer stack.  This one layer will correct your MID TONES while the 2.5min exposure will correct for the dark tones.  This layer is what make your negative work.
  10. Lana paper group name.  Select this and the next 2 will automatically be selected. I have expanded them so that you can see them here for explanation.
  11. Group of 3 layers for Stonehenge papers with the same basic steps as 8, 9 & 10 with the only difference being a GRADIENT MAP created for Stonehenge paper rather than Lana paper!  you can have groups for each of your papers used in the stack and simply check the boxes you need for the paper you are going to print on!
  12. Invert, you MUST click on this prior to printing the create your negative image, switching your blacks & whites.
  13. Red UV blocking color, click to choose, be careful to not select both Red and Green.
  14. Green UV blocking color, click to choose, be careful not to select both Green and Red.

RULES:

  • Select ONE and ONLY ONE gradient map group or your picture will not print properly!!
  • Select ONE and ONLY ONE color UV blocking color or you picture will not print properly!! 

Let’s talk a little about the UV blocking colors.  It seem a little strange to use a COLOR layer when printing B&W but you need to realize that some colors are better than B&W for controlling your UV exposures!  I have 2 color layers included in my image stack but there can be many others depending upon your printer, ink set and choice in negative film.  For my system (Epson 7900 24 inch printer using the Image Print V9 RIP) I have found that the Green layer works much better.  I am going to show you the difference below between using a B&W negative vs. the GREEN negative.  Pay close attention to the density of the grasses next to the sky in both prints. 

First using a B&W negative with the same gradient map…

B&W negative

B&W negative

As you can see the density of the negative especially in the grasses looks great, but when you look at the output print you can see that the grasses all turn white at the horizon and get lost!

Bent Tree, B&W Negative

Bent Tree, B&W Negative

Now let’s take a look at the negative with the GREEN UV blocking layer…

Green Negative for UV blocking.

Green Negative for UV blocking.

The first thing that you should notice is that the density of both the sky and the grass seems much less dense but when you look at the output print the difference is amazing!

Bent Tree, VDB, w/ green negative

Bent Tree, VDB, w/ green negative

The grasses are now full of texture and you do not loose any detail at the horizon.  The exposure on both images are the same thus you have the same amount of dark areas of shade and in the tree, but the mid tones now are full of greater details.  This was simply achieved by adding the color UV blocking layer.

As I talk about these technical details they may seem simple, but it did take a while for me to master them in all of their glory.  The image used as an example for you is not yet to my liking.  The sky is a little too dark and the shadows are too black.  I have just this week created a new negative with corrections for those specific areas and will be printing this image again tomorrow!

Nothing comes easy with alternative printing. Our printing lives are full of trial and error, but once we master the basics of the digital negative the trial and error period will drop down considerably.   

You can download a copy of my PSD negative stack files both here in my download link on the bottom of the right hand menu and on Facebook in the Van Dyke Brown Printing group or in the Digital Negatives for Contact Printing group.  There is a download file button on the top of each group page that will take you to these files.

I hope that this has been helpful for you. If you have any questions on this process please leave a comment here or join the FB groups above and you will find a great group of people on each group who can and will assist you in your process!

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

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

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

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.

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

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

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!

Van Dyke Brown Printing, 1842


A new (read OLD) way of printing!

8x12" Van Dyke Brown Print

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

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.

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!

Fuji X100s 830nm Infrared and Long Exposures


It just keeps getting better….

 

Pawleys Pier, 830nm 300 seconds, f/16, ISO 200

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

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

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

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!

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

 

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


Ahhh… It Feels So Good!

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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 – Leica M7 50mm Lux – Rodinal 1-50

Rollei IR400 Film - M7 28mm Elmarit - 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 – 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 with R72 IR Filter – M7 50mm Lux – Rodinal 1-50

 

Rollei IR400 Film - 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!

Leica M240 Digital..


Oh, No… Another Camera System…

Leica M240 24 mpx Digital

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

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

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

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

 

Leica Macro-Elmar-M 90 mm f/4

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

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

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...

Green Dots…

Voigtlander 12mm Ultra Wide Hellar

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

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.  

M240-BW 59s16ND PI Pier-0148-2014

Pier, Leica M240 60 second exposure

M240 w/ R72 IR Filter

M240 w/ R72 IR Filter

Leica M240 w/ 28mm Elmarit,

Leica M240 w/ 28mm Elmarit

6 Shot HDR, Leica M240

6 Shot HDR, Leica M240

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

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

M240-1109-60 s PI LE-2014

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!

 

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


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

Final B&W Version!

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…

  1. 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…
  2. 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 1 Evaluate the RAW image to see it it stands on its own!

Step 2 Process the RAW image into Faux Color.

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:

  1. Sky with moody cloud structure.
  2. Water
  3. 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

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!

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!

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:

  1. Start Nik Viveza in your editor.
  2. Start from one edge and work across the image.
  3. Using a selection point, place it on the first area to be edited.
  4. Adjust the size if the selection point as necessary.
  5. Adjust the brightness slider to set the light/black point you desire.
  6. Adjust the structure (sharpness) with the structure slider.
  7. Adjust the contrast with the contrast slider.
  8. 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.  
  9. 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

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!!

Fuji X-E2 – Amazing Quality!


My Fuji  X-E2 – Just Perfect!

Shrimper Carolyn Ann, Fuji X-E2

Shrimper Carolyn Ann, Fuji X-E2

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

  1. X-Pro 1 – Color
  2. X-Pro 1 – 720nm Infrared Conversion
  3. X-E1 – Color
  4. X100s – My walk around companion!
  5. 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

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

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

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 X-E2

 

Shrimper Donkey, CAMERA B&W  X-E2

Shrimper Donkey, CAMERA B&W X-E2

Carolyn Ann, Color, X-E2

Carolyn Ann, Color, X-E2

Carolyn Ann, In Camera B&W X-E2

Carolyn Ann, In Camera B&W X-E2

Working Shrimper Deck, X-E2

Working Shrimper Deck, X-E2

Working Shrimper Deck In Camera B&W, 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…

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

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

___________________________________________

________________________________________________________

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

________________________________________________________

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!

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

DVD OUTSIDE LABEL

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

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

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

TO ORDER THE DVD SET:

US  Orders CLICK    HERE

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

Video Course Inside

Nik Filter Fix for Photoshop CC on Mac & Windows!


To those in the West Virginia Workshop… Here is the FIX for the install issues with the Nik Filters and Photoshop CC!

Thank you for contacting Nik by Google. Since it is a brand new host, the Nik Collection may not have detected Photoshop CC on the computer.  However, you can put it into Photoshop CC with a manual installation. Please follow the steps below to install the Nik Collection to Adobe Photoshop CC:


On a Windows:

If you own a previous version of Photoshop

If you do not have a previous version of Photoshop installed please skip to “only version of photoshop” below.

  1. Make sure all versions of Photoshop are closed.
  2. Navigate to C:\Program Files\Adobe\Adobe Photoshop xx\Plug-ins\
  3. Copy the Google folder to your Desktop.
  4. Navigate to C:\Program Files\Adobe\Adobe Photoshop CC\Plug-ins\
  5. Move the Google folder from the Desktop into the Plug-ins folder.
  6. Restart Photoshop to confirm the plug-ins are there.

 

If the Creative Cloud is your only version of Photoshop

  1. Make sure all versions of Photoshop are closed.
  2. Run the Nik Collection installer from the file you received via email and downloaded. If you no longer have this file, please email customer support to have the file sent to you again.
  3. During the installation process when you get to the Compatible Host Application window, you will notice a plus sign (+) to add an install location. Click that button and navigate to C:\Program Files\Adobe\Photoshop CC\Plug-Ins\. (*See attached screenshot).
  4. Complete the installation, then open Photoshop CC to ensure that the plug-ins have successfully been installed.

These steps will install to Photoshop CC 64-bit. You can check the version of Photoshop by opening Help > System info. The first line will either say x32 or x64 respectively. You can open Photoshop 64-bit directly from C:\Program Files\Adobe\Adobe Photoshop CC (64-bit)\Photoshop.exe. 


On a Macintosh:

If you own a previous version of Photoshop

If you do not have a previous version of Photoshop installed please skip to “only version of photoshop” below.

  1. Make sure all versions of Photoshop are closed.
  2. Navigate to Applications/Adobe Photoshop xx/Plug-ins/
  3. Copy the Google folder to your Desktop.
  4. Navigate to Applications/Adobe Photoshop CC/Plug-ins/
  5. Move the Google folder from the Desktop into the Plug-ins folder.
  6. Restart Photoshop to confirm the plug-ins are there.

If the Creative Cloud is your only version of Photoshop

  1. Make sure all versions of Photoshop are closed.
  2. Run the Nik Collection installer from the file you received via email and downloaded. If you no longer have this file, please email customer support to have the file sent to you again.
  3. During the installation process when you get to the Compatible Host Application window, you will notice a plus sign (+) to add an install location. Click that button and navigate to Mac HD|Applications|Adobe Photoshop CC|Plug-Ins.  (*See attached screenshot).
  4. Complete the installation, then open Photoshop CC to ensure that the plug-ins have successfully been installed.

If you have any further questions, please reply to this email or visit support.google.com/nikcollection to call our Customer Service Department Monday through Friday 8:30 am to 5:00 pm PST.

 

Fuji 55-200 mm on a 720nm IR converted X Pro 1


Finally, a LONG X Lens for the Fuji Family!

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

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

Fuji X 55-200mm

Fuji X 55-200mm

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

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

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

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

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

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

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

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

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

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

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

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

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

 

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

 

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

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

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

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

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

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

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

Pawleys Island Marsh, 200mm B&W Post Processing

Pawleys Island Marsh, 200mm B&W Post Processing

 

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

 

 

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!

 

Fuji X Pro 1 – 720nm Infrared Faux Color and B&W Post Processing


A Simple Tutorial on Infrared Post Processing…

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

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

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

Needed:

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

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

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

My Initial Editing Steps:

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

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

Murrells Inlet Salt Marsh, X Pro 1 720nm IR

Murrells Inlet Salt Marsh, X Pro 1 720nm IR

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

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

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

Annotated Faux Color, X Pro 1 720nm IR

Annotated Faux Color, X Pro 1 720nm IR

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

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

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

Stormy Seas Faux Color, X Pro 1 720nm IR

Stormy Seas Faux Color, X Pro 1 720nm IR

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

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

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

SC School Bus Boat, X Pro 1 720nm IR

SC School Bus Boat, X Pro 1 720nm IR

SC School Bus Boat, X Pro 1 720nm IR

SC School Bus Boat, X Pro 1 720nm IR

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

Fuji X Pro 1 720nm IR Conversion


Here it is…

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Inside the X Pro 1 showing the 720nm filter.

Inside the X Pro 1 showing the 720nm filter.

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

Lens Hot Spots

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

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

Fujifilm XF 35mm F1.4 Len:

Fuji X 35mm Lens

Fuji X 35mm Lens

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

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

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

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

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

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

Voigtlander Heliar 75mm f/1.8 Lens:

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

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

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

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

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

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

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

Fujifilm XF 18mm F2.0 Lens:

Fuji X 18mm lens.

Fuji X 18mm lens.

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

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

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

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

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

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

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

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

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

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

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

Voigtlander Ultra Wide-Heliar 12mm f/5.6

Voitlander 12mm

Voitlander 12mm

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

Take a look at the samples:

Voitlander

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

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

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

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

Fuji 18-55

Fuji 18-55

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

Fujifilm XF 60mm F2.4 Macro Lens:

Fuji 60mm

Fuji 60mm

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

Ok this is all for the initial post.  

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

Please let me know what you think!