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How I process/Wie ich verarbeite

During my conversion work, I found that the Nikon D70 is particularly good for Aerochrome emulations using the Green filter (Hoya X1) and Orange (Tiffen 15). Why this is so, however, I do not know. I wonder if it has to do with the high IR sensitivity? Maybe. Sometimes the differences between cameras baffle me. So does the fact that some lenses work better with certain cameras than with others. For example, the 28-85mm (link) works well with the D70, but not at all with the D7200. The 18-70mm (link), which I also recently tested, basically works well with both cameras, but better with the D70. In my eyes, this standard zoom is the best general lens for a full spectrum D70.

Anyway. In this bilingual post I want to briefly show how I generate Aerochrome images with a D70. From left to right, you can see the processing in the following series of images.

 
D70 Aerochrome

 
Left: the image with auto white balance.

Middle: With white balance in Adobe Raw. Came up with values 2750 for temperature and 66 for tint. Then I chose “Landscape” as the preset, because it made the tint a little darker and bluer.

Right: The final image in Photoshop. First I took care of the IR contamination in the Channel Mixer. In the red channel 120 for red and -20 for blue, in the green channel 120 for green and -20 for blue. Press OK. Now swap the channels in two new steps. That means: In the red channel 0 at red and 100 at blue, in the blue channel 100 at red and 0 at blue. Press OK. Then in the green channel 0 at green and 100 at blue, in the blue channel 100 at green and 0 at blue. Press OK.

Done.

Während meiner Umrüstungsarbeiten habe ich herausgefunden, dass die Nikon D70 besonders gut geeignet ist für Aerochrome-Emulationen mittels des Grünfilters (Hoya X1) und Orange (Tiffen 15). Warum das so ist, weiss ich jedoch nicht. Ob es mit der hohen IR-Empfindlichkeit zu tun hat? Vielleicht. Manchmal stellen mich die Unterschiede zwischen den Kameras vor Rätsel. Ebenso der Umstand, dass einige Objektive mit bestimmten Kameras besser funktionieren als mit anderen. Zum Beispiel funktioniert das 28-85mm (Link) mit der D70 gut, mit der D7200 jedoch so gar nicht. Das 18-70mm (Link), das ich jüngst ebenfalls testete, funktioniert grundsätzlich mit beiden Kameras gut, jedoch besser mit der D70. In meinen Augen ist dieses Standardzoom das beste Allgemein-Objektiv für eine Vollspektrum-D70.

Wie auch immer. In diesem zweisprachigen Post möchte ich kurz zeigen, wie ich mit einer D70 Aerochrome-Bilder generiere. Von links nach rechts sieht man in der Bildreihe oben die Verarbeitung.

Links: das Bild mit Auto-Weissabgleich.

Mitte: Mit Weissabgleich in Adobe Raw. Kam auf die Werte 2750 für Temperatur und 66 für Tönung. Danach wählte ich “Landschaft” als Preset, weil die Tönung so noch ein wenig dunkler und blauer wurde.

Rechts: Das finale Bild in Photoshop. Als erstes sorgte ich mich im Kanalmixer um die IR-Kontamination. Im Rotkanal 120 bei Rot und -20 bei Blau, im Grünkanal 120 bei Grün und -20 bei Blau. OK drücken. Nun die Kanäle in zwei neuen Schritten tauschen. Das heisst: Im Rotkanal 0 bei Rot und 100 bei Blau, im Blaukanal 100 bei Rot und 0 bei Blau. OK drücken. Anschliessend im Grünkanal 0 bei Grün und 100 bei Blau, im Blaukanal 100 bei Grün und 0 bei Blau. OK drücken.

Erledigt.

A new obsession: Blue trees!

As I probably once alluded to, I am looking for a false color IR style that will produce blue trees.

I have tried many things. For a long time it seemed that the combination of Hoya Green X1 (a real secret weapon for IR photographers) and Tiffen Yellow 8 would be promising. The tones in the vegetation are pretty, but too reddish. A change to more blue is too costly and thus not optimal for me.

 
Green water

 
I then tested other combinations. I picked up a “Swatchbook” from Lee Filters (link). This is something like a Swiss Army knife for false color photography fans. The catalog covers the entire range of filters from Lee, is very inexpensive and is wonderful for finding out new IR styles.

Of particular promise here were the somewhat more obscure yellows, browns, and oranges that have names like “Ald Gold” or “Urban Sodium.” After extensive clicking with all sorts of variants, I came across the one that was best suited in my eyes: Deep Amber (link), which is a thinner yellow tone.

Together with Hoya X1 resulted in photos characterized by cyan-blue skies and purple vegetation. Since the purple is closer to blue than the pale magenta of the 8/X1 combo, the change to blue was relatively easy. What was unfavorable for me was the magenta coloring of yellows. Therefore, a little shifting was necessary here as well.

 
Blue trees

 
So I did the following: In the Raw Converter minus 50 at the Purple tones in the Color Mixer, then in the Channel Mixer at Green a change (Red 50 and Green 50). That’s all.

The only problem is that this seems to work so well only with my Tokina 11-16mm lens (link). It is so that this lens filters out more IR light than other lenses. Thus, the sceneries become more “natural” and the IR-absorbing objects become thinner.

Here is the setup:

 
Blue trees

Color explosion

I love moss-covered trees. They radiate mystery and grace. There is an almost magical hidden place near where I live where moss reigns. There, below a gigantic rock wall, you will find a small pond, surrounded by hills full of man-sized stones that have fallen over the centuries, dead wood and moss-covered firs and trees. In winter the sun never shines there, and the rest of the year only for a few hours a day. I’ve always had trouble teasing IR light out of these moss artworks. I tried everything: 720nm, 590nm and so on. Never did I get satisfactory colors. With the orange-green combination it’s different. The color variation is quite breathtaking especially in the third photo…

I’ll have to return to this spot soon.

 
Color explosion

Color explosion

Color explosion

Dramatic Skies: The Cokin Varicolor

As readers will have noticed, I’m a fan of dramatic skies – whether that’s in the form of wild cloud formations or stark color gradients. And it doesn’t always have to be infrared. Yesterday, I had time and muse to try out my Cokin Varicolor filter with my unconverted Nikon D700. According to the manufacturer these filters take on different colors when rotated vertical to horizontal (or vise-versa). “Due to their use of polarizing film the color effects will be stronger in certain areas depending on polarization. You will discover a whole palette of unexpected and unusual shades, which will enhance reality.”

 
Cokin Varicolor

 
It is still difficult to say under which conditions the filters work best. The angle to the sun is crucial, similar to the normal circular polarizer, which darkens and changes the sky mainly vis-à-vis the sun and 90 degrees to the irradiation line. With the Cokin Varicolor – this is the red-blue variant – stark color gradients come out. I especially like the dark purple tones. The most beautiful thing about it all: The neutral tones and also other colors remain quite untouched with the perfect angle. I can only recommend it. Am curious about the Cokin Varicolor yellow-blue variant, which I will try out soon. Attached below are some test pictures, shot between Selveareal and the military area in the Swiss alpine town of Thun.

 
Cokin Varicolor

Cokin Varicolor

Cokin Varicolor

Cokin Varicolor

Cokin Varicolor

Cokin Varicolor

Cokin Varicolor

Cokin Varicolor

Pink hills, red firs

Today I was once again at Lake Thun to photograph the surrounding hills and peaks with the Tokina 300mm tele lens. Here are some impressions. The TB550/660/850 filter was used.

 

Lake Thun

Lake Thun