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I haven't used my Kolari Vision IR Chrome filter in a while, and decided to try it out on my newly acquired Sigma sd Quattro H. Instead of the usual orange tones, the sdQh seems to produce a vivid range of magenta/reds SOOC. Not much greenery this time of year, but here are a few test shots. Snowdrops "Cine" color mode Snowdrops "Standard" color mode Steet scene "Standard" color mode

What is the raw color of the Hrommagicus filter? I like to determine this for my filters by photographing an UV/Vis/IR white standard which has broad uniform, diffuse reflectivity such as the 5x5 inch Spectralon square shown in the photo. The Hrommagicus filter is a cyan filter having a bit more blue than green as you can see from the raw histograms. Cyan is at 180° on the color wheel. The Hromaggicus is at approximately 189°. Just call it 10° toward the blue away from cyan. I made a white balance on the Spectralon in Photo Ninja. The screen shot shows that the Temperature = 15000 and the Tint = 59. I saved this white balance in Photo Ninja for use on a later test scene. When photographing the Spectralon, the blue channel was the first to blow out. The shot is actually somewhat underexposed to prevent hitting the wall in the blue channel because Photo Ninja will not white balance on a blown out area. This is probably a correct approach. Interpolation is good for dealing with highlights, but not so useful for a correct white balance which should not be based on guessing. The raw histogram in log format shows that I got fairly close to the right hand wall in the blue channel. That is not obvious in the linear version. The raw histogram was created from only the cyan area. The left-hand side of the photo was excluded. Hrommagicus Test Scene I photographed some sky and a dark green juniper. There are a bunch of dried grasses in the foreground. OK, maybe not the greatest shot ever, but it was cold out there! I made an in-camera white balance against the scene just as seen in the photo. When attempting an in-camera UV or IR WB with a Nikon, remember Bob Friedman's advice to first set a proper exposure in manual mode. Under a colored filter the metering will not always show the correct exposure. For this Hrommagicus a good exposure was about 2 stops longer than what the meter was showing. At the metered exposure, the D610 could not make the WB measurement. This in-camera WB turned out to be the one having the foliage colour closest to red (as either 0° or 359° on the color wheel.) That has been important for some members here who are working on achieving the Aerochrome "look". But the outcome here was a pure surprise to me. And I'm not sure you would necessarily get pure red foliage for a different scene. The version you are seeing here is the extracted JPG. No formal conversion was done. No edits were made. Resizing and labeling was done in Photo Mechanic. The in-camera sharpening was preserved as well as the Vivid picture control. (Resizing may have dulled the sharpening, of course.) Here is the test scene in all its raw cyan glory, as shot. The red, green and blue channels are also shown. (The two green channels were averaged by Raw Digger.) The blue channel is the brightest. The raw histograms are as expected - blue leads green just a bit. Two Test Scene Variations This version of the test scene was converted in Photo Ninja. The white balance made from the Spectralon was applied to the file. No camera color profile was added. The color of the foliage has shifted about 10 degrees away from pure red (0°/359°) back towards blue. This produces more of a cerise (cherry red) colour. Is this a more valid colour version of the test scene? Who can say? We are dealing with false colour here. Anything goes! Using a Spectralon white balance made just prior to shooting any scene is a good way to standardize false colour outcomes when needed. But feel free to push your false colour in whatever direction pleases you best. [side Note: It is good practice to photograph a white standard for every scene. Our cameras do not always measure white balance correctly under UV, IR or color filters even when you are measuring WB against the white standard itself. If you make documentary photographs, this step is mandatory indoors or out. Outdoors maybe more so because sunlight is changing composition and colour every second. ] This conversion does not have the same amount of saturation in the sky colour as does the extracted JPG above because I was only making simple conversions. But you can see from the sampled sky colour (pushed to 100% brightness and 100% saturation) that a richer sky colour can be easily attained. This version was also converted in Photo Ninja. The preceding Spectralon WB was again applied to the file. Then I added a Nikon D610 visible color profile made in sunlight for my converted D610. The red foliage shifts a few degrees more. And the sky colour moves also - away from cyan towards blue. Combining a standard WB with a colour profile is another legitimate approach for standardization of false colour results, when desired. Just Playing Around I wondered what would happen if I photographed a Color Checker Card under the Hrommagicus Filter and used it to create a Hrommagicus false-colour profile. Mind you now, this makes absolutely no sense. I just thought it would be fun! The result produced a very rich, deep colours for the test scene. The CC Card is shown in its raw colours first. Here is the profiling step in Photo Ninja. This is the Hrommagicus false-colour profile applied to the CC Card photo. [side Note: This photo also illustrates why we do NOT use a visible colour card for white balance under our UV or IR or other filters. The Spectralon white balance was applied to this photo, but you can see that the top row of visible neutral patches are not at all neutral because the CC Card is designed for visible reflectivity only.] Now the Hrommagicus false-colour profile is applied to the test scene. This is not the Aerochrome look, but it is quite beautiful.

What filter combinations give the best EIR / Aero photos, but particularly looking at the best / greatest differences in the vegetation's. Cheers Col

Bernard: This old thread seemed the most appropriate to add my post to without starting up yet another one ... Editor: It is quite OK to start new topics. Your IR Overlay with Channel Swap is interesting in its own right. So I have split it off into its own topic. I have to say I am not an Aerochrome enthusiast: I find the subject quite interesting from a technical viewpoint and enjoy seeing the images posted on the forum, but it seems a one-trick pony to me. But then I don't get abstract or "modern" art either, so this probably says more about my philistinism quotient than anything else. Anyway I was interested in trying something out. The original Aerochrome/EIR, when used with a yellow (minus blue) filter resulted in IR showing as red, visible red as green, and visible green as blue - with visible blue being lost altogether. So one standard way to simulate this very closely is to overlay an IR image on a visible image and use channel swapping to achieve the Aerochrome effect. This is done in the 2nd image below (the 1st is a normal visible shot). For the IR shot I used a Midwest Optical BP850 - partly to go a bit deeper into the IR than the R72 would go, and because, having bought the BP850 in error, I needed to find a purpose for it to save face. So far, this is all standard stuff. But what about the point that Aerochrome with a yellow filter completely ignores the visible blue region. How about changing the channel swapping such that IR goes to red, red and green each contribute 50% to the green channel, and blue goes to blue? The third shot below tries this out. And finally (and I know this is drifting off topic), what if a similar thing is done with UV? So UV goes to blue, blue and green each contribute 50% to green, and red goes to red? The result of that is in the fourth shot below. (Baader U used for UV; all lighting by flash.) And finally just to round the whole thing off - a pan-spectral image with UV providing the blue channel, visible the green, and IR the red. This is the last shot below - and takes us part of the way back towards Aerochromism. Visible IR-->Red, R/2+G/2-->Green, Blue-->Blue Red-->Red, B/2+G/2-->Green, UV-->Blue IR-->Red, Visible-->Green, UV-->Blue

Kolari had 3 Canon 6D Mark II (CR) files available for download made with their IR Chrome filter. So I got them and looked at them in Raw Digger. I made a very informal analysis of the raw colours and the final colours. The raw colours surprised me. They are mostly cyans, lime greens, some yellows & a few slightly yellow-oranges. This makes sense for a cyan peaked filter I suppose. The conversions show reds which are just a few degrees to the right of 0°, about half-way to red-orange (15°). I did not make the conversions. They were done for the download, so I don't know how the white balance was made. You can just click on the raw cyan and produce almost the same thing as these conversions. As I mentioned, this was a very informal analysis. So I wouldn't make too much out of it. I was just having some fun musing about the IR Chrome and other such filters. Color samples were made in Photoshop Elements with the dropper thingie. I used a 5x5 sampler. Once the position on the colour wheel was determined (in degrees), I then took saturation and brightness all the way to 100% so we could "see" the colour. Changing sat/brightness does not change position on colour wheel. The Raw Digger photos all look rather dark because the shots were underexposed up to a stop. It's not easy to get good exposures with a color filter. My trick to avoid this with color filters is to shoot in black and white and to thus balance the overall brightness as best I can without hitting the right wall. Photo #1 Raw Digger Conversion When I look at the foliage I do NOT see lime green. But when I sampled the foliage, that is what I got. Strange.... Photo #1 Blow-up and crop As a sanity check, I blew up some foliage in Photo #1 and carefully resampled it. Still got a lime green. OK, then. Photo #1 Conversion from Kolari) Not much variation in the reds for this one because of uniform foliage type. Photo #2 Raw Digger Conversion Here the raw colours had much more variation. The foliage was more yellow than lime green. Photo #2 Conversion from Kolari) All nice reds except for the grass which was headed towards orange. Photo #3 Raw Digger Conversion I was tired of using the text tool, so did not label these. Photo #3 Conversion from Kolari) Note the greens in the water. Again, the grass wants to become orange. The white building isn't really white. It is a almost completely desaturated blue. Here are some color patches 15° apart around red (0°). To my eye there is "more difference" between red-orange (15°) and orange (30°) then there is between red (0°) and red-orange (15°). Most of the reds in the preceding photos are midway between red and red-orange.

Kolarivision has released a filter, that produces "in-camera" Aerochrome false-color reds, without the need for channel mixer swaps or post processing. There's no technical data, other than it being a blue/cyan filter. I've been told that a CWB capture on a grey card is all that's needed on any full spectrum converted camera. I have one on pre-order, but looks like it may be a while before they start shipping. https://kolarivision...dak-aerochrome/

Hi! Your budget filter guy here. I did alot of research on replicating Aerochrome,and visited this forum for information. I settled on a two filter stack. Both filters are Neewer and, besides both being marked Blue, they are not the same. One is a "Full Blue" filter sold by it's self. The other one is the blue filter out of a 9 color filter set. Stacking both gives a great result to replicate IR Chrome. Taking off the just the filter set blue, it desaturates the red, which can give a great picture where blue and orange/yellow stand out. With the #47, it was very interesting. I replicated IR Chrome using #47, tiffen hot mirror, and haze 2A. Which now confirms that this band pass filter let's in 400nm to 500nm and 700nm to 750nm. I Think Big Blue leans towards higher IR at least to 850nm. But the blue light and IR light are balanced without a hot mirror. The chart compares exposure values at different nm. You can clearly see IR Chrome blocks a lot of infrared. Big blue allows all infrared to pass. With these tests I can also say IR Chrome let's in more visible red light. Big blue lets in no visible red light. Big blue has an exposure compensation(compared to full spectrum/No filter) for infrared light at +3.66 and for blue light at +1.33. (Irchrome data provided by Brian Champion) Photo 1: exposure comparison chart Photo 2: big blue filter F/8 iSo200 1/50s Photo 3: big blue filter f/3.5 iso400 1/1250s Photo 4: big blue filter f/8 iso200 1/125s Photo 5: various flashlights with full spectrum blue/red/green light, lower right is 680nm and higher, upper right is 850nm Photo 6: flashlights with big blue filter

Some mild temps this week, but just enough snow to make it interesting. All taken with a FS Sony a7R, 50mm El Nikkor, Tiffen yellow #12 + XniteCC2stack. Processed with NS profile and DxO NIK

I've been experimenting with some dichroic glass (also known as gobo projector glass, typically used for architectural lighting). Discovered an aerochrome-esque rendition when stacking the green dichroic glass with KG3. For comparison, I took 4 shots: Visible (to compare the IR tones to the various species of trees) Dichroic green 55mm x 0.7mm thick Dichroic green 55mm x 0.7mm thick + Schott KG3 52mm x 2mm thick Hrommagicus 52mm All shots were taken on my full spectrum Sony A7 with the 28-70mm lens at 70mm, and with the camera in APS-C mode (so, no discolouration around the periphery of the images). The only post processing done was a light exposure adjustment, straightening, cropping and re-sizing. It was a bit cloudy, so the tones are a little muted, but it was still a worthwhile experiment. Visible (f/5.6. 1/400s, ISO 100): Dichroic green (f/5.6. 1/200s, ISO 100): Dichroic green + Schott KG3 (f/5.6, 1/80s, ISO 100): Hrommagicus (f/5.6, 1/30s, ISO 100): Opinion: the Hrommagicus is still a better filter for the rendition of reds SOOC. I am able to achieve some reds SOOC with the dichroic green stacked with KG3, however the aquamarine tone to the sky means a little more editing. Still, not bad for a $3.00 piece of dichroic glass when stacked with KG3, and I think I would have got more reds if I had taken this in the summer.

Following on from my earlier post, here are a sample of portraits using the Hrommagicus filter. All images are SOOC, other than re-sizing and cropping. Unlike most IR filters, the Hrommagicus doesn't give the "alabaster look" to skin. As to be expected, it does change the colour of fabrics, especially cotton that has been dyed black into a bright red tone. It also interacts with hair, especially where it's been treated with conditioner or a hair dye to also turn it red. My twin daughters' hair is a medium brown in the visible spectrum, but they have red hair with the Hrommagicus: There is a slight transparency to sunglasses - not as noticeable as a 720nm or higher filter, but it's there. It does not seem to change anything with face-paint. Black face-paint stays black; white face-paint stays white: Overall, a very nice filter for portraits.

Autumn reds are a little weak using this technique, but a variety of transposed colors are possible. I'm using a #12 yellow/XniteCC2 stack (Sony a7R), processed with the NS aerochrome profile. Red Japanese Maple, transposed to yellow Easy to figure out the actual colors Reverse side of previous shot.

This spring I was mainly collecting filter for IR-photography. (This was before I leaped over to the UV-side) After reading about filter problems for simulation of Aerochrome, I became interested in comparing a cheap Orange filter against my B+W Yellow-Orange 040 (orange) and ordered one. When the package arrived it also contained a second green filter in a slightly worn outer box. I assumed it was a reject item that they sent as bonus. This is the green filter I got: http://www.ebay.com/...m-/121537504290 I never got around testing either filter and assumed that I never would have any use for the green one, until last week. Then a friend helped me doing transmission measurements on most of my filters and the green filter gave this response: The transmission graph with the big IR-leakage sparked my interest and motivated me to take some test images with the green Pixonyx filter. This is the result: I have not processed the images very much. Appart from a white balance against the clouds, I have adjusted the saturation and slightly tweaked the hue of foliage and sky. Directly after white balance the foliage got a very saturated bright magenta tone and the sky has a pale slightly blue-green tone. Could this filter be useful for simulating a Kodak IR-film? Used camera and lenses: Canon EOS 60D, full spectrum modified by replacing the sensor filter and dust shaker window with a sensor window from Astronomik.de Canon 24-105mm/4.0L, Canon EF-S 10-22/3.5-4.5

I just bought a big sheet of Lee #729 for a tenner, which is a gel sheet (like a transparent plastic sheet, you can roll it and cut it with a scissor) and as it needs a "host" filter I thought to use two cheap UV filters to sandwich it (or laminate) but then I read that I need a Schott KG3 to surpress the IR a bit more to have the nice crimson reds. Now that filter is way out of my budget... especially that I don't see any other use of that filter than this (for me). So I was trying to see if there is a filter that keeps the blue but suppresses the IR a bit. Hoya 80C seemed okay, and there was one dirt cheap on eBay, so quickly bought it... and I am happy to say it works (at least for me)! Right now I just put the gel filter in front of the Hoya glass (took the filter apart, cut the same circle, put it together) but I am planning to add a UV filter in front to protect it (as it is now very vulnerable to scratches) So today I took it for a quick walk while doing the shopping... here is a sample (no channel swap, just a bit HSL tuning and basic editing) Sony A7II + Nikon AI-S 24mm f2.8 @ f8 + Hoya 80C/Lee #729 Scuba Blue The Nikon AI-S 24mm has significant focus shift in UV - VIS - IR.

I'm trapped in the red trees.... I hope they will let me go now)) I also want to try to do aerochrome film simulation using Lee Scuba Blue 729 + СЗС24 thickness 3mm WB from white PTFE processing: contrast and sharpness, sometimes a bit of color saturation I like that. Thank you very much for the tips to buy Lee Scuba Blue 729!! The middle of the dandelions became more noticeable for some unknown reason. in the visible, they are also darker in the middle but not as much as here

Hrommagicus (SOOC), and other filters (SOOC). For anyone not familiar with the SOOC acronym, it means 'straight out of camera', in other words, no post processing, and it looks the same in live view. Honda Honda, Peter Fonda.

I'm trying out a Tiffen #15 Orange, instead of my usual #12 Yellow, for Aerochrome processing. The main difference that I've noticed is that visual red, clothing, tail-lights, stop signs, etc., are slightly more yellow with the #15 filter, than the #12. The #12 tends to lean more towards green. I'm still stacking the #15/#12 filters with a Xnite CC2, and processing with the Spiker aerochrome profile. Lots of post adjustments, but easier than channel swaps. FS-converted Sony a7R with Nikkor 50mm/f1.8 Ai lens on all shots.

Orange filter OC12 (50% on 550nm) for the start I added СЗС14 (about as СЗС24) in the hope to muffle Infrared and get more hues in vegetation. I'm not sure if it made sense. Olympus em5FS, OC12+СЗС14 processing: channel replacement, contrast, saturation foggy weather

These are recent shots using the Nick Spiker color profile, with a #12 yellow filter, and Hoya YA3 orange filter (FS-converted Sony a7R). My better half was wearing all black (including purse and boots). The snow fence in the background, was red. Buildings along the beach with #12Y. Actual colors. Frozen ice on Lake Erie with #12Y Local Conservation area, all taken with a Hoya YA3 orange filter. Slightly orange foliage with cyan skies.

Good morning, Second picture taken at the end of August in South West of France, in a region called Perigord. Here I used Tiffen #12 to simulate aerochrome render. Gear : Canon 6D FS + 16-35 F/4 IS + Tiffen #12. EXIF : 24mm, F/11, 1/125s, 100iso.

The Tiffen yellow is my favourite filter for Aerochrome processing, and the 590nm a good balance of color and IR sensitivity.

These were shot back in August with a newly converted Sony a7R with a vintage 50mm f1.8 Nikkor + yellow #12 filter, then processed in Sony EDIT, for Aerochrome colors. I noticed some minor dust particles in this conversion, and ended up sending the camera back for a re-do. I think I was spoiled by the Sigma, with it's removable hot-mirror filter, but I guess some dust particles are to be expected, even with Class 100 clean room facilities. If the upcoming ff Sigma (leica mount version) continues to incorporate the same user-removable hot-mirror design, I may consider that in the future. In the meantime, I'm looking forward to the a7R when it arrives. Same size as the m43 Olympus M1 Admin: edited title to reflect this is about a Sony, not Sigma, camera.

Good evening, I have received the new 550nm filter of Kolari some days ago. It is a typical orange filter, similar to Tiffen #16. It allows to simulate aerochrome effect in digital photography following the same steps than with Tiffen #12 for example. Here the foliage becomes more fuchsia than red, with a repartition of the tint depending on the type of tree (contrary to 595nm filter than offers uniformity in the tint). As you can see the sky was full of clouds :/

Here are a few more images with simulated Aerochrome: First an image with yellow tail-lights, (on behalf of Cadmium. ;-) and then an image with more red elements and straight lines to show the effect of the typical lens distortion of a full-frame fisheye lens. Then an image to test the flare behaviour of the lens with a rear mounted filter with the sun in the image. The only red elements in the motive are the four flowers at bottom right, here correctly yellow after the AIR-action. There are a lot of interesting details in the original image as the lens is surprisingly sharp. The images are my first attempt to use one of my fisheye lenses for IR. I finally got a suitable filter that was small enough to fit at the rear end of the lens. Equipment: Camera: Canon Eos 60D full spectrum modified Lens: Canon EF 8-15mm at 10mm. (To get full frame fisheye on an APS sensor) Filter: Rear mounted B+W 040 (OG550), mounted with some greytack-putty over the gelatin-filter holder Processing: PhotoNinja: white balance and exposure adjustments Photoshop: Tiffen12 Action - AIR simuation, NeatImage - noise reduction

Inspired by JMC's EIR film shot of Stonehenge, I decided to shoot a few yellow filter shots for EIR simulation on my bike ride today.

Hi all, I was playing with my filters and I tried to stack some filters to see what happens. Well, I stacked the Lifepixel UV-IR cut filter with the Lifepixel Super Blue Infrared filter (wich is very similar to Schott's BG-3) and my plants foliage turned red! I think this is interesting because it kind of reproduce by itself the look of IR film pictures. I used an incandescent light source and the WB was done on the PTFE piece. Canon 6D full spectrum - Carl Zeiss Jena Tessar 50mm f/2.8 - ISO 800 - f/2.8 - 0.3"