Have received a message from dpreview about an offer to get DxO’s FilmPack 3 for free!
This is the previous version of FilmPack – the current one being version 4. But hey – it’s free! Or at least will be until July 4th.
Here’s the message from dpreview. I received it both as an E-mail and alert on dpreview. I’m not sure if the code is personal to myself – and so I’ve obscured most of it.
Hello from dpreview!
You’re receiving this message because our friends at DxO have a special offer that they want to extend to our community. For a limited time, DxO is giving dpreview users the opportunity to download its popular film-emulation software FilmPack 3 free of charge, and is offering a $30 discount on the newer FilmPack 4.
To learn more, or take advantage of this offer, go to http://www.dxo.com/dpreview and enter your email address and the unique verification code, below.
DPR-HEJPAY**** [Daf – I’ve obscured the last 4 characters]
Once you’ve done that, you’ll be directed to a page where you can download the software, and DxO will send you an activation code over email. Your email address will only be used to send you the activation code.
This offer is valid through July 4th, 2014.
I imagine if you sign in to dpreview then you should get a code too.
Not having been out and about photographing for the fun of it for a while the thought came to me a while ago that I’d like to give another go at doing some IR photography. I’d bought a Cokin IR filter a while ago and so had the kit already.
Also – living close to it but never having visited I thought that Nunhead Cemetery would be a good spot – Graveyards always look good in IR.
If you’re not interested in techie photography ramble and explanation – just jump to the end to see my photos.
Equipment used (and had already):
- Nikon D800
- Nikon 24-70mm
- Cokin P-series filter holder + 77mm adapter
- Cokin P-series IR filter (P007)
- Remote shutter release (3rd party wired from eBay)
The problem with trying to shoot Infrared with standard D-SLRs is that in front of the sensor they have a IR/Low-pass filter. Although it doesn’t block ALL IR light – it blocks much of it. So if you’re not going to go to the effort/expense of converting a camera and taking this out – you need to use an IR filter, which only allws IR and near-IR light in, and have a fairly extended exposure time.
There are numerous filters on the market – I just happen to have a Cokin P-series filter. I bought this a while ago as the advantage of Cokin filters is that you buy adapter rings for the holder and so you can use the filters (panes of glass) for different sized lenses – thus saving on the expense of buying multiple filters. At the time I invested in this system Cokin were only doing A and P-series filters – A being small and P larger in size. They now also have Z and X series which are even larger. P-series are rated up to 82mm – but there are issues when shooting wide-angle lenses.
Reading up online it seems that the Cokin filter isn’t the best of the IR filters available commercially – but it’s the one I have. Sometimes they’re rated in terms of light frequency they will block.
So – I have a D-SLR with a filter to cut out IR wavelengths, and in front of it I have a filter to only allow IR in. This means that exposure times need to be quite long to get enough IR light to give a decent exposure – hence using a tripod and remote shutter release to reduce/stop any camera movement.
I found that when shooting wide-angle alas the Cokin filter holder would cause a vignette – although shooting IR and the camera warm – the Vignette would be light rather than dark.
Taking a picture
Tripod – check
Remote shutter release – check
Eventually I changed the camera setup so that it would shoot after a Mirror lock-up just in case that cased vibration.
After a while (it was light out – seeing the LCD screen wasn’t great) I realise that there was some lens flare happening on the filter. Due to the filter holder I was unable to put a lens hood on. Additionally – because there is a slight gap between the filter and the lens – the lens flare (or filter flare) was even happening when pointing away from the sun – the sun was getting into this gap. So I would stand in-between the sun and the camera. However thinking it might be interesting – I also took shots allowing some flare to happen.
Focusing : Because the IR filter is so dark – the camera has no way of focusing using traditional methods – so you have to focus before putting the filter on.
So my procedure for a new shot was:
- Set-up tripod + camera
- Frame shot (without IR filter)
- Switch focusing to Manual (if using autofocus originally)
- Put IR filter in the holder
- Close viewfinder cover (in case extra light got in)
- Take a picture
- Check Picture on LCD. However this was hard to judge in the light so often viewed the histogram and trusted this.
- Repeat with exposure changes, and sometimes compostion/orientation changes, and on occasion – allowing flare.
I found that the exposure values I often used were:
White Balance: Auto (I think – didn’t change it.)
File type: RAW
Wide depth of field:
Shutter speed: 20-30seconds
Shallow depth of field:
Shutter speed: 6sec-10sec
Of course – these values will vary for other cameras depending on their IR sensitivity and the amount of IR light/heat etc.
Should have done:
LCD Loupe: It would have been handy to have a LCD loupe (e.g. Hoodman Loupe) to be able to see the results on the back of the camera.
White Balance: After reading sites online on how to process IR images I realised that I should have, or at least tried to, set a white balance on the camera. With IR filters a little red light still comes through and so pictures usually appear with a red tint. It seems it might be possible to remove this using a custom white balance. It obviously won’t be the standard light colours but should be more interesting than just white. More of this in Processing section.
Focusing: Have read somewhere that focusing should be done differently from my method of focusing without the filter initially – the reason being is that the IR wavelength is significantly different from visible light. Not sure how much of an effect this is. I did notice that if I switched to live-view that the LCD did actually show an approximation of the picture I’d get rather than just dark red! So maybe live view may have done a better job of focusing.
In the past I just converted IR photos to simple Black and White images, probably through Photoshop. However I thought I’d look up alternative methods – or at least the best way of doing it – possibly within Camera Raw – this lead me to all kinds of options – and included the tip about White Balance I mentioned above.
As per so many other things with digital photograph editing – there are SOOO many ways to edit things and so I won’t go into the options here – instead I’ll just cover what I did.
In the past I’ve accepted the fact that the picture will look totally red because of the near-IR light getting in through the filter. However various guides online suggest it might be possible to set a custom white balance to correct for it in the camera – possibly using Live View. However….. I didn’t do this.
So the usual way I set white balance is with Camera Raw – however within itself Camera raw isn’t sufficient on this occasion – the slider will only go so far – not far enough to correct for the VERY red picture. So this calls for an additional process. Some online guides suggest using an alternative RAW converter but another couple I read pointed at the method I eventually used : Creating a DNG profile, applying this first, then using Camera Raw’s own White Balance correction.
To use a DNG profile you need to:
1. A create a DNG file.
You can convert one of your RAW files to a DNG file using Adobe’s. There’s one for Windows, and one for MAC. It’s free but you need to register with Adobe and get a AodbeID. Creating a DNG file is fairly straight forward.
2. Create the Profile file
To create a profile I used Adobe’s DNG Profile Editor. Again free if you have a Adobe Labs ID, or after you register.
To create the Profile (also known as Recipe):
- Open one of your DNG files
- Change the controls on the right to the Color Matrices tab
- Move the “White Balance Calibration” setting – “Temperature” slider all the way to the left. So the red picture turns more orange.
- Export the Profile using “File -> Export” to the Camera Profiles folder of Adobe. Initially it selected the correct folder for me but trying just now it didn’t. On Windows 7 this is : C:\Users\<USER NAME>\AppData\Roaming\Adobe\CameraRaw\CameraProfiles\ Using a name that represents it’s use i.e. for IR.
- Close the editor.
Here’s a picture of the slider:
Also the picture pre and post doing this.
To use this profile you then open your RAW picture in Camera Raw, go to the Camera Calibration tab – and select your new profile there – it should be in the list, e.g. (bottom of the drop-down) :
See profile: Nikon D800 IR Recipe.
After that the picture in camera RAW looks orangey. You can then use the White Balance sliders as normal – or the white balance sampler tool. Depending on where you sample this will turn parts of your image orange, and parts blue.
Standard Raw Processing
After the White Balance work you can continue with RAW editing as you normally would, for me this includes:
To get the most of the image.
Then open the image into Photoshop.
A lot of blogs/guides then suggest swapping the red and blue channel. Not sure why – but this just works – maybe because it has a tendency to turn the sky blue rather than orange – which makes sense to our unconscious mind.
To do this either create a Channel mixer adjustment – or better a Channel Mixer Adjustment Layer. Then on the
Red Channel: Change Red to 0% andBlue to 100%
Blue Channel: Change Blue to 0% and Red to 100%
This changes a picture from:
There were a couple of images that I didn’t do this to – they just seemed to work in their original state.
Then continue with your other editing.
Mine varied from picture to picture but some common edits included:
- Adjusting Saturation (mostly reduced)
And that’s it really.
And so finally – my pictures.
As mentioned above – these aren’t perfect – some have accidental lens-flare and some are on purpose – as after all I think it looks quite nice.
Click on them to see a larger image.
Yes I said mouse!
Photographers are used to talking about or reading about pen-tablets – and they have their place – however I personally tend to see this largely as being when you need to do fine detailed work such as cleaning up skin or hair on studio shoots, or table-top product shoots. But for the most part I don’t need to go down to this level of detail – events being the most common example for myself. It may be because I’ve not totally got used to the tablet as yet (I have a Wacom Intuous 5 small).
Before getting my tablet I’d customised my Photoshop so that my most used functions were assigned shortcut keys. I had to assign these in a couple of instances but Photoshop makes this easy as almost anything can be assigned a shortcut key.
My most used actions when editing photos like event photos are:
- Maximize image
And on the whole – that’s it. There will be a few instances when I do other work but those are by far the most common.
As I use layers a lot of these were shift-key combinations i.e. you had to press the shift key down and a letter key to operate the shortcut. These are the shortcut keys I set up, or were in place. Not a lot of thought was put into these initially but it’s what I got used to eventually.
- Levels Layer : Shift-, (shift and comma)
- Curves Layer : Shit-M
- Sharpen : Shift-F (This is the default shortcut for re-doing the last filter done)
- Flatten : Ctrl-Shift-F
Although shortcut keys do certainly quicken the workflow (rather than selecting the item from Photoshop menus or sub-menus) it’s still a bit of a break in the flow – hands need to move, find keys, press them etc. This is especially so when the key-combination isn’t simple to do with one hand and both need to move (this is where I think I should have assigned simpler short-cut keys). So I had the idea of looking to find a mouse that has assignable buttons. Not sure now but I knew they existed – maybe just noticing one in a computer shop when doing something else.
There’s a whole wealth of mice out there with more than the usual 2/3 mouse buttons – a huge amount in fact. They’re called gaming mice. Of course these are directed towards the gamers as they want to do certain actions quickly without swaping hand in case they get blown up ;)…… where’s that key to change weapon *BOOM* – damn game over…. and such like.
They come in all shapes and sizes – some even have customizable shapes ! But their price range also vary significantly.
I had a brief look around and decided on some main requirements:
- At least 3 definable buttons in addition to standard 2
- Wired (don’t see the point of having wireless if it’s never leaving my desk and don’t want to waste batteries)
- Optical (rather than laser – seen some iffy reviews)
- Affordable (I’m not a gear freak in terms of PC stuff so didn’t see the point in spending £100 on a mouse!)
In the end (after looking at specs and reading reviews) I decided to go for the Logitech G400.
I bought it for something like £25/27 (probably Amazon) rather than the £35 listed on the Logitech site.
In addition to the usual 3 buttons (left, right, roller-with click) it has an additional 5 buttons. Two at the side that are assigned to anything and three at the top which are usually assigned to precision/speed.
In the software that comes with it you can assign these to different actions, e.g.:
- Keystroke (single)
- Mouse function
- Media (e.g. play, pause)
- Hotkey (e.g. windows operation e.g. open/close a window)
- Function (e.g. Open windows “My Computer” window)
This picture shows the interface and what I’ve assigned them to/called them:
So they are :
- Levels (New levels layer)
- Curves (New Curves Layer)
- Flat-Filter (Flatten the image and then Sharpen – or last filter)
- Full (Maximise image window)
- Saturation (New Saturation level)
Each one refers to a “Multi Key” combination and one does two things (Flatten + Sharpen). You can do these using the tool/driver to record what you press – so it’s just a matter of clicking record and then doing the key presses. This also records lifting the keys after you’ve done. But one important thing to remember is that on the New layer combinations you also need to press Enter if you want to accept the default name of the window, which I usually do, else you’re left with the new layer prompt. If I want to rename it for a longer edit I can do that later.
So here’s the combination for new Levels Layer as an example (usually Shift-, on the keyboard):
Rest is fairly simple really.
As seen in the first image you can set different button settings for different applications. It does come with some suggested configurations but almost all of these are games …. which I don’t have or have the time to play. Of late I have found that it can struggle to pick up which application I’m using sometime, especially when going from Bridge to CameraRaw and then to Photoshop. I’ll press a button to do something but instead of my assigned function something else will happen e.g. instead of maximising the image the mouse will get more sensitive (quicker). This can be solved by doing a windows alt-tab to swap away and then again back to Photoshop. Annoying sometimes but on the whole the mouse is saving me a lot of time. Very glad I bought it even though I now have a Wacom tablet too.