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In response to recent posts about Aerochrome simulation I'm sharing a few images I've taken recently. All where shot with the my now usual filter stack for this : - Midopt TB550/660/850 (behind the lens) - Lee Flesh pink gel - GRB3 This time all images are taken on a Sony a6300. I used the internal Jpegs as working files so all the color science happen in camera. I used the "Still" gamma curve and gamut with the saturation lowered to -10. Noise reduction is abled in camera (usefull because of chroma noise that can happen very fast after the channel swap even at low isos). The channel swap is performed in Darktable with no need for any color substraction. Contrast and film grain are set in Lightroom.

I've been experimenting on aerochrome emulation for the last 8-9 months using a lot of information from all over the web (a lot of which I found on here). The main thing that I have found is that in order to get very distinct variations in foliage, the amount of incoming infrared light needs to be cut. It seems as though pretty much every species of tree and plant reflects the same amount of infrared (which makes sense as chlorophyll a is highly conserved between all land plant species). To this end, the triple bandpass 550/660/850 from MidOpt is attached to the rear of my lens and the HOYA X1 to the front. This leaves me with images that are extremely green, but have the correct amount of red and IR light for a successful conversion. My workflow then generally involves desaturating the greens in lightroom and then performing the standard channel swap in Photoshop. Even with somewhere between -60 and -80 saturation applied to the greens in lightroom there's is still plenty of colour left to give the deep blue sky with white fluffy clouds that I'm after so much, without having to worry about the magenta cast that I've seen mentioned before. I'll keep iterating through, and I have seen Fandy's post about using a linear colour space so I may try that out on some existing files. I also need to try out a circular polariser to see if I can get the sharp drop off in the skies that I've also seen from some film photos.

MidOpt developed filters specifically designed to be less sensitive to light angle, for imaging with wide-angle lenses. https://www.google.com/url?sa=t&source=web&rct=j&opi=89978449&url=https://midopt.com/stabledge/&ved=2ahUKEwj2jq602uWEAxVGYPEDHYBiDGoQFnoECA0QAQ&usg=AOvVaw1H93yFqN96EJ4CIiXMqu6_

Last month I noticed "UV Pass Filter for Venus Photography" listed in the Tamgsinuo pages at AliExpress. I ordered one in 30.5 mm size for 59€. It arrived last week. It is an interference filter with a different coating on each surface, the reflections looks rather different to the BaaderU. I did a preliminary measurement with the old spectrophotometer in the lab at work, but the very old PC refused to let me download the data (dirty head in the diskette drive, most likely). So I only have the spectra photographed with the phone. To me UV transmittance looks very good, but it does leak IR at around 750 nm, and a bit at near 900 nm. The drop at the right end of the curve starting at around 1000 nm is not an IR leak but the limitation of the spectrophotometer as it looks exactly the same with different filters, the OD 4 roof is also a limitation of the old Agilent 8453 diode array spectrophotometer. Once I get the diskette drive cleaned (cleaning diskette ordered yesterday) I will post proper plots. Plot at the top is spectral transmittance (%) and plot at the bottom is absorbance (= OD) from the same data.

Warning: UV-C is dangerous. Eye and skin protection is needed ! I am looking for Constructive Critique for this UVC 260nm Illuminated photo. I have tested these lights with filters & a filter on the lens & the my spectrometer shows NO IR contamination with this combination, the light band is quite narrow. The camera is a Full Spectrum with CFA intact, Sigma fp camera & a UV Nikkor 105mm lens, with a 2 second exposure time. Considering all restrictions I think this is a reasonably short exposure time. Increasing the wavelengths I am able to decrease the exposure times accordingly. I know I am pushing the limits, but I wanted to see if it was possible, without being totally ridiculous. I could get a de-Bayered CFA camera for pure mono images at shorter exposure times. I just wanted to see what was there. I have copied Lou Jost setup, for no reason but it is somewhere to start. A glass flask with water & an aluminium foil inside, a PTFE screen is behind.

Hi. Since i´ve already got my piece of PTFE board to correct the WB on camera, I decided to do some tests with my filters. Shots are sooc. Camera is the Panasonic Gf3 (full spectrum converted). Comments are welcome..... 1-minolta R59 (red) 2-minolta O54 (orange) 3-minolta GO (green) 4-minolta Y48 (yellow) 5-Toshiba R60-2 (R2) (red) 6-Kenko YA3 SO-56 (orange) 7-Hoya G(X1) (green) 8-B+W 48 GG 2X (yellow) 9-olympus sy48-y2 (yellow) 10-B+W 49 B12 3x (blue) 11- FL-D 12-Hoya Vario PL-Color R/G (red) 13-Hoya Vario PL-Color R/G (green) 1-Minolta R59 (red) 2-Minolta O54 (orange) 3-Minolta GO (green) 4-Minolta Y48 (yellow) 5-Toshiba R60-2 (R2) (red) 6-Kenko YA3 SO-56 (orange) 7-Hoya G(X1) (green) 8-B+W 48 GG 2X (yellow) 9-Olympus sy48-y2 (yellow) 10-B+W 49 B12 3x (blue) 11- FL-D 12-Hoya Vario PL-Color R/G (red) 13-Hoya Vario PL-Color R/G (green)

I have recently joined what seems to be a new wave of people buying the Sony DSC-F828 2003 point and shoot camera, mostly due to its one of a kind sensor and extremely easy full spectrum conversion. I have been very curious what UV looks like with this camera, given its RGBE sensor. I have only obtained a fitting magnet to flip out the hot mirror filter last evening so there was no time to do UV under natural light. I got to do it now, though. The image is in full resolution, so feel free to click and enlarge. ZWB2+QB39 Tangsinuo stack 3s exposure, ISO 64, f/2.5 These flowers are UV yellow, yellow in real life as well. They're about as UV yellow as gerberas or dandelions. Here they are a very desaturated shade of orange. I think it's due to the fact that the Zeiss T* Vario-Sonnar 2-2.8/7.1-51 zoom lens does not pass much UV at all. That is to be expected, but still a shame, since this sensor could have unlocked a lot more UV false color, given its 4 color channels as opposed to the usual three. Last observation: flipping out the hot mirror seems to make the image only marginally brighter, meaning the hot mirror either does not block much UV at all or the lens passes so little most of what does pass is around a wavelength the hot mirror was not designed to block. Either way, I am happy I have this camera now, the IR results have been a lot less underwhelming, and even the normal visible photos have an interesting look to them, very much unlike the images taken by modern cameras. At the risk of sounding like a huge cliche, they do look somewhat film-like color wise. Probably since back then, digital was still considered to be a replacement for slide film (and was designed as such), not a universal best way to record anything.

As you know, all cameras react differently to IR light once they are converted to full spectrum. I don't know if this is really well understood so I wanted to start a topic and have your opinion about it. I just got the Sony f828 (the camera that can be converted to full spectrum with just a magnet) and I can now compare its fullspectrum colors to my Canon. Canon 1200D, white balanced full spectrum colors, no additional filters : Sony f828, white balanced full spectrum colors, no additional filter : The pictures were white balanced and saturated from the RAW files in Lightroom. The two cameras are pretty far apart as we can see from these pictures. They are also pretty far apart in terms of technology : the first is an 18Mpx CMOS and the second is a 20 years old 8Mpx CCD one of a kind RGBE sensor. Sony camera are known to not perform as good as Canon with the IRchrome filter. The images above indeed show that this Canon camera has a predisposition to record IR in the red channel compared to the Sony. Now do more recent Sony cameras produce blue SOOC like this one does ? I don't know... Maybe the sony users here can help me from their experience.

Some time back I got two new filters: Ulf's ZWB1 x 8.0 mm 325fwhm75, LINK1, LINK2 UVR Optics UVBplus 331bp75 I finally was able to test drive the new filters and thought I'd show you some results from photographing a little flower near our house. This flower is a Houstonia rubra. Flowers in that genus are commonly called Bluets, because they are blue (yeah...). I thought it a bit funny that this Houstonia's common name is Red Bluet. It was interesting to see this pincushion of rosy flowers popping up in the middle of all the sandy dirt. I actually carried water to it a few times to try to keep it going during the heat wave, but it's gone now. I hope it reappears next year. For all photos, white balance was measured on Spectralon. Visible: f/11 for 1/125" @ ISO-100 Baader UV/IR-Cut + B+W BG38 on UV-Nikkor Here are two reference reflected UV photos to compare to the photos from the new filters. Both the Pink Bluet's flowers and leaves are very UV-absorbing. But the plant does stand out against its background. UV: f/11 for 1" @ ISO-400 BaaderU on UV-Nikkor The KolariU photo looks almost the same to me as the BaaderU photo. UV: f/11 for 2" @ ISO-400 KolariU on UV-Nikkor Now the photos from the two new filters. UV: f/11 for 2.5" @ ISO-400 UVBplus 331bp75 on UV-Nikkor I'm not entirely sure, but there might be a bit of flare from this one. UV: f/11 for 3" @ ISO-400 ZWB1 x 8.0 mm 325fwhm75 on UV-Nikkor

Emulating Aerochrome is a long and winding road. Anyone who has read my previous posts on Aerochrome has probably seen my frustration in achieving an authentic look. Now I am back with the Foveon (Sigma SD1 Merrill) and have tested with the Triple Bandpass. And suddenly I achieved an in-camera look that is actually not bad at all. The magic phrase is FOV Classic Blue. This is an in-camera preset that exists in the Sigma SD1, like “neutral”, “landscape” and so on. What it does? I don’t know. Like much else about Sigma’s Foveon sensor cameras, it’s a black box. But in any case, it results in getting red-pink trees and green-blue skies right out of the camera with the Triple Bandpass filter from Midwest Optics. The color changes were unfortunately not there yet, with the exception of yellow to white. But red was still reddish, or let’s say at least orange. But if you install an additional filter that flattens the transmission curve of green (in the 550nm range), then it becomes good. Why? I do not know. The best result I got so far was with magenta/pink filters from Lee. Here are some results. Unfortunately I did not get a Custom White Balance with both filters together. That would be necessary to get a convincing result. It's not perfect yet, the color changes aren't optimal yet, as well as the coloration in the vegetation, but I think that's a big step forward towards authentic Aerochrome SOOC.

Does anyone know if this exists? An "inefficient" hot mirror, but one that is not working in the 700-750nm range, but further back, ideally starting at 900nm? I ask because I think such a filter would be much better for Aerochrome emulations than others. As you may know, there is the Triple Bandpass Filter from Midwest Optics, which allows IR around 850nm to pass, in addition to red and green. Pretty good for Aerochrome variations, but still not good enough for me. I recently tested with a DB940nm, which passes the full visible spectrum plus IR 940nm, and had better results. I thus tried to make a "TB940" by additionally using a specific orange as well as a specific blue filter to get the two peaks at green and red. The result was - SOOC - a lot better than with the triple bandpass. I think you could create the perfect Aerochrome filter. Sure, it wouldn't be SOOC (not possible), but it would be one which creates a SOOC image that can be turned into the perfect authentic Aerochrome image by a simple channel mixer change. Blue (IR) -> Red Red -> Green Green -> Blue Hence the question posed above: does anyone know of a hot mirror that allows IR to pass from 900nm, 950nm?

Hello, my name is Fedia, I'm 31 and I spend lot of time creating images through digital photography. I'm stoked to be able to join this forum since it has been an incredible ressource without which I couldn't have developed the techniques I use today. I have talked to some of the people of this forum on other platforms, used their advice and want to thank them also. I've been doing photography since 2014 when I entered film school. I got my first full spectrum camera in the fall of 2020. Even before I got into full spectrum photography, the main thread I explored was color, that I achieved through filters or extreme white balance settings on regular cameras. Even today with full spcetrum photography I don't really use softwares. I try to do everything in camera. Therefore I exclusively shoot jpegs and only work contrast in Lightroom. I never opened Photoshop. I am a big technical nerd I guess you could say, but the truth is my relation to technicity has a lot to do with my artistic sensitivity, both are entangled. I have a lot of ideas of subjects to discuss on this forum so I will post about them in the near-future. But for now I figured I will post some of my photos to introduce myself. Every one of the following photos are the result of a different filter combination with no color processing outside of the body of the camera. I will precise the camera and the filters each time. Canon 1000D full spectrum + Lee "CID to Tungsten" Canon 1000D FS + Lee "loving amber" + db850 Canon 1200D FS + DB850 + Lee "Liberty green" Canon 1000D + unknown dark pink gel Canon 1000D + Lee "steel blue" Canon 1200D FS + Lee "peacock blue" + GRB3 Canon 1200D FS + hoya 80A + hoya x(0) + cokin 089 (warm diffuser) Sigma DP1s FS Sigma DP1s FS + Hoya 80C Sigma DP1s FS + GRB3 Bonus : Sigma DP1s FS no filter. If you want to see more I have an instagram : https://www.instagram.com/fedialebarboc/?hl=fr And a tumblr : https://fedialegrill.tumblr.com/ Thanks again, Fedia.

I've noticed something now working with my Hoya R72 filter. Using a modified camera or not, when I push and pull too far, I get this odd blotchiness in certain sections. Can anyone comment on what this is? I've been told it's related to wavelengths.

Haven't had any luck searching for this. Want best filter for stock camera doing UVIVF. Can't figure out which B+W it is. Thanks, Doug A

In our list of recommended gear, LINKIE, I have of course listed the following stacks. ZWB1 + QB39 ZWB2 + QB39 ZWB3 + TSN575 But I don't know anything about the typical thicknesses of ZWB glass sold on Ebay. Also, does anyone have any recommendations for thicknesses of the IR-blockers? I will try to investigate on my own, but would also welcome any input from folks actually using ZWB stacks of any kind. Thank you in advance.

My go to shop seems to be gone. Where do I buy the special Hoya and Schott filters for bug view and other things? Even B&H only seem to have Hoya 720 ir and Bader U. Not even finding replacements for my Hoya 360 or Schott S8612. Now I'm nervous about losing or dropping a filter. Thanks, Doug A

I was looking at some photos made with my old Panasonic Lumix GH-1 full spectum conversion using a UV-capable lens equipped with the 340BP15 UV-pass filter, which was purchased on Ebay from Omega Bob about 12 years ago. The photo displays a round of PTFE, 3 Labsphere standards (99%, 75%, 50%), a Rudbeckia flower, a Bidens flower, and a B+W 093 IR-pass filter. Here is the Raw Digger raw composite of that image. Raw composites have no white balance applied. For display here as a JPG, an sRGB profile was embedded. In Photoshop Elements I selected the large PTFE area and averaged the color to get a saturated, moderately bright color. The yellow dot next to the text is that average color brought to full saturation and brightness. Yellow is at 60° on the color wheel, green is at 120° and halfway between at 90° is lime-green. So this averaged near-yellow color is nowhere near lime-green and even further from green. But because the color is just 67% bright, it appears to have more green than it actually has. We have discussed this color illusion before. As pure yellow becomes darker we begin to perceive it as a type of green usually termed olive green. The 340BP15 filter is too narrowband to produce much false color when white balanced by the usual methods. (We've discussed this before also.) Here is the image after white balancing in Photo Ninja. It is almost black & white. There are some hints of dark yellow. And there is a lot of blue noise. But the false color is not saturated and not bright. I'm not sure where all those blue specks came from. After applying Noise Ninja, most of them went away. I think the two little blue dots at the top middle are actually blown pixels. This is the de-noised image. Here is the raw histogram. You can clearly see why the basic raw colors are yellows. We are all intrigued by the yellowish-green and green colors seen around 330/340 nm. I found that the 340BP15 I was using produced a nice closer-to-lime-green color when a 2000°K white balance was applied in Silky Pix (a native converter for Panasonic Lumix images). So keep that little trick in mind to try the Kelvin scale when shooting or converting narrowband 330/340 nm images. The false color still did not get to 90° lime-green, but I like the outcome better than the raw composite version. If I were finishing this image, I would work on some of the dark areas which are somewhat blocked. The GH-1 doesn't have much dynamic range compared to newer digital cameras. But this topic was just about the color and the white balance, so I skipped any extended processing. Here is a sampler of yellow becoming dark, left to right. Brightness decreases 10% per block. The rightmost block is black, 0% bright.

Hello, Firstly I apologize for being not a very active member here (photography outside the visible range has been a bit on hiatus)... I've created this topic because I currently struggle about making a choice for a deeper IR Longpass filter. It is also fueled by the recent availability of more cut-off wavelength choices from Kolari Vision with addition of KV780, KV930 and KV1000nm filters. I already own a B+W 093, but the diameter seems too small to cover most options, and it is also leaking some visible reds (can be an issue for long exposures). By looking at the transmittance curves on their site and the forum, the Kolari 850 seems very similar, almost identical to Schott RG850 glass. Their 1000nm filter is also tempting because I believe some more pronounced effects can be achieved (like even more darker skies with unique contrasts and water starting to darken). However the transmittance curve is currently not available, with risk of leakage (unlike RG1000 glass), and I fear that the filter's lesser flexibility regarding exposure times will counteract the gain from more pronounced effects. I am also tempted to cut the pear in half by choosing their 930nm, but again the transmittance curve is not available,and there is a possibility that the filter could be a bit leaky in the visible such as the Hoya RM90 or the B+W093(RG830). So far hesitation comes between : - RG850/KV850, the former being difficult to find in my country - RG1000 (maybe KV1000 ?) - secondarily KV930 What are your experience with filters having similar cut-off wavelengths ? Which one of these would you recommend ? Best Regards,

I had purchased a variable ND for video work in the past https://www.amazon.com/Concept-Variable-Neutral-Adjustable-Cleaning/dp/B00JL4INW8?source=ps-sl-shoppingads-lpcontext&ref_=fplfs&psc=1&smid=A3JK7NEF4ES3E9 It was collecting dust until I saw Andrea's adjustable IR filter topic and I decided to test my variable ND with a full spectrum camera. I think there are probably one's that block IR but this one passes both, but cuts the visible a lot on the max on the dial. I made a short video clip of this inside at night with ambient light being a non IR emitting bulb, Filter on MIN, WB on grey ptfe tape. Object is a Playstation media remote that becomes transparent in IR. Slowly turn the filter to max, and ambient light gets cut quite a bit. Camera picks up a regular incandescent bulb in another room, but not too bright. I then turn on the 940nm torch to see through the remote. I think this is kinda cool, but probably not much use in sunlight because of all the IR

Does this image show that the ZWB2 filter that I bought from Tangsinuo has excessive striations? It was taken with EF 40mm f/2.8 STM, ZWB2, and BG39. I can reliably reproduce such striations with this filter. However, the bokeh from the ZWB1 filter that came with Igoriginal 35mm f/3.5 is always smooth. So I suspect that the Tangsinuo filter is defective.

https://www.ebay.com/itm/223219705237 Have we discussed this before? How does this adjustable IR-pass work? Is it an IR-pass paired with a polarizer? How can that go from 530 to 750 nm ?? ADDED LATER: Yes, this filter was discussed here: Variable IR Filter

While discussing a problem with filter retaining ring replacement, I saw again this Amazon link from our member Enrico. It brings up some rubber filter wrenches which can be very useful if you have ever needed to dismantle a lens or any of its parts. Then if you scroll down the page, you see other tools like the wrap-around filter wrenches, the metal spanner wrenches and a nifty set of camera screwdrivers. I'm not sure how long this link will last, but here it is. Lens Tools Link [Our usual disclaimer: UVP, Andrea, and Birna are not affiliated monetarily with any commercial website and gain no benefit from any member's purchases.]

This post is related to my earlier thread https://www.ultravioletphotography.com/content/index.php?/topic/5686-a-few-nir-low-pass-filters-and-others-tested/ . As reported in the older thread, I assembled a variable NIR-pass filter from a color filter, a reversed circular polarizer, and a linear polarizer. Only this time, instead of a red color filter, I used a Hoya 80B, which is a pale blue-cyan filter originally designed to use tungsten color film in natural daylight. From the transmission spectrum of this filter in the above thread, we know that it transmits NIR, but it also transmits (to a lower extent) across the whole VIS. Why not? The weather here has been dreary for a while, so the only reason for me to go out is to walk the dog, but without carrying a camera. At last the fog has largely lifted, although the sky is featureless grey, so I can shoot from our terrace. Not an inspiring view, but enough for a quick test with the Olympus 12-40 f/2.8 Pro on full-spectrum E-PL6, then I let ThumbsPlus decide how to autobalance the JPGs. No changes in contrast etc. aside from this. At 40 mm FL , three different filter settings give interesting results. I am adding a shot at 12 mm FL, which obviously shows that the filter is not suitable for wideangle shooting, but gives far more false color than I expected, especially from the building in the background which is off-white and grey in VIS.

I'm considering moving my deepest sunlight stack a bit more into 310nm or 308nm... I'm considering buying another IV 308 filter to replace my UV-B stack. Current one is IV 308nm + Hoya U340 4mm. Do you think this can give me an UV-B stack? - GFX 50R mono + quartz coverglass + UV-Nikkor + 2 x IV 308nm filter? I want to use this for outdoor photos using sunlight only... I know there are people there who can save me costly mistake, is there anything that will make this setup impossible? I've calculated transmission by just multiplying my current IV 308nm with itself here: https://docs.google.com/spreadsheets/d/1y2XAs5Y12vt_tVL7wj4EZregpfbQ8yrxny7_OY7qyrY/edit?usp=sharing

I'm thinking of retooling for the new year. Thinking of picking up an A6000 full spectrum from life pixel and a Badder U possibly from B&H. I know the camera is low end but I'm hoping it's a step up from my really low end Nex 5n. I've seen a user or two on here with the A6000 so it seems to work. Anyone use this or have any comment? I'm also hoping the Baader U is a step up in transmission. I have a La La U by UVIROptics but I think its best transmission is like 30% at 360nm or something. Where is the best place to get a Baader U? For photography I read here that it works best threads first. How thick is the Baader U with it's brass body? Thanks