Blue Tinted Infrared Using Lightroom

A couple of days ago I explained how to regain control of your white balance in Lightroom for your infrared photos. Once you have more white balance flexibility you can use to it apply different colour casts. A popular cast at the moment is using blue rather than reds or copper tones. The usually described technique for this is to adjust the channels in Photoshop. But, you can achieve a similar effect using the white balance slider or dropper in Lightroom.

Recently we were shooting at the pier made “famous” by an IKEA poster. While waiting for a long exposure to complete I was wandering around snapping away on a 20D that has been converted to infrared. The first image shows the scene with the 20D’s custom calibration profile applied. The second image shows how changing the white balance can create the blue effect.

IR Pier Before White Balance Change

IR Pier After White Balance Change

New Canon EOS 1D X – Initial Opinion

My current camera is a 5D Mk I. At the time the 5d Mk II was released I decided to sit tight and wait for the Mk III. I was quite happy with the performance of my 5D Mk I at the time and didn’t feel that the Mk II would make a dramatic difference to me.

My partner Kim had a different view and bought a Mk II, so I’ve had an opportunity to use both cameras. In hindsight I think I was wrong. I think the Mk II would have made a difference to me, in particular its live view mode (good for long exposures & tilt/shift) and the increased pixels allow much more flexibility to recompose during post processing. But, by the time I had come round to this way of thinking more time had passed and I thought a 5D Mk III, or a replacement for the 1Ds Mk III wouldn’t be too far away. In fact I was leaning towards going for the 1Ds Mk III replacement over the 5d Mk III.

Now having seen the announcement of the 1D X, I’m starting to think that maybe I should buy a 5d Mk II after all. I’m not all convinced that the features of the 1D X are appropriate for my type of photography. The anticipated approx £7k price tag (assuming the usual $1 = £1) has pretty much sealed it for me: I’m not going to buy this camera. In fact if I was thinking of paying this sort of money, I would seriously have to consider it against an entry level medium format system. As it happens, I had a half a wish that Canon would head in the larger sensor direction themselves.

My work is mainly low ISO based landscape photography. I also take quite a lot of long exposure and HDR shots. I’ll also quite often manually focus for hyper focal distance or some other creative reason. I tend to take very few shots, because of the amount of time each can take. So I don’t really need, the 1D X’s features such as high ISO, high fps, 1080p video, multiple flash cards and Ethernet. Also, lowering the megapixels to increase the quality (especially at higher ISO) is very little use as I shoot usually shoot ISO 100 on a tripod.

So the question is, do I wait for a the 5D Mk III or buy a 5D Mk II? My thoughts are:

Here in the UK, the Mk II is very competitively priced at around £1,500 inc VAT. Based on current trends, it is likely that the Mk III will be more expensive.

The Mk II has live view and I suspect the Mk III will also have it. So a draw there, although there is a possibility that the Mk III may have an articulated screen which would be handy. But that’s purely speculation.

The Mk II’s ISO is high enough to use live view with a 10 stop filter (for long exposure). It is likely that the ISO rating for the Mk III will increase so would give more flexibility in this regard. A win for the Mk III, but not a big one.

The Mk II produces excellent quality results at ISO 100. I’d be very surprised if the Mk III wouldn’t at least match this quality. But having seen Mk II images, I’m not sure I would gain much from this without a great leap forward. So a draw.

The Mk II has 21 megapixels which allows for an adequate amount of re-composition. It is possible the Mk III will use a similar (if not the same) sensor as the 1D X, so it may be a slight win for the Mk II here.

The Mk II is available now. The Mk III hasn’t been announced. Considering the 1D X has been announced 6 months in advance (assuming Canon can keep to their timetable), the Mk III could be a year away, and then longer before supply settles down. Win, Mk II.

So, what am I gaining by waiting for the Mk III? At the moment, for my work at least, I seem to gain very little by waiting. I’m sure when the Mk III does finally appear, it will be packed full of features that I’d love to have, but for now, Canon’s announcement has actually convinced to think seriously about buying a 5D Mk II!

New Canon EOS 1D X

Canon have announced their replacement for the 1Ds Mk III and 1D Mk IV. It’s the new 1D X, currently scheduled for release in spring 2012. The headline megapixels is down from the 1Ds, with the aim of improving quality, dynamic range and sensitivity. Some of the key numbers are:

18 megapixel full frame
iso to 51,200 standard, 204,800 extended
12 fps shooting
61 point auto focus
1080p video
Twin compact flash
Gigabit Ethernet (for tethering)

More details at dpreview

Regain White Balance Control for Digital Infrared in Lightroom

Images taken with an infrared filter, such as Hoya’s IR72, or with cameras that have been converted to infrared need to have their white balance calibrated. The most common technique I’ve come across, and the one I use, is to point the camera at something like grass or a very leafy bush in bright sun and set a custom white balance from this. This is great for the initial setup but once the photo is loaded into Adobe’s Lightroom or Photoshop Camera Raw you’ll find that your white balance is set at the far left of the the slider scale. This greatly reduces your options for manipulating the white balance away from the reds. But, it’s very easy to overcome this issue by creating a custom profile for your (IR) camera.

First, download Adobe’s DNG Profile Editor by following the links from this page. This tool will allow you to open a DNG photo and create a profile. You only need the DNG file for creating the profile itself, so use Lightroom or Photoshop to create one from one of your infrared images. Once you’ve created your profile, you can delete the DNG and go back to using RAW (assuming you use RAW).

Start the DNG Profile Editor and choose File, followed by “Open DNG Image…”. Below is an image of the Seven Sisters taken using an Hoya IR72. As you can see it is very red because the custom white balance is being ignored by the DNG tool.

Seven Sisters IR

Now adjust the White Balance Calibration sliders by pulling them towards the left. I have mine set all the way to the left, but you may want to try a few different settings (remembering you need to follow all the way to Lightroom to see the results) to find one that works for you. In my case the image took on a sort of mustard yellow cast in the DNG editor. This is how the change looked in the DNG editor.

Seven Sisters Adjusted IR

Now choose File followed by “Export <your camera> Profile”. It should offer to save the DCP file in the correct location. On my machine this is Library/Application Support/Adobe/CameraRaw/CameraProfiles. Sorry, I don’t know the what the equivalent Microsoft Windows location is, but searching for “CameraProfiles” will probably find it.

When you next open Lightroom, you’ll find your new profile added to the set of profiles available in the Camera Calibration section at the bottom. When you choose the profile you’ll see that you white balance has moved too. In my case it now sets it at temperature of 21,000 and tint of 150. You can now use the dropper or the sliders to get a choose a white balance that is further to the “left”. In this example, I got a nice copper toned sky at around 3900/38. By the way, I called my profile 5D IR 1.

Seven Sisters in Lightroom