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Infrared Photography with a Digital Camera

Infrared Photography with a Digital Camera
Fogging Certain cameras or lenses may exhibit some fogging, or image areas with extra exposure (for example, a bright central spot seen with many Canon lenses). This may be due to light scattered from inner surfaces of the lens, or to some peculiarities of anti-reflective lens coating which was not really designed for infrared. Sometimes the blackness of internal surfaces of the lens tube or mirror chamber may be "not black enough" in infrared. (I experienced the last effect a few years ago with an Olympus E-10, where the extreme 15% or so of many frames was ghosted.) Sometimes it happens to all cameras of a given model, sometimes — just to a particular specimen or a particular lens. Note to SLR users: regardless of that effect, the image may be fogged, or otherwise affected, by the light entering through the viewfinder in spite of the raised mirror) and reaching the sensor after being scattered around the mirror chamber. Focusing Non-SLR cameras have an easier job here. Postprocessing Related:  Experimental Photographyphoto

Infrared photography using a digital camera Words and Pictures Barry Robinson Photographers have struggled to master the techniques of infrared photography for years and many have been put off even trying because of the mystique behind the subject. With traditional SLR cameras it is as much of an art as it is a technique with much of the settings being pure guesswork. The average light meter cannot read the level of infrared light and even the point of focus shifts due to the wavelength of this invisible light being much longer than visible light. So experience and a lot of hard work in the darkroom is the only way to succeed. Because of this, the average photographer gives up very early or just never bothers. Most digital camera CCDs are sensitive to this near infrared light so when you place an infrared filter in front of the lens the camera simply adjusts itself to accommodate this wavelength. A simple check can be made to see if your camera is capable of infrared photography. The main rules to remember are:

infrared photography Getting Started with Infrared Photography Infrared photography looks like nothing else. I’m sure you’ve seen some IR photos around the web, but maybe you don’t know how to achieve this special effect? Look no further, here’s a guide on what to think about when choosing your object, how to shoot and what to do in post-production. Photography is the art of capturing light, IR photography on the other hand is the art of capturing invisible light — but the challenge comes with its benefits, IR photographs can be really attention grabbing and otherworldly. What you need First of all you need to have a D-SLR camera with a lens that can use filters. The IR filter I use is the Hoya R72, all the IR photographs in this article are taken using that filter. Another piece of equipment that is crucial is the tripod. The Canon kit-lens, 18-55mm f/3.5-5.6, for example will create a hotspot in the center of the photograph as seen in the photograph above. What do I photograph? How to photograph Post-production Open your IR photo in Photoshop.

Infrared basics for digital photographers Digital cameras make it easy to explore a world of invisible light just beyond red. In this topic... See also the IR/UV Checklist Last updated October 22, 2009 Why Infrared? Conventional visible light photography is challenging enough. On this page... Topic Index Extra-Sensory Perception Our senses strongly shape our understanding of the world, as every photographer well knows, but they sample only small slices of the reality around us. Curiosity about the world beyond natural perception motivated some of our greatest inventions and scientific advances. In the last 2 centuries, visual observation escaped not only the human scale but also the visible spectrum — that narrow band of electromagnetic (EM) radiation where the solar power spectrum and the sensitivity of the human eye both peak. To this day, the NIR remains one of the most useful extra-visible bands in the EM spectrum. At left is one of humankind's first-ever looks at the surface of Titan, one of Jupiter's four large Gallilean moons.

Learn Night Photography How many seconds? Photography is really about light. Night photography is just like any other type of photography except you don't have the sun to help you light up your pictures. Mixed Light To start with, you generally have to understand "mixed light". Here a cave entrace (outdoors) is balanced with the lights built into this cave display. Here there is a fixed light source (the sun coming through) and a variable source (my flashlight back filling the scene). It took 6 minutes to get enough star/city light to get a sky filled in. Perhaps the hardest example of balance. Cities (30 seconds or less) Cities have a little bit of everything in the for light. Fireworks (4 - 12 seconds) One of the most fun types of night photography is taking pictures of Fireworks. Fireworks are a great way to burn film. If you are using 200 speed film, use f11. 400 speed film, use f16. Sparklers (3 seconds) Another fun pyrotechnic source of light is sparklers. Campfires (6 - 30 seconds) Flashlights ( 120 seconds )

How to Scan Film Negatives with a DSLR Well, lets just say I’ve gotten better at this over the last couple of years. The left image was one of the first I’ve “scanned” with my DSLR, and the one on the right I’ve just rescanned using the techniques described below (higher resolution available here). Right now I can get higher resolution and better image quality that what street labs give you on CD. I’ve seen many articles on the web explaining the basics of digitising film negatives or transparencies with a digital camera. The basics are quite simple: you take a photo of a negative into a light source and invert. That’s it. First of all: Why? Street labs can usually scan the film but I’ve got bad scans and missing/cut frames more than once. These are my reasons, you may obviously have different ones. All the following instructions have the objective of achieving the best possible resolution, colour depth and dynamic range out of the film, while keeping image noise as low as possible. What You Will Need Setting Up the Hardware

EDP – Experimental Digital Photography night-photography Six Things They Won't Teach You In Portrait Photography Class The one thing that will teach you to become a better portrait photographer is failure. Typically, when you fail at something, you sit there and wallow in agony. Then you figure out what you could have done better and find a way to keep those mistakes in mind for your next project. Failure, trial-and-error, and perseverance will help you to create better portraits. That’s the first major lesson that they won’t teach you in portrait photography. Here are five more. Have an Idea So how do you shoot a portrait? Many portrait photographers (not only those starting out but even experienced ones) fail right from the start by not having an idea or vision for the shoot. - The feel and vibe on the set - The wardrobe - The props - The lighting - The angles shot - The post-production process If you don’t have an idea to begin with, then you’ll need to find one. On The Phoblographer’s Tumblr, Gevon and I try to post as much inspirational and cool content as we can. Know the Subject - She is sarcastic

experimental photography & digital imaging Create Silky Smooth Waterfalls In Photoshop Written by Steve Patterson. In this Photoshop Effects tutorial, we’re going to look at how to give waterfalls a silky smooth appearance, as if the photo was taken with a longer exposure which would normally require the use of a neutral density filter. Here’s the photo I’ll be starting with: The original image. And here’s the finished “silky smooth” effect: The final result. Let’s get started! Step 1: Draw A Selection Around The Waterfall With your image open in Photoshop, grab your Lasso Tool from the Tools palette: Select the Lasso tool from the Tools palette. You can also press the letter L on your keyboard to quickly select it. Then, with the Lasso tool selected, drag a selection around your waterfall. Use the Lasso tool to drag a selection around the waterfall. Step 2: Copy the Selection Onto Its Own Layer With the waterfall selected, use the keyboard shortcut Ctrl+J (Win) / Command+J (Mac) to copy it onto its own layer above the Background layer. Photoshop’s “Motion Blur” dialog box.

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