Advanced Work With The Sony A7rii


Using the Sony A7rii for advanced photographic work….

 

Long Exposure In Charleston, SC

Long Exposure In Charleston, SC, 30 seconds with a 6 stop B+W ND

I was in Charleston, SC last weekend with the a7rii camera system to see how far I could push it!   I find the Sony system to be refreshingly powerful and very capable of any style of photography I desire to shoot.   The Image above of the boat house (Sunrise) was just another example of the power of this system.  I was looking for some long exposure and the water of Charleston Harbor was very smooth to start, with only 6 to 12 inch waves.  The sunrise was blocked by a tremendous super cell thunderstorm system so I just concentrated on the boathouse and smoothing out the water.   I was using the Sony FE 70-200mm F4 G OSS lens at 150mm with a 6 stop B+W ND filter attached which was giving a 30 second exposure.  I was sure that 30 seconds would give me a very smooth water (which it did).  I also desired to capture detail in the stormy clouds but keep the white water.  I metered the waters surface and placed it in Zone 7.5 (what!  You do not know the zone system?  Shame…. We will have to fix this!).  This at ISO 50 and f/16 gave me a 30 second exposure and allowed the 14 stop dynamic range of the camera to capture both the withe of the water as well as cloud details!

Granted, the Sony has a LARGE menu system but the provide you so many programmable custom buttons AND several system setup memories that you can with the turn of a control knob chance the camera functions over to the specific style of shooting you desire!  In my case, I have the M2 memory setup for long exposures, and by simply turning the command dial to M2 the camera is ready for long exposures!

Miss Lulu, Georgetown, SC

Miss Lulu, Georgetown, SC

Here is another example of the amazing capture ability of the Sony.  This is the shrimper Miss Lulu on the dock in Georgetown, SC last Monday morning.   The water of the bay was at slack tide, super high and mirror smooth.   I decided that for this image I wanted B&W but still captured it in color since a color starting image gives the best B&W conversion.   I was using the Sony/Zeiss FE 24-70mm F4 ZA OSS lens at ISO 100 at f/8 with a shutter speed of 1/320 second.  I waited till a Pelican flew into the scene from behind the boat for the capture.  The clouds were slight but still stunning but the boat and its reflection really made the image.   

As I said, During my pre-visualitlation of this image I decides upon monochrom with a flying bird.  I setup the boa further into the image space to allow for a bird to fly into the scene and balancing the overall image with the boat centered with the trees on the right.   This is not a simple snap  shot, a lot of thought went into its setup!

Shrimp Boats are one of my favorite subjects and each and every time I happen by them they always present something new and different!

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More Leica M Monochrome Magic!


Creating World Class B&W Images With Leica Monochrome

Bodie Island Light, M Monochrome

Bodie Island Light, M Monochrome

In my continuing love affair with the Leica M Monochrome camera system I have learned more each day towards creating amazing etherial B&W art…  Keep in mind that I have been shooting B&W film (35mm, 6×7 and 4×5) for several decades and know and understand the process very well. But using the Monochrome is such an easy progression that it seams as though the camera is leading me down this path on its own. Yes there is some small post processing to be done using Nik Filters Silver EFX and once in a while I will add some Viveza as well, but for the most part it is almost perfect out of the camera as long as you get the exposure correct in the shooting!

Leica Tri-Elmar 16 - 18 - 21 mm Lens

Leica Tri-Elmar 16 – 18 – 21 mm Lens

In the image below of the shrimper Stormy Seas, I used the Leica Tri-Elmar set in 16mm.  There is no image distortion from such a wide angle and it is sharp with good depth of field.  When using this lens on the Monochrome you are forced to use the frankenstein viewfinder that you purchase with the lens but that is a small price to pay for such a useful lens.  I also have a Voigtlander Hellar 12mm lens in the camera bag and it works very well on the Monochrome and uses an external 12mm viewfinder, but it does distort the image slightly due it its wideness but you can correct for that in Photoshop.  The thing about the Tri-Elmar is that it replaced 3 separate lenses that were stolen with one small lens!

Stormy Seas Shrimper, M Monochrome with Tri-Elmar at 16mm

Stormy Seas Shrimper, M Monochrome with Tri-Elmar at 16mm

 

Using a fast lens like the 50mm Summilux ASPH for the image below of the Roanoke River Lighthouse allows you to hand hold on dark or stormy days and still get crisp images that jump out at you! For this image I also had a yellow filter attached to bring out the structure of the clouds.  This is one of the HUGE pluses of the Monochrome in that it reacts to the standard B&W filters the same way as film does!

Roanoke River Lighthouse, M Monochrome

Roanoke River Lighthouse, M Monochrom

But as always my main use for the camera is long exposures which is where my true love lives!  Being able to take ocean shots and smooth out the waves is exciting beyond words and the Monochrome does a great job of it with its 4 min bulb limit.  Look at the image below of the (another version) Roanoke Marshes Light House.  I was there when the light was on and each time it circled  it created another slightly offset star effect.  It allows me to create images full of wonder and depth!

Roanoke Marshes Lighthouse with operating Light, 16 second exposure, M Monochrome

Roanoke Marshes Lighthouse with operating Light, 16 second exposure, M Monochrome

The implied stillness of the water with the graduated reflections create an image full of mood and depth.  This is one of my favorite images of this Light House and the fact that during the 16 second exposure the light revolved around 3 times to generate 3 slightly offset star patterns just add more mood to it.  This particular shot was done with a B+W 103 3 stop ND filter to allow the longer shutter speed at f/8 for sharpness with the 50mm Summilux ASPH lens!

Now let me share a detail shot of a fishing boat just up the island from the Light House.  It is simple yet tells a complex story of the boat and job.  

Fishing Float, M Monochrome

Fishing Float, M Monochrome

I love the textures of the image and the sharpness. The texture on the surface of the individual floats are great and perhaps would have been better served by a closer shot. It was taken with the Macro Elmar 90mm lens (a great lens to invest in) and was done on the tripod!

Mushroom, Macro, M Monochrome with Macro Elmar 90mm plus macro adapter

Mushroom, Macro, M Monochrome with Macro Elmar 90mm plus macro adapter

Really Right Stuff TF-01 and Ball Head

Really Right Stuff TF-01 and Ball Head

Continuing with the 90mm Macro Elmar I give you a closeup image taken just as I left the Outer Banks.  This mushroom is only about 2 inches tall and I had to lay down under a log to get it.  Yes a tripod was used but it was the Really Right Stuff table pod which is an amazing tool to have in your kit for just this sort of work  Look at the textures on the bottom and stalk of the mushroom.  This 90mm lens is the only 90 that I will ever buy for my Leica cameras!

Really Right Stuff TF-01

Really Right Stuff TF-01

I hope that you enjoyed this last dedicated post on the Leica M Monochrome camera.  I will have many more images to share from it in the future but I think that you are likely getting tired of dedicated posts!

Thanks for taking the time to view these!!

Leica M Monochrome Magic….


A new camera come homes to live!

 

Leica M Monochrome

Leica M Monochrome

 

About a month ago, my truck was broken into and a camera bag was stolen with several Leica lenses, cameras and accessories.  After the insurance was paid, I purchased the amazing Leica M Monochrome and the Tri-Elmar 16 – 18  – 21 mm lens to replace 3 missing lenses and 1 camera.  

The M Monochrome is truly an amazing camera and the images are beyond stunning! I have found that I actually enjoy using it more that the M 240.  So far, I have used it for ultra long exposures in the Outer Banks, family pictures of my grand children during Christmas and on a just completed trip to Boone, NC for the New Year.  I am NOT going to do a review here rather I will just show the capabilities of this camera system while photographing my favorite subject matter!  

Duggars Creek Falls, Linville, NC   32 second exposure

Duggars Creek Falls, Linville, NC 32 second exposure, 6 stops of ND

Leica Macro-Elmar-M 90mm f/4

Leica Macro-Elmar-M 90mm f/4

The water fall image above was taken on 1 Jan 2015 at Duggars Creek Falls in the parking lot of the Linville Falls visitor center where I sat on a bridge centered over the stream (I cannot get down to the water level due to a recent operation which limited me to just basic views). Notice the sharpness of the image and the tonality of the rocks drawing the viewer into the scene.  There was very little post processing on this image which shows the real power of the Monochrome! For this shot I used the Leica Macro-Elmar-M 90mm f/4 lens which is an amazingly tiny yet sharp lens! This image simply takes my breath away with it sharpness, tonality and the way it draws the viewer into the image.  This is one of my planned images for a Platinum/Palladium print in a few weeks!

This camera is going to be the cornerstone of a old (new for me) printing process where I will be making LARGE contact negatives on an Epson 7900 printer to use in the making of chemical based Platinum/Palladium metallic prints exposed with a high intensity UV lamp set and chemically developed.  All of the images are B&W so the high resolution images generated with the Monochrome will work perfectly with this printing process.

When used with a high quality ND filter set from B+W the most amazing Long Exposures are possible and this camera simply delivers!

The set of ND filters that I keep in my kit for in sizes for each of my Leica lenses  from B+W are:

  • 103  –  3 stop ND
  • 106  –  6 stop ND
  • 110  –  10 stop ND
Outer Banks Fishing Pier, 250 second Exposure

Outer Banks Fishing Pier, 250 second Exposure

Here is an example taken on the Outer Banks of North Carolina prior to sunrise with 6 stops of ND filter and a 250 second exposure!  I used the 50mm Summilux ASPH lens for this image. Look at the tones and graduations of the grays.  Simply amazing…

Roanoke Marshes Light, 8 second exposure

Roanoke Marshes Light, 8 second exposure

Another example is this image of the Roanoke Marshes Lighthouse taken about a month ago at sunrise. The detail in the clouds and water prove the ultra wide dynamic range that this camera is capable of!

Jordan, my grandson on his new Christmas drum set taken with the Monochrome and the  Leica SF 58

Jordan, my grandson on his new Christmas drum set taken with the Monochrome and the Leica SF 58

Leica SF 58 Flash

Leica SF 58 Flash

For people, I have been coupling the M Monochrome with the Leica SF 58 flash which is simply a pleasure to use and is fully integrated with the M electronics! The camera and flash are so well functionally  balanced that it will blow your mind when you pick them up to shoot!  Audio indications from the flash for performance and a dual flash head that allows a straight on light plus a bounced light!

As you can see from the image of Jordan, it is exceptionally well balanced and the tonality is perfect yet there is no overt indication of flash in use!

I have used a Sekonic DR750 spot meter along with special software and target to measure the dynamic range of this camera when shooting in RAW (DNG) and get 11 to 13 stops dependent upon the ISO setting being used.  Who says that paying big dollars for a camera system doesn’t guarantee big performance!   

The system simply amazes me…..

If you have any comments or questions on this post please send me some feedback and I will answer to the best of my ability!

Outer Banks Fishing Pier, 250 second exposure.

Outer Banks Fishing Pier, 250 second exposure. Note the moving clouds!

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

 

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.

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Pay via Paypal using the payee address:

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International Charges

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All prices are in USD

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I attempted IR several years ago and was totally frustrated when it came to post processing.  Despite enrolling in an online course and spending hundreds of dollars on IR books, it was a hit and miss proposition in getting any decent images. Everyone said the same  thing – “swap your red & blue channels in Photoshop”.  Sorry, that doesn’t work all of the time.
Everything changed after taking Mark’s IR workshop.  Now it’s even easier to learn IR though this wonderful DVD set.  Get your White Balance right in the beginning, watch your red channel in your histogram, then follow Mark’s IR post processing methods.  He makes it that simple.
 Mark is truly a master!

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

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

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

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

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I love my videos!

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

Please keep them coming!

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

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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.

 

MACRO!! Fuji X Pro 1, XF 55-200mm Lens & The NEW FX Extension Tubes


Fun With Macro…

Passion Flower

Passion Flower

Photodix

Photoasy Extension Tube Set

I was invited to visit Moore Farms in Lake City South Carolina last week to evaluate them as a workshop location for future workshops.  They have developed a great botanical garden destination that has more plant potential than most other places that I have visited!

For the visit I decided to take along my Fuji X Pro 1, Fuji X100s, Fuji 18-55 and the Fuji 55-200mm lens.  I also picked up the new Photoasy Extension Tube Set which has a 10mm tube and a 16mm tube with the communications connections so that the camera can still talk to the lens!  This was ONLY available on Ebay but recently Amazon Prime has started offering this great set!

Fuji 55-200mm

Fuji 55-200mm

The ENTIRE time I was shooting the X Pro 1 it had the Fuji 55-200mm lens installed with the 16mm extension tube.  I shot on the tripod the entire time with a remote shutter release.  A lot of my shooting with in high sunlight (sometime you cannot help this) and I forgot to bring along a translucent panel to modify the light to a more gentle form.  All of these things aside the camera/lens/tube combination worked great!  I am VERY pleased with the results (please view the Passion Flower above!).  I used an aperture of f/5.6 or f/8 (subject dependent) the entire time and usually had the lens set between 180mm to 200mm.

Because the 55-200mm lens is so long and does NOT offer a lens foot to better balance the camera/lens on the tripod you need a really stable tripod/ball head to keep the entire system stable.  I am using a large carbon fibre Feisol  tripod with the Really Right Stuff BH-55 ball head which is as steady as you can get!

The images generated are very pleasing and sharp all the way out to the edges.  The colors are very well saturated and there is no smearing at all!

The extension tubes are made of plastic with metal mounting rings and the connections match up perfectly.  I found that the 16mm tube was enough for the style of shooting that I was doing on this day (1:2 to 1:4 image ratio closeups)  but I did purchase 2 complete sets of tubes to get closer if necessary.

Here are some of the images generated.  All of the EXIF and GPS data are included.

Purple Cotton Flower

Purple Cotton Flower

Trumpet Pitcher Plant (carnivorous) and Anole

Trumpet Pitcher Plant (carnivorous) and Anole

Caterpillar on Purple Cotton

Caterpillar on Purple Cotton

 

This is a great rig for shooting macro/closeup.  The addition of the extension tube set is really a God send!

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!

Getting Better Long Exposures: Fuji X-E1 & Sekonic L758DR, A Detailed Tutorial


All things are fair in Love and War…

and we need every advantage we can get as photographers in long exposure!

Long Exposure Sunrise Abstract

Long Exposure Twilight Abstract with a 3 stop graduated soft ND filter to darken the sky.

The long exposure game, is one of compromises: fighting too little light, balancing the moon and its reflections, cameras and lenses, camera meter or external meter! Long exposures are one of the more difficult photographic styles and one that takes experience and patience to master.  As such, the photographer needs every helpful trick that they can gather into their bag of tricks in order to generate, stunning etherial images!

Equipment tailored to Long Exposures that I like and use:

  • Fuji X-E1 Camera.  Provides both electronic and mechanical remote shutter releasees, Bulb mode with back panel displayed timer, ultra clean low noise long exposure images!
  • Olympus OMD with the Panasonic 14-140mm lens.  Great built in long exposure modes like the Live View Bulb mode where the camera will display an updating image on the LCD panel as the exposure continues to be made.  This gives you a very clear indication of the exposure as it is happening and is like watching a Polaroid develop!  The ISO noise performance is not as good as the Fuji but is indeed acceptable.  I use both camera systems but like the Fuji better!
  • Fuji XF 18-55mm zoom lens.  Sharp images with good range of wide angle to standard lengths!  58mm filter size. ZERO lens flair.
  • Voigtlander Heliar 75mm f/1.8 Lens. Coupled with the Fuji M to X adapter provides an easy to focus sharp image with a 52mm  filter with a f/1.8 to f/16 aperture.
  • Voigtlander Ultra Wide-Heliar 12mm f/5.6 Aspherical M Mount Lens. Ultra wide super sharp and a depth of field that just goes on forever!  This lens takes a 67mm filter and can only take advantage of screw on filters due to its built lens hood.
  • Gitzo & Feisol Carbon Fibre Tripods with Really Right Stuff BH55 Ball head. This is a light weight combination gives solid steady support with ZERO camera creep from the ball head!
  • B+W ND filters, 3, 6 & 10 Stop.  These filters use Schott glass and are the best ND filters out there.  I much prefer fixed ND filters to variable because I KNOW what the filter factor always is for exposure settings and lack of guess work.
  • Lee Seven 5 Micro Filter System.  Simply stated, the Lee series of rectangular ND filters is the best in the world.  The Seven 5 system was designed for small camera systems like the range finder styled Fuji X-E1 camera system.  This provides the ability to use a set ND in the 2, 3 and 10 stop range in conjunction with a graduated ND filter in Hard or Soft edges from 1, 2 & 3 stop ranges to darken the sky for further control!  While expensive (what isn’t?) this system gives the photographer the best opportunity to capture PERFECT long exposures in any situation!
  • Sekonic L758DR Light Meter.  This is my main tool aside from the camera, for long exposures!  It is a 1 degree spot meter that can be calibrated to your camera and gives PERFECT exposures while accounting for what ever ND filter you have installed.  It gives you a choice of where you meter in the scene and then using the ZONE SYSTEM allows you to shift your exposure up or down in order to give you the image you envision!  For me, this is my MUST HAVE MAIN TOOL for exposure control.  It goes way beyond the capability of your in camera metering system.

Must Have Thought Processes to Master Long Exposure Photography

  • You must MASTER the physics of exposure!  But relax, this can be accomplished in about 1/2 hour then a few outing to experiment with your new knowledge set!
  • You must MASTER the ZONE SYSTEM of exposure control. This is simply a different way at looking at exposure where you divide what the camera can see and record into 10 distinct zones from black to white with each zone assigned to a specific stop that can be adjusted with either shutter speed or aperture.  This will make your in head exposure calculations easy and automatic.  When you couple this with the fact that ALL metering systems force the measurement area into the 18% gray area (ZONE 5) then you can see how easy it is to force the camera exposure to give you the envisioned image the first time!  There are several books and videos on Amazon that will be good to read. Here is a nice book on the overall zone system, and here is one dealing with it for digital systems.
  • The ability do look at a scene before you ever pick up a camera and envision what you want to capture and how you want it to look!  Remember, the camera is a tool, you master your tool and make it create your envisioned image!
  • The drive to suffer through long hours in the dark and cold just to capture 3 or 4 images!  Know this, the exposure, say 15 minutes is only 1/2 the time needed by the camera to save the image onto your memory card.  The camera will run a noise reduction cycle the same length as the exposure before you can move onto the next exposure.  So if you take a 15 minute shot your camera will be tied up for 30 minutes!  This then, is why you need to get the exposure dead on each and every time!  You only can get so many shots when it takes 1/2 hour for each 15 minute shot.
  • The ability to post process (I use Photoshop CS6 and the Nik Software filter set) in both Color and B&W.
The Pawleys Island Pier, Fuji X-E1 with the 18-55mm lens, 3 stop Lee Graduated ND for the sky and a 3 stop ND overall.

The Pawleys Island Pier, Fuji X-E1 with the 18-55mm lens, 3 stop Lee Graduated ND for the sky and a 3 stop ND overall.

So let’s put all of this together in a process or recipe (if you will) that will lead us to success in the Long Exposure game (NOT Star Trails which is a slightly different game!

My favorite time to setup and start taking my long exposures is from 1/2 hour before sunset to about 2 hours after (depending upon the moon).

I will usually go to the beach and look for something in the foreground like some rocks, groin, dead trees, pilings or a pier.

680 second exposure, Pawleys Island Pier and Groin.  Fuji X-E1, at the end of twilight going into full darkness

680 second exposure, Pawleys Island Pier and Groin. Fuji X-E1, at the end of twilight going into full darkness


The ocean state only make a difference in that if the waves are large then you will need a much longer exposure to flatten them out. So many of the long exposures you see with bands of dark and light in the ocean are caused by your exposure being too short to totally flatten the surface.  A single band of white in the foreground is caused by the surf crashing down onto the sand and that can also be overcome by extending your exposure past 10 minutes!

  • 1/2 hour prior to sunset: For this time period you will need a 6 to 10 stop ND filter (depending upon the light in the sky) to darken the scene enough to slow the water and clouds down.  By adding a graduated ND filter to cover the sky you can further even the scene and give a moody sky especially if there are colds!

    1/2 hour before Sunset, Fuji X-E1 250 seconds with 10 stop ND, extremely cloudy!

    1/2 hour before Sunset, Fuji X-E1 250 seconds with 10 stop ND, extremely cloudy!

  • Sunset/Sunrise:  keeping the same filters in place you are now getting exposures in the 6 minute range.  The water is very smooth and milky.  Start show up in the sky and leave curved trails. Sky colors explode and you will get your best color saturation.

    Sunrise, Outer Banks Fishing Pier, Fuji X-Pro 156 seconds, 3 stop ND.

    Sunrise, Outer Banks Fishing Pier, Fuji X-Pro 156 seconds, 3 stop ND.

  • Twilight:  The sun is down, and the sky is turning dark blue. The stars are bright.  It is time to remove the fixed ND filter but perhaps leave on the graduated ND for the sky.  Your exposure times should drop down into the 1 to 3 minute range providing the moon is not full.  At this point a full moon will provide way too much light and turn the sky white.  A 1/4 moon will give nice even lighting and a much better image.

    The 2-fer, The pier & groin, Pawleys Island Twilight

    The 2-fer, The pier & groin, Pawleys Island Twilight

  • The DARK:  Ok, there is no light in the sky other than the moon, stars and pollution. Sometimes though, the light pollution from buildings and towns can add a dramatic component to your images like the one shown below!  This is the time now when you are looking at exposure times from 4 to 20 minutes depending upon the light conditions.  I will now remove all filters unless there is a very bright moon.
Full Dark!  Fuji X-E1 with a 3 stop Lee graduated ND filter  covering the sky to the horizon. 125 seconds at f/11. Light pollution from the hotels and pier behind me.

Full Dark! Fuji X-E1 with a 3 stop Lee graduated ND filter covering the sky to the horizon. 125 seconds at f/11. Light pollution from the hotels and pier behind me.

Of all of the times in the list above I like the Sunset and Twilight times for my best images!

Metering:

Metering of all the aspects of long exposures is your most difficult hurdle.  The in camera meters when set to spot, are indeed capable, but they are not totally accurate and more importantly, they are large spots, in the 5 degree  range rather than the 1 degree of the hand held meters.  Yes you can use them but be prepared to have to adjust your exposure for a second shot… And this is WHILE the ambient light is rapidly changing as the sun continues to set!

Time for a talk on exposure..

We have the 3 basic exposure settings to work with, ISO (which should be set on your cameras lowest or native setting), APERTURE, which for a sharp image with proper DOF should be set for f/8 to f/16 and Shutter speed which should be set at least at 30 seconds and around 2 minutes for good smoothing of the ocean surface and clouds. You will lock the ISO and APERTURE while looking for a good shutter value to be generated by the metering system.  So as you can see, you can set the camera in Aperture Priority mode to shoot here.  I find though that I like full manual mode better.

Here is what you can expect for various shutter speeds:

  1. 30 seconds, start to have good smoothing of the waves with some of the bigger waves still showing above the water surface.  Alternating dark and light bands in the waters surface.
  2. 60 seconds, a more profound smoothing in the waters surface, more even lighting and coloring, still with some bands…
  3. 120 seconds, total smoothing of the water, no banding and great even coloring of the water.
  4. 480 seconds and up, totally smooth water, even color and shading, almost a glass like surface of with milk.  Very pleasing and soothing…

Keeping the Depth Of Field (DOF) in mind, you can see that the shutter speeds are the key to your images.

Now, how best to determine your exposure?

Time for the meat of this post, metering…

As discussed earlier, the internal meter of digital camera systems is not the best meter out there.  In the spot mode they provide a very large spot (5 degrees) when what we really need is a 1 degree spot.  The smaller spot gives us a more accurate and isolated reading which can be vital in determining the overall exposure.  If you use this in conjunction with the ZONE system developed by Ansel Adams then we have a really powerful system.  Lets take a look.

Zones

Zones

The ZONE system is very simple.  It divided your total exposure into 10 equal parts or zones.  Each zone is a specific “stop” and the center (zone 5) where where ALL METERS place the exposure of anything it sees!

As you can see from the chart on the left of the zones, they start at black for zone 0 and move to white at zone 10.  Zone 5 being the 18% gray is what the meter sees and will adjust the exposure of the spot metered to be there in the 18% gray!  This explains why so  many photographers snow images come out as gray!  Knowing that the meter will automatically place the measured spot into the gray area it is a simple matter for the photographer to mentally move the zone up or down in adjustment in order to place the metered spot into the desired zone!

It is easy to understand and implement!

Looking at Zones

Looking at Zones

  1. So, let’s take a look at a sample image, not as a photograph but what we would see with our eyes. If you were to look at the top meter spot in the sky you would see that it falls into zone 7!  But if we were to meter on this spot, the meter/camera would move it to zone 5 which would be just too dark for the overall picture.  The fix is to take the meter reading then mentally move it into zone 7 by adding 2 stops of exposure.  Here is what the meter system suggested for this measurement:  Spot reading on the overcast sky at f/8, ISO 200 gives a shutter speed of 15 seconds, but we KNOW that it is in zone 5.  We simply add 2 stops to place it into zone 7 by increasing exposure to 60 seconds, or 2 stops.  The sky now brightens into zone 7.
  2. Lets do another and meter on the horizon water.  The spot meter reads this as f/8, ISO 200 and the shutter speed of 60 seconds which it sees in zone 5 and since it is actually in zone 5 we can just go with the suggested exposure!

See?  Easy to do.

So, hopefully the camera meter has a small enough spot to read these small areas and give you an accurate exposure suggestion.  But, what happens when you add a 3, 6 or 10 stop ND filter into the mix?  Well 3 stops will not affect the meter, but 6 and 10 will destroy any accuracy and your exposures will be all over the place.  We just cannot have that happens so this is where a hand held spot meter comes into play!

There are 3 things that you must keep in mind when you are thinking about hand held meters.

  1. They are more accurate than camera meters
  2. They have a true 1 degree spot
  3. They allow you to tell them of any ND filters installed on the camera and automatically compensate for them!

I suggest 2 meters from Sekonic for you to consider, the L508 and L758DR.

  • The 508 has an adjustable spot from 1 to 5 degrees and allows you to account for an installed ND filter .  It is no longer produced but readily available for around $300.00.
  • The L758DR has a fixed 1 degree spot, allows for filter compensation up to 10 stops and can be calibrated to your camera.  It also has a viewfinder display and much greater functionality than the 508.  It can be found for about $650.oo.

Sekonic L758DR Spot Meter

Sekonic L758DR Spot Meter

Here is the L758DR which is what I am using and will show in the following examples. The meter has 2 modes of measuring light, the lumasphere and the spot which is simply an eye piece that you look thru and shows a target you place on the area of the scene you wish to measure!

How to use the Sekonic L758DR Spot Meter:

  1. You need to use the custom functions on the meter to set WHOLE stops for the shutter speed.  This will simplify you life in a major way!
  2. Set the meter MODE to SPOT with the APERTURE selected which enables you to lock in a specific Aperture.  This will have the F surrounded by a BOX. Then when you take a measurement, the Shutter Speed will be displayed for Zone 5.
  3. You need to set your natural ISO into the meter.  Press and hold the ISO 1 button and simply turn the round dial to select that ISO you desire to work in!
  4. Decide on which ND filter (if any) you are going to use for this shot!  Then hold down BOTH the ISO 1 and ISO 1 buttons while turning the round dial to select between +/- 0 to 9.9 stops.
  5. Then you just press the measure button under  the spot viewfinder  to measure your selected area of the scene and adjust the Zone up or down as in the zone examples above!  It is that simple!

Set Mode to SPOT

Set SPOT Mode

Set SPOT Mode

Setting the ISO

ISO Set

ISO Set

Setting the Filter compensation

Filter Compensation

Filter Compensation

Taking the Measurement

Meter Viewfinder showing the target and measured values. The meter button is just below this.

Meter Viewfinder showing the target and measured values. The meter button is just below this.

That is all of the necessary steps to use this meter. It really is very easy! There are several videos on the Sekonic web site as well as on Utube.  

Understanding ND Filters:

The B+W, well most others as well can be tough to understand!  Here is a break down of all of the filters and how to read the codes!

B+W ND INFO

B+W ND INFO

Knowing how to read the filters is important but understanding how to use them even more so.  Lucky for us in long exposures we are interested in the shutter speed.  If we get a shutter speed of 1/15 second with no ND installed we know that it is simply too fast to slow the water down!  So we realize that a ND filter is needed.

Standard ND Filters effect on a 1/15 second shutter speed with a fixed ISO and Aperture:

  • No filter            1/15 second
  • 1 Stop                1/8 second
  • 2 Stops             1/4 second
  • 3 Stops             1/2 second
  • 6 stops             4 seconds
  • 1o Stops           1 minute

These are the standard ND filters from B+W, other companies offer the same and other values.  Lee offers in the Seven 5 system, 1, 2, 3 and 10 stop values as well.

So now, you take your meter reading and look at the suggested shutter speed, install a ND filter and then tell the meter which one chosen and it will give you the corrected shutter speed. Remember, all camera meters will fail at 6 stops on!

Graduated ND Filters:

Lee Hard Graduated ND

Lee Hard Graduated ND

Lee Soft Graduated ND

Lee Soft Graduated ND

These are filters from Lee (some round ones from B+W but they divide directly in the center) that come in 1, 2 and 3 stops.  They are either a hard transition between dark and clear or a soft transition covering a larger area of the filter.  I use these filters to darken part of the image, usually the sky.  If you have a firmly visible seperation between the sky and water at the horizon, you can use a hard graduated filter.  Otherwise you will use the soft which is the normally used choice. Take a look at the images here of both and you can see their usefulness.

Deciding on which value to choose, 1, 2 or 3 stops is simple.  You simply use your meter to spot read the sky and then again the ocean.  Look at the difference between the shutter speeds given with a fixed Aperture and ISO.  The difference will tell you how much graduated ND you need to use.

These filters are also handy for other landscapes as well.  How often are we plagued with waterfalls or landscapes where the sky is just too bright?  Apply the same metering difference to those images as well for a vastly improved result.

Last minute considerations as you venture out to practice your Long Exposures!

  1. Keep your lens clean, salt spray can and will sneak up on you and spit all over your glass!
  2. Push your tripod legs slightly into the sand for increased stability.
  3. Keep aware of the surf!  Do not let it over take your tripod. it will cause your camera to drop a little lower and ruin a shot.
  4. Keep the Horizon STRAIGHT!!  If you have an in camera level use it!  If not, purchase and attach an external level onto your flash hot shoe and use it!
  5. Use your in camera long exposure noise reduction setting in the custom settings!  This will not only reduce noise in camera (yes photoshop can do this) but it will remove all sensor hot pixels and dark pixels which photoshop will NOT DO!  I understand that your exposure time will double due to this but isn’t the final image quality worth the extra wait?
  6. Take a light weight chair.
  7. Have a light to see the camera setups or a ultra bright light to lighten a subject for focus!  I like a lighted hat for this and a Sure Fire LED 500 Lumen light to reach out and light a subject for focus (not to mention light painting!)
  8. Gloves?
  9. Warm Coat?
480 second exposure, Fuji X-E1 Late Twilight! Metering of the cloud base just above the horizon then moved to Zone 7!

480 second exposure, Fuji X-E1 Late Twilight! Metering of the cloud base just above the horizon then moved to Zone 7!

OK all done, I hope that you both enjoyed and learned from this post!  Please let me know.

Twilights Bitter End…


No Words, just images…

 

The Bigger End, Olympus OMD.

The Bigger End, Olympus OMD.

 

The 2-fer, The pier & groin, Pawleys Island Twilight

The 2-fer, The pier & groin, Pawleys Island Twilight

The 2-fer, The pier & groin, Pawleys Island Twilight

The B&W 2-fer, The pier & groin, Pawleys Island Twilight

 

Death by neglect….


Lila Lee, in the boat grave yard…

There is something about Shrimpers… I cannot get enough of them and find myself visiting them again and again.  I love the dilapidated nature of them and even though they are in such rough condition they seem to venture out into the deep time after time.  Perhaps they are a reflection of the men who sail them, rough hewn, salty men, eking out a living from the sea.  Regardless, they are things of photographic beauty and deserve to be documented for history. You see, they are vanishing from sight.  Shrimp seems to mainly come for fresh water farm ponds in the lower americas and soon these beautiful boats will be a thing of the past.

The Japanese concept of Wabi-Sabi:  “connotes a way of living that finds beauty in imperfection and accepts the natural cycle of growth and decay. Characteristics of the wabi-sabi aesthetic include asymmetry, asperity (roughness or irregularity), simplicity, economy, austerity, modesty, intimacy and appreciation of the ingenuous integrity of natural objects and processes.

Thus begins my exploration of Sabi

You had better get out and enjoy them while you are able too..

Here captured in Black and White, is a detail shot of the shrimper Lila Lee.  She is resting in the boat grave yard in Georgetown, SC. The older shrimpers seem to be abandoned along the shore here in Georteown till they sink.  We have some sitting on the bottom growing trees and weeds from their decks.

This image was captured on the Fuji X-E1  with a MC Soligor 70-300mm C/D manual focus macro lens, another relic of the past…

Lila Lee

Lila Lee

Fuji X Pro 1 and Advanced HDR Photography with NIK, Photomatix & Merge


Or, Look Mom at  what I made!

A brief overview of the  4 major HDR tools…

The Glade Creek Mill, Fuji X Pro 1 w/ 60mm lens, 10 stop ND and Nik HDR EFX Pro 2 with 3 source files

I just got back from a major workshop that Jamie Davidison and I led to the New River Gorge in West Virginia where to took our students on a hectic 4 day workshop/excursion.  We explored waterfalls, grist mills, trains and vistas while studying Infrared and Color post processing back in the classroom each night till about midnight.  This was EXHAUSTING to say the least but never the less, a great workshop full of great photographers who gave as much as they took!  My days started every morning at 5am and ended about 1am.  I am still recovering!

The Glade Creek Mill, Fuji X Pro 1 with the VC 12mm lens

While the main focus was shooting in Infrared and its associated post processing, I needed to provide loaner IR camera systems to those who did not yet own one, so even though I own three IR systems I was forced to shoot color!  The sky each day was free of clouds and very bright, so if I wished to photograph in color I was forced most of the time to shoot HDR images in order to overcome the dynamic range of the day!  A lot of the time I was able to successfully capture an image with The X Pro 1 in a single shot like the one shown here on the right of the Glade Creek Mill.  But the norm was indeed HDR. The X Pro 1 camera has an unfair advantage over most other camera systems, it has a wider dynamic range and can capture more image data!

Notice that the mill did have some running water which forced me to use very long exposures in the range of 10 to 5 seconds in order to slow the water down.  While there was not a lot of water flow there was enough to make the images very nice.  I used the 60mm lens on the camera along with a 10 stop ND filter in order to slow it down!

OK so let’s get to it!  From this point on, we are going to be working with the same three source files.  I will take you through the post processing for the following HDR tools:

  • Nik HDR EFX Pro
  • Nik HDR EFX Pro 2 (new)
  • Merge To HDR Pro (Photoshop CS6)
  • Fotomatix Pro 4.2.3

I also will be using Nik’s Color EFX Pro 4 and Viveza 2 for post processing (fine tuning) after the HDR conversions are finished!

Overview:

OK, what is HDR?  HDR stands for High Dynamic Range.  Think of it this way… You are out taking pictures during the brightest part of the day.  You can get a good image of the foreground subject, but the sky is totally blown out, you know pure white.  The total range of the light from black to white in your image exceeds what your camera is capable of recording, but our eyes can still see and understand the complete range.  So, in the world of photography, we have developed the ability to take several photographs, say three to six, each one with a different exposure from way too dark to really blown out.  With these pictures in hand you can now run one of several software programs available that will combine the best of each of these differently exposed image into one that can display the entire range of of the image from black to white!

Now this requires a image with more data than you can store in a 8 bit JPG image, and even more than your 16 bit RAW, TIFF or PSD image!  Now we move into the world of 32 bit images that can hold and display  a far greater range of black to white data.  Now, 32 bit images are all but useless to us in the real world so the HDR software will compress it down to 16 bits by removing select bits of brightness data without really negatively affecting the view of the image and making it possible to view and print the image!   Pretty neat technology don’t you think?

What I normally do when shooting HDR is to take a test image and evaluate the histogram.  I will look to see what areas are out range, or totally black or totally white.  Usually, the blacks will be fine but the whites will be blown out.  I will then retake the same image with a negative EV dialed in and re evaluate the image again looking to see if the blown out white areas of the image are now in the proper range.  This gives me an idea of just how wide the range of the image needs to be.  If the blown out areas take two or three stops of adjustment to bring them back into range then I will then  decide upon how many HDR images are needed to be taken to get the total range covered in 1/2 stop increments.  You will need to set your camera on a tripod and have it locked down to assure that you get the same exact composition in each shot.  You can either use the auto bracket mode on your camera to generate your shots or do it manually.   Weather or not you change the ISO or shutter speed is dependent upon the scene or your artistic intent.  Some cameras will bracket at most three shots, some 5 and some even 7 or more!  You can usually choose to bracket with Aperture, Shutter Speed or ISO.  It is important to keep the Aperture constant as to not change the depth of field.

For these shots, as long as I kept the shutter speed longer than 3 seconds I would not have any issues with keeping sharply defined slow moving water to generate the HDR.  So I chose a 3 stop bracket using the Shutter Speed, leaving the Aperture and ISO steady.

Here are the 3 component images that make up the final HDR image:

  • In the first, 3495, the trees and mill look good, the water is overexposed about a stop and has lost detail and the rocks are a little under exposed.
  • The second, 3496, the rocks are perfect but the water is very over exposed. There is some detail in the black area under the top of the falls.
  • The last, 3497, the water is perfect but everything else is just to dark.
  • The water was always the key to this shot, getting it so that it was not blown out is the reason to use HDR.  These three images generated by the camera without any processing other than raw conversion and bracketed .7 ev apart with -1.3 ev being one of them, -.6 ev and lastly –2 ev.  If you decide to try this, keep in mind that the closer together the exposures are, say 1/2ev the more data you will have to generate your final image.  You can also add more data with more images. Every HDR you setup and shoot will be different and you must evaluate how many shots to take at what exposure.
  • The very dark black under hang below the top of the waterfall was another consideration when deciding the exposure values of the component images.  I needed a brighter image to bring out some detail here as well.

3495, -1.3 ev, f/8 8 seconds, I chose this value to get the correct exposure on the trees

3495 Histogram, -1.3 EV

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3496, -.6 ev, f/8, 13 seconds. I chose this value to get the rocks and mill exposure correct knowing that the water would be blown out

3496, -.6 ev

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3497, -2 ev, f/8, 5 seconds,  I chose this exposure for the correct falling water exposure

3497, -2 EV

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These three images are the only ones that I will use to explore the various HDR processing software.

Final considerations on component images that make up the HDR image:

  • You MUST shoot on a tripod to control camera movement (prevent ghosting) and to lock the composition.
  • Use a remote shutter release.
  • Wind will cause plant and tree movement which will cause a ghosting effect (bad).
  • Keep the aperture constant to force the depth of field the same between shots.
  • ISO bracketing is ok as long as you keep the jumps in ISO below the level where noise is introduced by your camera.
  • Exposures closer together will allow you to generate better HDR’s as long as the subject matter doesn’t move.
  • More component images mean more data to  build a better HDR image.
  • Take notes in the field as you shoot so that you can remember what your intentions were at that point in time!  This will help you when you build the HDR.

Some notes on the software:

  • HDR conversions require image editing software that can process in 32 bits.  This means that unless you purchase HDR stand alone software like Photomatrix Pro you MUST use Photoshop CS5 or CS6. Elements and Lightroom simply will not work.
  • I do not like over cooked HDR images.  I process them to a natural look and feel, close to what I can see with my eyes!
  • CS5 & CS6 both include an internal HDR conversion filter called Merge to HDR Pro for free.
  • The NIK HDR software, HDR EFX Pro and HDR EFX Pro 2 require a 64 bit operating system and the appropriate 64 bit CS5 or 6
  • Photomatix Pro is a stand alone filter that does NOT run inside of Photoshop and will allow you to save a 16 bit HDR converted image that can be opened in Elements.
  • All of the conversion software will cost between $100 and $200.
  • I am not going to take you step by step through each of the HDR conversion packages.  This is HIGHLY SUBJECTIVE and no two photographers will get to the end results via the same path!  There a quite a few good books out there on this!

Photoshop CS6 Merge To HDR Pro

This HDR program comes built into Photoshop CS6.  It is quite powerful and gives you a lot of options.  I found it very easy to use and it gives very nice results.  You will find it under the FILE > Automate menu and it  will ask you to locate and open your component images or add images already open!

Once your images have been chosen, it will open them and drop you into a full screen dialog where you can make any image adjustments.  Once done the software will drop the finished image into Photoshop where you can then do your final tuning with Nik’s Color EFX Pro 4.  I like to use the Tonal Contrast filter due to the ability to adjust color contrast in the Highlights, Midtones and Shadows separately from each other.  This one tool will really bring out the full potential of your images.

Here is my version of the three component images processed in Photoshop’s Merge To HDR Pro:

X-Pro1-3495 3496 3497 -Glade Creek Mill -2012 -M to HDR Pro

Here is my version of the three component images processed in Nik’s HDR EFX Pro:

OK, onto Nik Softwares HDR EFX Pro.  This is the first version that Nik offered earlier this spring (2012)  It has a great interface and does a pretty good job, but requires a little more fine tuning after the HDR conversion is finished.  The tuning process was again done using Color EFX Pro 4 and Viveza 2.  This is a plugin filter for the Photoshop family and requires that you run a 64 bit operating system in Windows or OSX.  It will NOT run on Elements and Lightroom.

I found that the images to be a little flat and lifeless until I applied the Color EFX Pro 4 in the after process tuning steps, then the images started looking pretty good.

X-Pro1-3495 3496 3497 -Glade Creek Mill -2012_NIK HDR EFX Pro

Here is my version of the three component images processed in Nik’s HDR EFX Pro 2:

OK, now, this is a MAJOR upgrade to Nik’s HDR software.  This one revision corrected all of my complaints about flat and lifeless images!  There is VERY LITTLE fine tuning needed at all.  I think that Nik’s HDR EFX Pro 2 is my favorite conversion tool out there.  But I will let the images speak for themselves!

X-Pro1-3495 3496 3497 -Glade Creek Mill-2012 NIK HDR Pro 2

Here is my version of the three component images processed in Photomatix Pro ver : 4.2.3

Photomatix is likely the most popular HDR conversion package on the market.  It cost around $150 and does NOT require CS5 or CS6 to run.  It is a standalone system and when it finishes it will directly save a 16 bit version of your HDR image on your computer that you can then open for further editing.  It has many recipes and adjustments and you can do great work with it. I highly recommend it even if you are already running a 64 bit operating system and CS6. You will not be sorry!

X-Pro1-3495 3496 3497 -Glade Creek Mill -2012 -Photomatix Pro HDR

As you can see, the 4 converted HDR images are not at all the same.  That would be difficult if not impossible to achieve.  Each software package has its own adjustments and none of them are exact.  I like Nik’s HDR EFX Pro 2 and Photomatix 4.2.3 the best.  They are all easy to use and as long as you properly evaluate the scene that you are trying to photograph and properly choose the exposure values of the component images you will get really nice HDR shots!

What do you think?  Please let me know!

True Macro With The X Pro 1


Being Small in a Large World..

Zebra Longwing Butterfly Caterpillar, 1/4 inch long, Fuji X Pro 1 and the 60mm f/2.4

In another creative fervor with the Fuji X Pro 1, I decided to attend a formal CNPA (Carolinas Nature Photography Assn.) outing yesterday at Cyprus Gardens in Moncks Corner, SC.  The park is full of flowers, swamp and a nice butterfly house.  I had decided to leave all of my other camera equipment at home (it seems that this is becoming the rule now with the X Pro 1!) and concentrate on macro/closeup work with the Fuji system.  In truth, I spent all day with the 60mm f/2.4 macro lens.  The lens can shoot in the macro mode at .5x which is 1:2.  The closest focus range on this lens is a little over 10 inches.  With these limitations in mind I setup on a sturdy tripod and got about the business of creating images!

This post is NOT intended as a macro or flash tutorial. I will post images that I consider are the best at macro and closeup that this camera system is capable of creating.  Anyone can create this type of macro images with just a little forethought and a full understanding of the physics of exposure and how to use your camera as a tool! I intend to show you what this camera system is capable of creating with thought out setups, exposure and lighting!  I am going to share with you my experiences in using the camera system with the following accessories, modes and shooting supports:

  • Fuji X Pro 1, aperture priority, spot metering
  • Fuji 60mm f/2.4 lens
  • Fuji EF-20 flash
  • EF-X20 flash
  • Fuji EF-42 flash
  • Surefire 6PX Pro LED flashlight
  • Tripod and hand held
  • 40″ remote shutter release

Fuji EF-20 Flash

The Zebra Longwing caterpillar  above was about 1/4 inch in length and was taken with the Fuji X Pro 1 with the 60mm f/2.4 lens on a tripod.  Lighting was the Fuji EF-20 flash unit on camera but tilted down and set at -1ev.  As you can see, the overall setup gave a very nice image with reasonable lighting given only 1 flash!  The overall image ratio is about 1:3 which puts this squarely in the macro range.  I kept the aperture set to f/9 in order to get the entire insect in sharp focus and have a little bit of detail in the background.  Now, the real surprise:  the focus was auto with the selected focus point being the middle of the curve on the insect!  Normally, we expect to manually focus when working in macro, but I intended to test the focus capabilities of the system as well.

  • TIP: I added a slight lens vingyette in post processing   to darken the top and sides of the image to further accent the main subject.

Given that the flash uses two AA batteries, the re-charge time should be considered quite slow, but it was actually quite fast.  I enjoyed using this flash because the tilting head enabled me to shoot past the end of the the longer 60mm lens and keep the subject in nice light with no lens shading even with the lens hood installed at the 10 inch focus distance!  I did find that using the button on the back of the flash to set the EV value to be a bit tedious but since I usually set it to some negative value and leave it there it was not a very large negative!

Swallowtail Butterfly Caterpillar, Fuji X Pro 1, 60mm f/2.4, 10 inch focus, 1:2 ratio, Fuji EF-42 at -.5ev

Fuji EF-42 Flash

This next image of the Swallowtail butterfly caterpillar was taken using the Fuji EF-42 flash set at -.5ev and an aperture of f/8 on the tripod.  Here I intended to have more of a blurred background (remember in the macro range the DOF is very narrow and even a a mid aperture you will get a very blurry background) yet again keep the insect in sharp focus across its entire focus plain.

The EF-42 flash is a much higher power unit compared to the EF-20 and it uses four AA batteries for a faster recharge time.  The controls are easier to use BUT the flash head will NOT angle down beyond the level plain.  This can be overcome by pulling out the wide angle lens on the top and using it as s bounce surface to angle some light down.  As you can see in the image I created the exact image I envisioned.  The main subject (insect) is in perfect focus and the exposure is dead on with no blow out of the whites.  The background is nicely indistinct and blurry with only slight detail thus taking nothing away from the subject!  Focus was again in auto with the spot set on the top hump of the insect as it was getting ready to move forward up the branch.   Again, I added a slight lens vingyette in post processing to darken the top and sides of the image to further accent the main subject.  As stated, this was all pre-planned before I ever looked at the camera!

The Red Flower, Fuji X Pro 1, 60mm f/2.4 lens, 1:4 ratio, Ef-42 at -1ev.

OK this image of the small red flower (sorry, I have not yet identified it yet…) was again done with the X Pro 1 with the 60mm lens and the EF-42 flash at -1 ev.  The big difference here was that this was hand held.  I just could not get the camera into a position on the tripod in order to capture it.  Plus I was setting up to switch over to shooting butterflies on the move which you just cannot do on the tripod.  The flower was about1 inch in length so the image ratio here is about 1:4 which puts this image in the closeup range.  Depth of field is much better in this range so in order to have a un-defined background I set the aperture down to f/4 which gave me a sharp focus on the entire flower in its plain of focus yet blurred the background nicely.

  • TIP: The flash was setup using the wide angle adapter pulled partly out in order to reflect some of the light down towards the flower.

All in all  I think that this is a nicely done image considering it was hand held!

Zebra Longwing Butterfly. Fuji X Pro 1, 60mm f/2.4 lens, EF-20 flash at -1ev 1:8 range

Ok, moving up further into the closeup range, I created this image of a Zebra Longwing butterfly.  This was again handheld but using the EF-20 flash set level at -1ev.  Focus was auto with the focus point set silghtly off center to the top in the portrait mode.

  • TIP: When shooting macro/closeup, I always set the focus point for each and every shot.  This gives me far greater control during the setup and composition phase of my process.

Purple Orchid, X Pro 1, 60mm f/2.4, EF-20 at -1ev, 6PX Pro LED Tactical light.

Fuji EF-X20

OK, almost done!  This last image of a purple orchid was shot on the tripod  in shadow was one of the more difficult images of the day.  I had to use a 40 inch remote shutter release and hunch below the flower and tripod with a 5000 degree kelvin LED flashlight angled up into the flower.  I also used the EF-X20 flash set at -1ev to give the purple of the flower even lighting and a sparkle.  The EF-X20 is the easiest of all the Fuji flash units to control due to its top mounted mode dial.

Surefire 6PX Pro

The LED flashlight is a 6PX Pro Tactical light with variable output and is perfect for macro work.  Its light is bright white and since you can control the power level it makes for very easy control!  This light and many others can be found at  www.Surefire.com but be advised, they are expensive!  I keep several versions of these tactical lights on hand.  They are all useful and a positive addition to a macro kit!

OK, that is it for today.  But consider this last point, Macro work can be done with any lens, you do not need to have a dedicated macro lens.  With the simple addition of a closeup adapter (I recommend the Canon 500D series of adapters) you can convert ANY lens to macro/closeup!

What did you think of this post?  Please feel free to leave feedback and comments!  I value your input.

Detailed Fuji X Pro 1 Infrared Tutorial: Part 1, Equipment & Shooting!


Creating Emotional IR Images From Your Heart

Using the Fuji X Pro 1 for Infrared

Infrared photography means so many things to me… I have a popular Infrared Educational Blog at http://infraredatelier.wordpress.com/ where I have shared all of my secrets surrounding Infrared photography for several years, I have a book in work on Infrared photography, but MOST IMPORTANTLY, I have practiced the art of creating emotionally charged Infrared images for longer than I can remember, even as long as 45 years ago with film.  Here, today, I will disscuss with you the technical details of using your Fuji X Pro 1 camera system to create these emotionally powerful images as well.

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

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

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

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

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

What your camera sees!

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Exposure Issues…

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

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

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