Recently I have begun trying to work with UltraViolet light and my full spectrum K1. I’m enjoying it very much as the learning curve is proving to be a real challenge.
Most of my older lenses (and non of my newer digital) transmit the UV spectrum very well but I’ve been lucky enough to come across a few that are permitting me to do a some hand held shots. I’m finding simpler lenses with fewer elements and cemented groups seem to be working best so far. I’ve picked up a few 4/4 Zenitons and hope to show the results later in the spring during the wildflower season.
Here are a few using an older Lensbaby Soft Focus optic. It is 2 elements in 1 group.
The following are the exposure settings, filters and light source I used while photographing a White Geranium.
All were shot at f5.6 and on a 25mm tube.
1st image is shot with U360 & Kolarivision hotmirror filter stack, FS converted speed-light, iso 800, 1/90th.
2nd with U360/Kolari hotmirror and a dedicated 365nm flashlight, iso 800, 1/45.
3rd with BG3/Kolari hotmirror and dedicated 365nm flashlight, iso 1600, 1/90th.
I’ve been reading a lot lately about Monochrome converted DSLR’s and since I love photographing in B/W, the thought of purchasing a used camera for conversion has been teasing my mind. Since I already have a higher end DSLR that produces excellent monochrome when processed in Lightroom and Photoshop, not to mention a full spectrum converted Mirror-less for monochrome infrared photography, I am struggling with the thought of paying out a few thousand dollors for another camera.
Though I know I would love to shoot in Black and White again, just like the film days, I decided to try the next best thing – software that emulates film. Nik Collection Silver Efex Pro.
Other than the vocabulary, I find working in Silver Efex Pro to be very intuitive much like working in the darkroom. I don’t really care for the preset effects but find the selection of film styles to be very similar to what I had worked with pre-digital. Everything from various Agfa to Kodak films. When I shot film I usually preferred the Ilford Delta series but found I do like the TMAX and Tri-X emulation this software provides. One can set the film style of choice, adjust grain and then proceed with normal darkroom techniques.
The selective point allows adjusting brightness, contrast and detail to a given area. This is where I wish it actually used the vocabulary of dodge and burn but the results are similar. One can also do these adjustments to the image as a whole as well as fine tune highlight and shadow while bringing in detail (structure in the vocabulary.)
What I enjoyed most was the loupe view which has the zone system overlaid so one can see how much of the photo falls into each zone from no detail white to pure black.
And to top it off there is a finalization series to bring the image to full print characteristics. Everything from tones, edge burns, and even custom negative carrier edges.
Here is a before and after, the original was shot on a converted camera with an 850IR filter. The second is the same photo run through Silver Efex Pro. Click to enlarge for viewing differences.
I was originally only interested in the Silver Efex but it comes as part of a complete download in the Nik Collection. I couldn’t help put experiment with the Analog Efex while I was at it. Great fun for creating that 60’s snapshot effect. Another before and after, bland photo turned into vintage.
Best part is Google is offering this software for free now and it plugs right into PS as a filter. It just might curb my desire for that monochrome DSLR.
I’ve really been enjoying working in digital IR this last year and have been doing a few Infrared Filter Comparisons to see which effect I prefer the most. I have attached a test subject of a tree stump in the desert shot with R72, #87 & IR850(87c) at the end for comparison. Continue reading →
kolarivision.com has an excellent ir lens hotspot database already compiled; however, I noticed most of my older film lenses weren’t included so decided to create a database (bottom of page) testing these lenses on the Pentax K-01.
I remember trying Infrared Photography a few times in my film days and found it difficult and challenging.
It always seemed I was guessing the exposure time and the focus, trying to approximate the red line on the lens distance scale.
Winter Farm IR
Recently, I acquired a Pentax K-01 and had it converted to a full spectrum camera. Unlike film, digital sensors are sensitive to all light waves (UV, visible bands and IR) so most cameras use a hot-mirror to block the infrared bands and pass only visible light.
Winter Mules IR 1
Most conversions replace this hot-mirror and replace it with an IR based filter for a full time conversion, usually in the 720nm range. With the full spectrum conversion the mirror is removed and the IR filter is placed over the lens, much like the film days; however, unlike the film days I can see the image in live view just as if I was looking through a viewfinder.
Winter Mules IR 2
Apparently the new mirror-less systems make fantastic digital infrared cameras. They automatically set accurate exposure and the focus can be determined manually via live view or calibrated for auto focus. Another wonderful aspect of the K-01 is that it will take all my older Pentax K mount lenses.
Winter Tree IR
I now need to experiment with several to determine which will be good performers or or which will be susceptible to flares and hotspots. Infrared is often most noted for its use with contrast or faux colors with vegetation.
Faux Color IR Canal
Here are a few shots from the winter local scenery, a bit different but fun. I look forward to working with the camera as the spring green comes around.
Recently pulled out the old Pentax A50 f2.8 macro for a few shots of autumn leaves in the back yard.
This lens performs wonderfully on the new Pentax K-1. Though not a “true macro” with a reproduction of 1:2, I find the scale adequate and the IQ superb; plus it is such a joy to use.
I can see why vintage Pentax glass was noted for it’s quality, the colors are brilliant and the IQ is sharp for the area of focus. Bokeh is pleasantly pleasing also. This doesn’t seem to change on the new digital sensors either.
In fact, I find their performance is equal to or better than the newer digitally enhanced lenses.
Pinhole & Zone Plate Photography. Back to the Basics – No Lens, No Meter, No Viewfinder
A couple of weekends ago I was fortunate enough to partake in a day trip down Titus Canyon in Death Valley. A colleague was wanting to work on some landscapes for the upcoming “Shooting the West” photo symposium and as I had always wanted to see this canyon and the en-lying ghost town of Leadfield, off we went.
Also around this time I had been studying the effects of pinhole photography. For the price of a lens cap I was able to pick up a pinhole/zoneplate optic for my Lensbaby to give it a try. I hadn’t really done any pinhole since college and never tried anything like zone plate photography, so was curious to see the effects and try the skills myself.
The pinhole is around an f177, so there is not enough light passing through to frame anything in the viewfinder and of course no in camera metering. While the zone plate is an f19 because of the concentric circles, the same applies. Continue reading →
Last month, a fellow photographer hosted a nice discussion on her blog about post processing – do we do it, how much, personal reasons and some discussion of ethics. While I might wish to be a purist, it reminded me of how much fun I used to have in the darkroom, dodging, burning, measuring and masking to superimpose or just for finer exposure adjustment. So for June I gave myself the project of working on images that captured high detail in camera and required extensive post processing. Continue reading →
Over the past several years, one of the workshops I consistently attend is taught by Tom Bol at the Shooting the West photo symposium.
Tom is a lighting master. I recently picked up his blog again and noticed a piece from July 15th of this year entitled “Visualize the Light.”
In the article, Tom mentions how we as photographers are usually seeking the prime early morning light for its warmth and contrast. We all learn that the quality of light is often the factor that can turn any ordinary subject into a unique image. Continue reading →