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| Moderated by: chrisbet, | ||
| Author | Post | |||||||||
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Eric
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Just added some more IR shots into my gallery....taken in Scotland last week. Lot easier than shooting sea duck!! |
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TomOC
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Eric, you dog  I still have my xe1 sitting ready to ship for IR conversion. I can't explain why I'm so ambivalent to get it done...not my way. This is the final inspiration..it's going out when I get home!!! Thanks, Tom |
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jk
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Get 665nm Tom. I have an XE1 converted to 665nm and it works well. Unfortunately I notice on my travels recently that there is a dist speck behind the sensor glass so it will need to go back for cleaning. Shame as it was perfect on first conversion but this speckis easy toclone out but still a nuisnce. Maybe I will wait untilI am back in UK. |
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Eric
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jk wrote:Get 665nm Tom. I have an XE1 converted to 665nm and it works well. I have a speck on mine. But I take so few shots when shooting IR that it's hardly worth doing anything about it. This holiday for example, I took 20 shots, 5 have been processed....only 1 has the speck discernible. ( that's in contrast to 200 colour shots taken.) |
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jk
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Eric wrote:jk wrote: I've been thinking that as well but my OCD part says get it sorted! |
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Eric
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jk wrote:Eric wrote: You could turn it into a copyright mark.  |
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Eric
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TomOC wrote:Eric, you dog In fairness, I haven't been that motivated to do IR this year. It DOES need a bit of effort to hunt out subjects that work in IR. With experience it's easier to spot worthy subjects...because not every location yields IR opportunities. For me, there is nothing worse than a historic building in light stone. The surrounding white greenery just swamps the light structure. I never get the IR camera out of the bag if I visit such a location. The strength of an IR image ( for me) comes from the elements that do NOT respond to IR. Attachment: image.jpg (Downloaded 43 times) |
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Robert
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Superb, Eric, simply superb. That illustrates my point perfectly. |
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jk
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Lovely image. |
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Eric
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Purely for Tom's motivational benefit  I have added a few more different interpretations.Go on Tom, you know you want to! :thumbsup: http://nikondslr.uk/photos/showgallery.php?ppuser=65&username=eric |
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jk
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Fine aet of images Eric. I love your different processing of the skies using different HSL toget blue or sepia or normal B&W. It really makes the images come alive. |
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Eric
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jk wrote:Fine aet of images Eric. Thanks JK I would like to say it took lots of skill ...but the truth is it is relatively easy to separate foliage from none IR responsive elements as there is a slight blue cast to the whites and a brown cast to the darker tones. It's simply a matter of using this colour difference to separate the elements and treat them accordingly. I finally desaturate the whites and some of the grey (under exposed ) areas of foliage completely... to further enhance the effect. |
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jk
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Eric wrote:jk wrote: How do you do that? |
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jk
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Here is the same image developed in Lightroom 6 with the profile RedBlueSwap. It works but it isnt as easy to work with as the Photoshop equivalent. LR6 version Attachment: XE1IR-1-0073.jpg (Downloaded 17 times) |
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jk
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PS CS6 with Khromageny and a few HSL tweaks. Attachment: Photoshop version.jpg (Downloaded 17 times) |
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Eric
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jk wrote:Eric wrote: Well assuming you have a sepia brownish image before doing anything...just click on auto colour to get an idea. It's just a matter of setting YOUR white and black points in the image, using the Plowden technique*. *Open file in Levels. Take the left Black slider right across to the right till all the image disappears ...move it back slowly till a part of the image appears....that's your white point. shift click the white eye dropper on that spot to make a reference mark. Then move the slider back to far left resting place. This time move the right White slider across to the left. Then slowly move it back till the image starts to appear...that's your black point. Use shift click on this point with the black eye dropper to leave a reference mark on the image. Return all sliders to default position and using the white dropper click on the mark on the image...do same with black dropper and its mark on image. |
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jk
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Straight PS CS6 and Khromageny no tweaks. Attachment: XE1IR-1-0073-Khromageny.jpg (Downloaded 16 times) |
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Eric
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jk wrote:PS CS6 with Khromageny and a few HSL tweaks. You would struggle to separate whites from a cloudy day image. I rarely shoot IR on overcast days unless their is a glimmer of hope the sun will come out. Here's an example of what the sun does.... Attachment: image.jpg (Downloaded 15 times) |
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Eric
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jk wrote:Straight PS CS6 and Khromageny no tweaks. There is always an element of suck it and see. But try this.... Duplicate the image on a layer.....to keep the sky! On the top layer do the Plowden technique IGNORING the sky ...ie get a white and black ( or near as possible) in the bottom foliage half of the image. Erase the burnt out sky gradually to reveal the original exposure sky. You have now separated the foliage element from the sky. |
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Eric
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Only got access on iPad at moment but top layer should look more like this... Attachment: image.jpg (Downloaded 12 times) |
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Eric
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Ok getting a bit closer....... ( PS for iPad is pretty limited.) Attachment: image.jpg (Downloaded 8 times) |
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Eric
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Peppered mackerel and a bottle of white are now calling....over to you. :thumbsup: |
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jk
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Yes please. |
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Eric
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jk wrote:Yes please. 'Twas lovely. I notice in the image that there is quite a bit of vignette or conversely some hot spotting creating a central brightness. It shows up more in IR. It's worth doing a radial gradient mask and applying exposure compensation to get the edges uniform with the Middle, before doing any layering or processing ...as that applies to the sky as well. |
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jk
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It is the Fuji 14mm f2.8 which ismeant to be good in IR as well as normal light. I noticed this in other images as well maybe at 665nm the lens is not so good! It is very good in normal light. |
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Eric
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jk wrote:It is the Fuji 14mm f2.8 which ismeant to be good in IR as well as normal light. I use the cheap 16-55 Fuji, which for some reason is nowhere near as bad as the more expensive zooms. Nevertheless less there is a slight central lighter area which sometimes I need to adjust. Stopping down increases hotspotting, as does wider angles. So I keep to f5.6 and avoid the 16-18mm end of the zoom as much as possible. I haven't got any Fuji primes. But I did a quick check at WEX and they seemed to be free from hotspotting. Certainly they didn't seem to be any worse than the 16-55, but it was only a quick test in the showroom ...and at £120 for a used zoom I could not resist grabbing it. Lol It may be worth doing a range of f-stops on same image to see if it is aperture sensitive. I think vignettes and hotspotting always look more obvious on limited palette images. Something that should be white, tapering to dirty dark grey at the edges, is a lot less attractive and therefore noticeable. It's not the end of the world, just an extra process step to counter it. In fairness...I used PS for iPad presets to get that last image. There may have been something in the algorithm that ADDED some vignette to it....so don't despair. But even in your original image the cables on the bridge get darker towards the right edge. |
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