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IR shot ...

Discussion in 'Night, InfraRed, and UltraViolet Photography' started by Chris101, Aug 9, 2005.

  1. Chris101


    Feb 2, 2005
    from a year or so ago. Found and reprocessed it last night with CS2 to fix severely burnt highlights in the cloud. It's I-10 near Palm Springs:
  2. Irene

    Irene Guest

    Hi Chris, I like it a lot. The clouds make the overall look very dramatic. Great image.

  3. Chris101


    Feb 2, 2005
    Thanks Irene. It was dramatic. Later in the trip I was in the cloud as fog descended. Rt. 60 through the mountains is an especially narrow road with sheer cliffs up or down on one side and oncoming traffic a meter away on the other. And those crazy Califonians still drive it at 85 even though visibility is zero!
  4. Chris, imagine you had been a few feet in the air taking that picture, we would had have another of those famous picture like "Moon over Hernandez".
  5. Chris101


    Feb 2, 2005
    Unfortunately I had left the International with on-top platform and 8X10 viewcamera (with sinar digital back, of course) at home. J/K I don't have those. That was Ansel's car, but he didn't have a digiback... ;) 

    Thanks for commenting Gilles!
  6. JackG


    May 31, 2005
    Phoenix, Arizona
    Hi Chris,

    Nice job, I really like all the IR work I have seen posted on the Cafe.

    Was it easier to fix with CS2 as opposed to 7?

    I'll get the filter if you'll give the lessons!

  7. Chris101


    Feb 2, 2005
    Ya know Jack, it was. Do you have the Raw Converter for 7? ACR 1.0 I believe.

    The 'blown area recovery' aspect of ACR gets better with every itteration, and the one that came with 7.0 was the worst. It couldn't even handle as much range as Nikon Capture 3.5, but was much faster. The current ACR can pull all but the whitest white out, even when it reads 255,255,255.

    Thanks for the post, I'd be glad to sit down with you and work on it. If I were to go filter shopping, I'd check out the one like Kim had, an R72, 92? ... something like that. It looked blue when looking through it, and the pic came out looking blue too. That one seems to be very popular. The 89B can use an almost hand-holdable shutter speed on my 35mm f/2, the R- was a stop or three darker.

    ps, pm me if you want to get together for an IR shoot/edit session.
  8. Spectacular Chris. I can understand why you came back to re-work the picture a year after. Are the rays in the sky flares ? Whatever, they bring somethnig in I find interesting, like an aural descent (a what ???).
  9. Chris101


    Feb 2, 2005
    Hey thanks Christian! Yep that's flare off the IR filter I believe. It has many surfaces, as it is a 'sandwich' type filter. Is an aural descent that sound "Ahhhahhhahhhh" you hear when angels appear or miracles happen? ;) 
  10. or just when you come upon um' Californians driving that road at 85 mph...
  11. Chris101


    Feb 2, 2005
    Oh yeah, cause in California they post 70 as the suggested minimum.
  12. Nice shot !!

    Hey Chris !! Very nive shot. With the B&W conversion, the result is really dramatic, I like it !!
    Thanks for sharing.
  13. nfoto

    nfoto Guest

    Do remember lens (and filter) coatings are very inefficient in IR. You do get a lot more flare and ghosts, and even lenses which in the visible range behaves impeccably in this respect become poor performers in IR. Always take care to shield the front of the lens to mitigate this issue. Another reason for shooting with a tripod-mounted camera in fact, because shadowing the front element is much easier.
  14. nfoto is right ...

    This is consistent with everything I have seen in years of IR photography.
  15. Great shot Chris ...

    The BW gives a very special eerie feeling ...
  16. Chris101


    Feb 2, 2005
    Thanks Benoit, Bjørn and Boobie! IR does add an emotional content for sure, the inverted contrast makes the sky darker than the surroundings, which gives rise to the feeling that something is held over-head.

    Serindipity is important to my photography, film background and all. IR helps preserves those 'wait and see how it comes out' aspects. When flare, noise, digital aberations and other artifacts get added to the picture, a found art quality endures in digital after all.

    Accepting my tossed looking style, I agree on the value of lens shading. My 'street photography' lenses (35 f/2 and 85 1.8) always have metal lens shades screwed on. Bayonet, petal-cut plastic ones are great for small zooms and for exacting macro work there's always the compendium. One thing I don't want, is a flare streak across someone's face at the wrong time, so thanks for the reminders!
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