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.
Playing with the Lensbaby on the Pentax K-1.
Been busy with work and dealing with the cold weather so haven’t been able to do much in photography this month.
I did get enough time to take the older Lensbaby optics out and play with them a bit on the Pentax k-1.
Very different using the double glass and single glass instead of the newer Edge or Sweet models but found them very enjoyable to work with. Fun to have to think about the aperture one wants first and then install the disk as opposed to setting the aperture in the lens.
I did get lucky one day and had an Egret land in the artisian well I was working around using the double glass.
Egret with double glass
Winter tree with single glass
Winter pasture with single glass
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.
Like most sports, players/contestants rely on knowing the strong points of their teammates and try to decipher the strengths, weaknesses and personalities of their opponents’.
Unlike most sports, rodeo is fascinating in that the teammates and opponents don’t think or act as humans.
The communication between rider and horse during a barrel racing or roping event is incredible.
Understanding their opponents’ traits during the bronc, bull or roping events is critical.
Rodeo contestants are true athletes and deserve far more recognition than they often receive.
(Recently submitted post to PentaxForums.)
I find it curious how we photographers fret so much over lens quality reviews or lens superiority AND I do understand the difference between precision engineered glass and a soda bottle.
It’s easy to blur/fade an image made from a lens transmitting great IQ but impossible to add detail from an optic that never saw it in the first place.
I was using PF long before I became a member (I know, my bad) because of the wonderful amount of knowledge shared here by fellow Pentaxians. The lens database is incredible, especially the coverage of vintage and third party lenses.
My ex girlfriend shoots Canon and doing a fair amount of research there, it seems nearly impossible to find any reviews on anything other than the “latest & greatest” (and never so much information in one place.) I sense PF members seem more concerned with sharing creative process than promoting Market Hype.
I curb myself as much as possible from LBA but do like to keep informed on lens performance (vintage and modern), especially the diversified hands on experience I find here. Reading a recent post on Lenses and the K-1, I was very pleased with a response by Noel Porter. “One of the key things with any lens is understanding it’s characteristics and using it’s strengths or avoiding it’s weak areas (soft corners wide open etc).” (Read more at: http://www.pentaxforums.com/forums/190-pentax-k-1/329374-my-k-1-wasted-my-legacy-glass.html#ixzz4JuFQw1zm)
I’ve always viewed lenses as paint brushes. An artist may use two different brushes of the same size or shape to achieve different desired effects.
My main workhorse lens is a Sigma 24-60/2.8, it provides consistently good IQ. It will never provide the color and smoothness of my M50/1.7, the sharpness of my A50/2.8 macro or dirty/gritty film feel of my Vivitar 35/2.8. The Sigma 70-200/2.8 DG OS USM is in no way superior to my old F300/4.5 for IQ, but is the “go-to” lens during low light, nighttime sports events (and yet it never finds itself in the vest pocket like the tak-f 70-200 on a day hike.) They each are what they are.
Still, one of my favorite techniques is – NO LENS PHOTOGRAPHY (IQ be damned) – images below.
Zone Plate on K3
Writing with light – The brush doesn’t make the painting, the painting dictates the brush.
I’m consistently impressed while reading an inquiry here on the forums, how often a responding member will ask for more information on someones shooting style, subject matter, etc. before giving a recommendation. Sometimes it’s the newest technology when appropriate but often members encourage us to explore the strong characteristics of what we might already have or can easily obtain.
I look forward to reading more “fretting” over lenses, you folks make it an enjoyable treat and me happy to be a member of PF.
Another Zone Plate
Spending time this month reading about lenses and the Pentax K-1.
I find Pentax Forums a very nice resource for all sorts of material, lenses, cameras, flash, techniques – and not necessarily related to solely Pentax.
Easy to research articles and always someone willing to give a helpful reply.
Shots taken this month with the Pentax K-1 and various lenses or optics.
Lately I’ve been examining the color cast created by the ND filters I own.
I have a beautiful Singh-Ray soft grad 0.9 that was given to me as a gift years ago and a set of Formatt Hitech 0.6, 0.9 and 1.2 which I use primarily for strobe work.
Granted the Formatt’s are resin CR-39 instead of glass but they permit me to open my aperture for shallow DOF with the slow flash sync speed of the Pentax.
I have notice a small amount of magenta color cast while using them as such but never found it to be too overwhelming to clean out in post.
On a shoot a couple of months back I tried to stack the Formatts to achieve a 7 stop ND effect.
Wow, was the color cast dense. So heavy I couldn’t pinpoint a spot with either LR or PS Raw to achieve a natural WB.
Looking on the web for ND color cast I came across a review for the Ice ND1000 by a fellow Pentaxian which showed minimal casting between the image shot and corrected.
When B&H listed the P series of $49.95, I decided to give it a try. If I didn’t like it I wouldn’t be out that much.
While I haven’t used it much, I’ve been pleased with the results so far. It is made of optical glass and feels much like my Singh-Ray in build quality, one to take care of for long life
Decided to try an experiment to see how my filters compared to each other for cast by brand.
I kept as many constants as possible: tripod, f8.0, ISO 100, 50mm focal length and WB set in camera to 5500k.
In LR the as shot WB showed as 5300 temp and -16 tint (slightly to the green) on all photos.
I chose the exact same point (mid grey rock) in each photo to achieve the WB correction and will list the difference with each photo. Continue reading
One of the cool things about where I live is the distinction of the western terminus of Historic US Route 6.
The route starts in Provincetown MA and follows a cross country track to become the second longest highway in the United States.
Originally the western terminus was in Long Beach CA and in 1937 it was the longest highway in America with a total of 3652 miles.
ND Filters, often used to slow exposure times can also achieve great effects with flash.
Being a loyal Pentaxian, one of the biggest limitations to my setup is the flash sync speed of 1/180.
I often wonder where Pentax came up with this exposure and why they hadn’t developed a higher sync speed of 200 or 250 like many of their competitors.
Then I remember my film days and cameras that only had a sync of 125 and realize that even a shutter of 800 is slow compared to the speed of flash.
Flash or strobe work is really the balance of two exposures simultaneously.
Background or intent – exposed with ambient light, controlled by shutter, ISO and aperture plus Subject – exposed by flash, controlled by ISO and aperture.
Shutter speeds don’t really come into play during the flash part of the exposure, as most flash units fire much faster than the top sync speeds in cameras today.
Often, I find the strength of my studio strobes and non-ttl speedlights powerful enough on their lowest settings, that even with a low ISO 100 and the fastest sync speed of 180
I must still use an aperture of f11 or f16 to keep the highlights from blowing out beyond recovery.
When I have my ideal exposure setting for the flash, these small lens openings often cause an undesired effect,
they create a greater depth of field, taking focus away from the subject. Continue reading
I’ve really been enjoying working with the zone plate photography and the fresnel effect it gives
There is something challenging about not being able to picture the image through a viewfinder and trying to imagine how the final will emerge. Continue reading
I was looking for a subject to write about on this months blog when a friend and fellow photographer complimented my Black & White work on Google+, so I thought I’d pass on some tips and tricks that work for me. I’ll break this into two categories: photographing and processing.
I generally prefer to view art, photographs and films in Black & White. This is partially because my eyes don’t process light very well and colors tend to appear extremely flat or overly saturated (though this has been a blessing for low light and night vision.)
This deficiancy in my vision I find to be one of the initial and most useful tricks I use in Black and White photography.
Photogaphic Tips: Continue reading