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Blum, A.G. (2015) Viola tricolor L. (Violaceae) Night and Day. Flowers photographed in ultraviolet, visible and infrared light. http://www.ultraviol...-night-and-day/ Location: Heddal, Norge Found in the parking area near Heddal Stavkirke. 14 May 2014 Wildflower Synonyms: Johnny Jump-Ups Natt og dag (Norwegian) Wild Pansy Comment: These little flowers were dancing in the breezes a bit too much for a good f/16 without flash. Interestingly, the viola's whiskers are visible in IR but not in UV. The UV signature is typical of other violas. See also Viola tricolor x wittrockiana [Hybrid Pansy]. Reference: 1. Den virtuella floran (2015) Styvmorsviol. Viola tricolor L. Naturhistoriska riksmuseet Visible Light [f/16 for 1/400" @ ISO-100 in Sunlight with Baader UVIR-Block Filter] Ultraviolet Light [f/16 for 1/125" @ ISO-400 with SB-14 UV-modified Flash and Baader UV-Pass Filter] Infrared Light [f/16 for 1/1600" @ ISO-200 in Sunlight with B+W 092 IR-Pass Filter]

Can someone explain how Infrared Fluorescence could be obtained/observed? Thanks, Damon

infrared-photography forum is shutting down.

This is just amazing--Mesmerizing even -D

The Nikon SE range were a series of 'economic' or 'entrance' lenses launched in the early '80s, targeted for the Nikon EM and FG camera lines. They had simpler optics and coatings than the regular Nikkors of the period, and were offered at a substantially lower price point. Many the UV shooters might have tried some of these lenses as their optical designs are quite UV friendly. Never heard much of their use for IR photography, though. The 50 mm f/1.8 SE and the 100 mm f/2.8 SE are pretty good for IR actually, and apparently the 35 mm f/2.5 SE with which I have dabbled on my IR-modified Nikon D5300 the last days, also belongs here. There is no hot spot and virtually no focus shift for IR as well. A few random examples, all from a icy cold winterly Denmark with plenty of wind and rain, but unlike Norway, no snow.

I came across this while looking to see if I could get a set up together and try to capture some IR fluorescence. http://news.wustl.edu/news/Pages/27742.aspx Also and on a much less scientific note-- what do you make of these $10 IR goggles? Is this BS? http://www.instructables.com/id/Homemade-Infrared-Goggles!-For-Under-$10/ -D

Yes, now you can mod your IPhone camera for NIR. http://www.eigenimaging.com/home

Not a photography topic per se, but I thought that some in the community might be intrigued by this: http://www.pnas.org/...1/25/1410162111

Some of my more recent photographic journeys to date, involves implementing infrared near-infrared wavelength photography of Natchez, Mississippi ... a charming, picturesque, historical town in the deep south, situated high atop a cliff-like bluff overlooking the mighty Mississippi river. At one point in history (especially throughout the first half of the 1800's), the town of Natchez was resident to the wealthiest millionaires, per capita, than any other city in the United States! One of the primary dynamics which fueled these most elite wealthy classes had to do with the fact that this town sat at the very epicenter of the exploding cotton and sugar cane plantation industries of the late 1700's to early 1800's, powered by slave labor, and the tycoons who grew these empires. Given that this town was among the first in "New World" colonial history to set up a permanent mercantile outpost along the Mississippi river for the trading of many other goods, this also played a crucial role to having it become home to the richest in the country, on the heels of the Industrial Revolution. Indeed, Natchez was once the "cotton capital of the world", as its cotton was exported and shipped across the Atlantic to European countries, as well as domestic business. Many of its stately, antebellum-era mansions were a product of Greek revivalist architecture, introduced by Germanic and Celtic peoples who moved to the southern States after the Louisiana Purchase in 1803. These types of architectures are characterized by bold columns, pronounced square geometric patterns, prominent roof arches made of hardened clay and slate tiles, tall Victorianeque ceilings and wrap-around porches, and many evenly-spaced, lavish rooms with very tall, elegantly-crafted windows. Also of note, is the very old 'City Cemetery', retaining historically-significant remnants of a time when the richest would pay for towering memorials, prominent monuments, and imposing mausoleums which were intricately patterned, carved out, and painstakingly chiseled by hand from solid granite and marble. Also note that this very old, pre-Civil War cemetery was among the first to honor the lavish and well-decorated burials of prominent Jewish merchants, alongside Protestants and Catholics. The ultimate irony of this town is that few places (at the time) exhibited a greater divide between its wealthiest class, and its poorest class, as the town grew its population into the early 1900's ... evident of the dilapidated and run-down, small wooden shacks interspersed amid the stately-columned homes that were well-cared for. I feel that my choice to retain salmon to blood-red colored skies and pale-blue vegetation, via custom white-balancing (instead of doing a red-blue color channel swap) gives the Gothic cemetery scenes a perfectly haunting and ghostly look. This is why I refrained from swapping to blue skies, and pale-yellow vegetation. Not all IR photos should be color-channel swapped to blue skies, by default, in my opinion. I think that there is a special niche and place for implementing red-sky and pale-blue vegetation, as well. - Camera: Full-spectrum-converted Panasonic Lumix GF3 (Micro-4/3 format, mirrorless interchangeable lens system). - Lens: Panasonic G Vario 14-42mm F/3.5-5.6 (kit lens) - Filter: Tiffen (Wratten) Red #29 - Minimal processing (aside from in-camera custom-white-balancing, contrast enhancement, and moderate highlight & shadow adjustments, post-photo processing) Permanently "parked" along the banks of the Mississippi at the bottom of the bluff, a classic, stream-driven "paddlewheeler" boat sits alone ... converted to a "floating casino" ... yet restored to its full glory, to commemorate a time when the mighty river played host to the hustle and bustle of many cotton-industry fleets of steam boats. A sight that brings to mind an adventure or two, of author Mark Twain's Tom Sawyer and Huckleberry Finn. The gates to a private, central courtyard ... belonging to one of the several mansions in the downtown area. Mausoleum. One of the more prominent, within the "Jewish Hill" section of the Old Cemetery. "Learned" is the family name. Isaac Learned, Rebeccah Learned, etc., etc. Likely German-Jews, who immigrated to this town. However, it is a fascinating word to find, on a tomb. Definitely sparks the imagination. It should be mentioned: Curious family names such as "Learned", while likely of Germanic ancestry, are indicative of "Americanization" ... as the original family name may have been "Lerndt", "Leirnen", or something similar, before it was Anglicized. German, Swede, Dutch, and Austrian Jews, in particular, emigrating to these parts of the United States while also seeking to dodge any potential persecution / anti-semitism along their travels to finally settle down in Natchez, Mississippi. A scene from "Jewish Hill", a section of the Old Cemetery sectioned off for the wealthy Jewish families who emigrated to Natchez in the early 1800's, and played a central role in its early commerce market of various goods (clothing, shoes, baked goods, etc.). Note: a stone marking the unfortunate and sad burial of one of the Moses family's infant daughters. A VERY sad, lone grave; that of a baby girl, who perished right before she was just barely 6 months old. These are very old trees. Swirling, gnarled, winding, somewhat deformed, thick grumpy branches. "Old man, oak", indeed. :)

Ultraviolet, visible, infrared, short wave infrared comparison UV taken with a full spectrum Sony A7, and the filter stack consists of Schott UG11 - 2mm, Schott 8612 - 2mm, and interference film coating that blocks from 600-900nm Vis taken with a standard Sony A7 IR taken with a full spectrum Sony A7 and a Hoya R72 SWIR taken with http://www.infraredl...ve_Camera.shtml and a 1500nm long pass filter The dark skin in the SWIR shot is because the water absorption at 1450nm http://upload.wikime..._absorption.png

I've only just stumbled across this SLR body, a 60Da, apparently with a modified filter letting 3x as much IR through as the normal 60D: http://www.canon.co....l_SLR/EOS_60Da/ Not sure if it's "new" news or if everyone else knew about it already. Now all we need is for the SLR manufacturers to recognise hobbyists that want to shoot at the other end of the spectrum!

Since I got my UV-IR camera I always enjoyed revealing the different look of the people, mostly in IR as I lacked the UV equipment. Recent upgrades helped me to get into the UV spectrum and oh-gosh I LOVE IT So different... so strange... so UV For some people UV is ruthless, ageing them to their own grandparent, for some it is changing the ethnicity (as my wife describes) and for some not much of a change... It's definitely a new world waiting to be explored... and you can make sure I will lead many expeditions in the land of UV portraits Ps.: Images are linked from my FB account... if there's a problem with displaying them please let me know First here's a shot of me, one of the first ones I did (sorry for the pre-focus): Light Source: Flash And a bit of crazy-me (notice the dental problems I have ): Light Source: UV bulbs And me with the typical UV spots : Light Source: Sun And my wife (she's a filipino): Light Source: Flash My ex-wife (she hates this photo as it makes her look really old... she's only 29 but looks 92 ): Light Source: Sun And 2 shots of my younger daughter: Light Source: Sun And here's my elder daughter: Light Source: Sun Just to compare here's an IR shot of her (sorry for the Off Topic! ) : And my elder daughter with my wife... again first is UV the second is IR: Light Source: Sun vs So far... The gear I used for almost all the shots (if not all): Sony NEX 6 Full Spectrum + Sigma 30mm f2.8 UV filter stack: Hoya U-360 + Schott BG40 IR Filter: Zomei IR 950 Constructive Criticism is always welcomed as that's the best way to learn and develop! For example I know some of the shots seem to be a little Out Of Focus (or motion blurred because of the long-ish shutter speed).

Blum, A.G. (2013) More Examples and Fluorescence of Potentilla argentea L. (Rosaceae) Silver Cinquefoil. Flowers photographed in ultraviolet, visible and infrared light with fluorescence studies. http://www.ultraviol...d-fluorescence/ Comment: Rørslett (2013) first showed P. argentea in ultraviolet(1). Here are some more examples found in the US which also exhibit the characteristic UV-dark inkblot on the proximal petal end. Some UV-induced Visible fluorescence studies are included along with an experimental attempt to induce Infrared fluorescence. Reference: 1. Rørslett, B. (2012) Potentilla argentea L. (Rosaceae) Hoary Cinquefoil. Flowers photographed in visible and ultraviolet light. http://www.ultraviol...ary-cinquefoil/ Set 1 Middletown Township, New Jersey, USA 14 May 2010 Wildflower Equipment [Nikon D200-broadband + Carl Zeiss 60mm f/4.0 UV-Planar] Visible Light [f/11 for 1/15" @ ISO 500 with onboard Flash and Baader UVIR-Block Filter] Ultraviolet Light [f/8 for 1/2" @ ISO 500 with Nichia 365nm UV-LED and Baader UV-Pass Filter] UV-Induced Visible Fluorescence [f/8 for 3" @ ISO-500. Nichia 365 UV-Led + Baader-UV-Pass Filter. Lens + Baader UVIR-Block Filter. Photographed in Darkness.] Note: This photo has not been formally colour-calibrated, so the colours of the Fluorescence may not be entirely accurate. Possible UV-Induced Infrared Fluorescence? [f/8 for 2" @ ISO-500. Nichia 365 UV-Led + Baader-UV-Pass Filter. Lens + B+W 092 IR-Pass Filter. Photographed in Darkness.] This IR-pass filter reaches 50% transmission at 695nm and thus passes some Visible red wavelengths. I think that the photo is showing perhaps some induced Visible Red fluorescence which is also seen in the preceding Visible Fluorescence photo. I do not know whether there is any induced IR fluorescence in the photo. As in the Visible Fluorescence photo above, the UV markings can be seen. As in any IR photograph, the colour here is false. Infrared Light [f/8 for 1/45" @ ISO 500 with onboard Flash and B+W 092 IR-Pass Filter] Possible Fluorescence Induced by Nichia 365 UV-LED under B+W 093 IR-Pass Filter Possible UV-Induced Infrared Fluorescence? [f/8 for 30" @ ISO-500. Nichia 365 UV-Led + Baader-UV-Pass Filter. Lens + B+W 093 IR-Pass Filter. Photographed in Darkness.] This filter reaches 50% transmission at 830nm and should not pass any Visible wavelengths. I do not know whether this is induced IR fluorescence in the photo. As in the Visible Fluorescence photo above, the UV markings can be seen. As in any IR photograph, the colour here is false. Set 2 Middletown Township, New Jersey, USA 11 May 2010 Wildflower Equipment [Nikon D200-broadband + Carl Zeiss 60mm f/4.0 UV-Planar] Visible Light [f/4.5 for 1/15" @ ISO 400 with onboard Flash and Baader UVIR-Block Filter] Ultraviolet Light [f/4.5 for 1/4" @ ISO 400 with Nichia 365nm UV-LED and Baader UV-Pass Filter] Visible Light [f/4.5 for 1/30" @ ISO 400 with onboard Flash and Baader UVIR-Block Filter] The characteristic silver-white underside of the leaf.

Since the creation of this "infrared informal" section, I thought I'd contribute some randomly-selected photos among my creative collection in faux-color IR photography ... using various / alternate color schemes, layered / stitched frames, variable white-balancing effects, etc.

Sticky :: IR Photography: Cams, Mods, Lenses, Lights, Links by Andrea G. Blum for UltravioletPhotography.com Last Update: 28 March 2019 added some new converter listings See also: Sticky :: UV/Vis/IR Filters for Infrared filter information. Note from Editor: This is a joint effort by the members of various forums who enjoy Infrared photography. Thanks to everyone for their suggestions, comments, proofreading, lists, links, measurements, experiments and all round good fellowship. Please PM Andrea B. on UltravioletPhotography.com with any corrections, additions or suggestions. Abbreviations: IR = infrared UV = ultraviolet UV/IR = ultraviolet and/or infrared ******************************************************************* INTRODUCTION Our purpose for this IR Sticky is to collect some useful information about IR-capable cameras & lenses, filters, IR-lighting and camera modifications. We present it in the form of lists and links so that it can serve both as a guide for beginners and as a useful reference for more experienced users. The IR Sticky is not meant to be exhaustive, but if you think we have left something important out, please do contact the Editor. INFRARED PHOTOGRAPHY What do you need to make a reflected Infrared photograph ? IR-Capable Camera: IR light must be able to reach an IR-sensitive sensor. IR-Capable Lens: IR light must be able to pass through the lens elements. IR-Pass Filter: Visible & Ultraviolet wavelengths must be blocked. IR Light: Sunlight or artificial source. For Infrared photography, please keep in mind that you will be using your camera and lens gear outside the Visible range for which it was designed. So there can be some complications when shooting IR. Generally speaking, however, Infrared photography is easy and fun. Taking this from the top.... The Camera I think we can safely say that all recent digital DSLRs, Mirrorless and Compact cameras are IR-capable with modification although the finer points of IR-sensitivity of digital camera sensors is best discussed on a per-camera basis. Actual measurements of a sensor's IR sensitivity are not made available by camera manufacturers. So our knowledge here is gained the hard way - we mod a camera, shoot with it and list it in the IR Sticky if it works well for IR. See the IR Cameras section for a list of IR-capable cameras contributed by interested users. Be sure to let us know what you are using so we can add it to the list. Most digital cameras have an internal filter that blocks UV/IR to varying degrees. In the newest cameras this UV/IR-block filter is very strong and must be removed to enable IR photography. Newer cameras also may have a sensor-covering dust shaker mechanism which contains UV/IR blocking glass, so this type of dust shaker may be permanently removed during the modification. Some older cameras had weak internal filters and could shoot UV/IR without modification - the Nikon D70 being the classic example. A few brave souls modify their camera themselves, but most of us send the camera to a retail modification shop. During IR modification the internal filter is typically replaced by an IR-pass filter glass or a clear full-spectrum glass of the same thickness. This is done to protect the underlying, fused Bayer (or other) filter & sensor layers and to ensure the correct register distance is maintained for focusing. Additional internal focusing adjustments might be needed. Modifying the camera with an internal IR-pass filter permits you to use the viewfinder for framing and focusing. Choosing instead an internal clear glass instead permits the camera to be used with any wavelength of external IR-pass filter, but you probably can no longer use the viewfinder depending on how dark red the filter is. See the Camera Modification section for some links to retail modification shops and DIY articles. The Lens There's no predicting whether a given lens is IR-capable. Some lens coatings can block IR. Many lenses have a reflection problem in IR called a 'hotspot'. However, there are a large number of ordinary lenses which are IR-capable even though most all of them will have a chromatic aberration problem called 'focus shift' which must be dealt with. Fortunately, some extremely experienced IR shooters have provided us with an extensive list of IR-capable lenses that are hotspot free. See the IR Lenses section for more info on IR-capable lenses, hotspot and focus shift. The Filter There are a wide variety of IR longpass filters and glass available. If you choose a shorter wavelength internal IR-pass filter (675 for example), then you can always use a longer external IR-pass filter (830nm for example) on the lens. But if your internal IR-pass filter is at 830nm, for example, then you can never shoot below that. We have lists of external filters below as well as some references to the glass from which they are made. This should help you choose a modification wavelength or a good external filter. Please see the separate The UV/IR Filters Sticky for extensive filter information. The Light Most Infrared photography is done in the near Infrared band from about 700-1000nm. So sunlight is your friend when shooting IR outdoors. Indoors, you might want to use regular flash which produces plenty of IR or an IR-LED hotshoe attachment. See the IR Lighting section for more information. IR LINKS Please let us know of any interesting links you find. To read and learn more about Infrared light and Infrared photography, visit these interesting websites and articles. Many of them have links to other IR info. First the basics from the digital reference standard - Wikipedia. And a link to some cool IR history. Infrared by Wikipedia. All about those long waves. Infrared Photography by Wikipedia. On a Different Wavelength: 100 Years of IR Photography by Phil Coomes, BBC. Now the links. 25 Examples of Infrared Photography by Peter Sawyer. An In-Depth Guide to Infrared Photography Processing by Chris Swarbrick. Digital Infrared Photography Overview by Lloyd L. Chambers. Digital Infrared Photography Primer by LifePixel. DSLR Infrared by Michael Reichmann. Experiments with Digital Infrared Photography by Ross A. Alford. Flickr: Infrared Search There are many IR groups too. ИНФРАКРАСНЫЙ ПЕЙЗАЖ IR information in Russian. На русском языке. Infrared Photography Buzz IR info & beginner's tutorial. Infrared and Ultraviolet Photography by Thierry Lombry. In English or en Français. Infrared Photography by Marco Annaratone & Claudio Ruscello. Infrared Photography by Thom Hogan. irphotocom This is an IR forum. Introduction to Infrared Photography by Bob Vishneski. IR Photography by Gisle Hannemyr. Several articles in this series. IR Colour Photography by Dr. Bjørn Rørslett. IR Photography by Enrico Savazzi. Photographie Infrarouge by Pierre-Louis Ferrer. En Français. Kolari Vision IR Tutorials Kolari Vision Articles UVIRimaging by Dr. David Prutchi . IR CAMERAS The IR Sticky was begun by Nikon users so there are a lot of Nikon comments. That, however, is simply historical accident. We are happy to add any comments received about any camera being successfully used for Infrared photography. Although almost every unmodified camera can record some IR if you give it a long enough exposure, any camera will perform better in IR if its internal blocking filter is removed. Newer DSLRs and mirrorless cameras must be converted to use them for IR photography because manufacturers have increased the strength of the internal UV/IR blocking filters. Many cameras also have a dust shaker mechanism covering the sensor which contains UV/IR blocking glass, so this type of dust shaker may be permanently removed during the modification. If you choose an internal IR filter for your conversion, you will have both the viewfinder and Live View available for focusing. If you have decided on a full spectrum conversion in order to be able to make use of different external IR filters, then in sufficient light you can still use Live View to focus your IR shots. Good IR Cameras Here are some links and a short list of converted cameras which have been successfully used for Infrared photography. If your camera is not listed here, please contact the Sticky editor. Good cameras for IR conversion from Kolari Vision: Kolari Vision: Camera Reviews Kolari Vision: Brand Comparisons Kolari Vision: Choosing a Camera Cameras used successfully for Infrared photography: Canon 20D, 40D, 5D. Olympus E-410, OM-D EM-5, Pen E-PM1, Pen E-PM2. Nikon D2X, D2H/2HS. Nikon D40/40X, D50, D60, D80, D70/70S, D90. Nikon D300/300S, D600, D800. Nikon D3100, D5100, D5300, D7000, V1. Panasonic Lumix G1, G2, GF1, GH1, GH2, GH3, G5 The Lumix G line is particularly good for video. Pentax K10D, K5. Sony A100, A6000, A7, A900. Sony NEX-F3, NEX-5N, NEX-6. Do Not Convert: Sony RX100 The lens hotspots at the long end and when stopping down. However, when used with a Monochrome setting, the hotspot is less visible. Do Not Convert: Nikon D700, D3, D3S, D3X, D4, D4S Do not convert these Nikon DSLRs because they have an IR-LED self-diagnostic shutter monitor which can produce IR contamination of photos. The excess IR light from the shutter monitor will show up as a lighter area of flare, smear and discolouration in a photo. An exposure with low ISO and short speed might mitigate the IR contamination, but many shooting scenarios do not allow this. Because we do not know the wavelength of the IR-LED, we cannot offer any advice about which IR-pass filter might permit a workable conversion. Note that newer Nikon DSLRs having a shutter monitor - D7000/D7100, D600, D800/E - are convertible. Apparently their shutter monitor is of such a design that it causes no IR contamination. You can see the IR shutter monitor for the D3S on this Nikon Flagship Reliability page. Scroll down to Shutter Unit section. OLD Nikon or Nikon F-Mount with CCD Sensor The older DSLRs listed here have CCD sensors and are good candidates for IR shooting. Some of them are IR-capable (or UV-capable) without modification and make good DSLRs for UV/IR beginners who would like to get started with minimal expense. With an unmodified DSLR, exposures will be longer & noisier and using the viewfinder is not possible. The listed cameras are no longer manufactured, but can be found as resales in the used section of online retailers, in camera forums' sales boards, or on Ebay or Amazon. Nikon DSLRs (old): Usable unmodified: D1, D1H, D1X, D100, D2H, D50, D60, D80. Usable unmodifed, but better if modded: D2HS. Good unmodified: D70, D70S, D40. Must be modified: D40x, D200 Fujifilm Finepix (old): Must be modified: S3 Pro, S5 Pro Pre-modified by Fuji: S3 Pro-UVIR, IS PRO. Both no longer manufactured, but available used. Kodak (old): When we first started the Stickies, we listed these cams as having UV/IR potential, but I don't know if they can be found anymore. DCS 520, 560 DCS 620, 620X, 660 DCS 720X, 760C . CAMERA MODIFICATION UltravioletPhotography.com is not affiliated with any online retail camera UV/IR conversion shops or any DIY conversion site. Links are provided here *for your information only*. Please post a question or do a search in the Infrared Photography section to find out members' most recent experiences with conversions. Keep in mind that when you modify a digital camera, you are voiding the original warranty. If a retail conversion shop is not mentioned here, then it is because we have no positive feedback about it. Reminder: Do not convert Nikon a D700, D3/3S, D3X, D4/4S See above. Reminder: Any sensor-covering UV/IR-blocking glass dust shaker mechanism might be removed permanently. Reminder: As noted previously, any dust shaker mechanism placed over the sensor which contains UV/IR blocking glass may be permanently removed during a modification. Retail Modification Shops: USA Your Editor has had successful conversions from all three of these vendors. MaxMax (LDP LLC) MaxMax offers IR, UV, full spectrum, and UV-monochrome conversion. MaxMax has a 6000 square foot conversion facility in New Jersey with a Class100 clean bench. Editor's Note: MaxMax is the best for clean, dust-free conversions in my experience. Cameras Filters MaxMax is the only conversion shop offering removal of the Bayer filtration in order to produce a monochrome UV camera which becomes 6 times more sensitive to UV without its Bayer filter. Other UV/IR related products: light sources, phosphors & inks, detectors. MaxMax FAQ & EDU. Filter transmission charts available and many sample photos. They post no warnings about the unsuitability of Nikon D700/D3/D3S/D3X/D4 for conversion so be sure to ask before converting one of these bodies. Kolari Vision Kolari Vision offers IR and full spectrum mods and other services. Lots of Articles & an IR Tutorial. Filter transmission charts promised. Kolari Vision will warn you about the unsuitability of the D700/D3/D3S/D3X/D4/D4S for conversion should you happen to order such a conversion. Other unsuitable cameras are discussed in their Articles. Life Pixel Digital Infrared Conversion Life Pixel offers IR, UV and full spectrum mods. Filter transmission charts available along with lots of other info. Do-It-Yourself tutorials available. Life Pixel warns about the unsuitability of the D700/D3/D3S/D3X/D4/D4S for conversion. Goto the LifePixel FAQ Page, click on the first Question (Which digital cameras do you modify....) and then scroll down to see the Warning by the *a token. Lots of Tutorials and extensive IR Primer in addition to the FAQ page. Retail Modification Shops: Europe Also see next section. Advanced Camera Services Norfolk, England ACS offers IR, UV and full spectrum mods. No filter transmission charts offered. They post no warnings about the unsuitability of D700/D3/D3S/D3X/D4/D4S for conversion. Optic Makario Germany. Auf Deustch. Optic Makario offers IR, UV and full spectrum mods. No fiter transmission charts offered. They post no warnings about the unsuitability of D700/D3/D3S/D3X/D4 for conversion. . Other European and Australian Retail Conversion Shops We would like to thank Robert Reiser for his excellent work in compiling a world-wide list of camera converters which can be found here: Infrared Camera Conversion Service: The Complete Provider Overview I will add some links below which we did not previously have, but I encourage you to please go to Robert's site to read more about the following conversion services and also about the 5 we previously listed above. Camera Clinic Australia IRreCams Infrarot Fotografie Germany Alan Burch United Kingdom Protech Photographic United Kingdom . IR LENSES Hotspots A hotspot is a washed out, bright round area in the center of a photo which could be caused by one or more of the following: IR reflection from the glass lens elements IR-reflection from non-element lens parts IR-reflection from metal filter mounts or step rings IR-reflection off parts in the camera mirror chamber Light leakage through the Viewfinder, body ports, lens windows. Sometimes just the presence of an external filter will cause an IR hotspot. Hotspotting may vary by sample across a particular lens type. It certainly can vary by aperture, so be sure to test your lens for IR hotspotting at all apertures to learn its acceptable range for hotspot-free photos. Shooting directly at a light source can induce both hotspotting and other circular flare, but the hotspotting will occur even when shooting away from the light source. Additionally, hotspotting may vary by camera. Sometimes a lens hotspots on an FX sensor but not on a DX sensor, or vice versa. Check for IR-reflective internal or external materials in your lens, filter mounts and step rings by IR-photographing them. If you suspect that a focus distance window on the side of lens is causing hotspots or flare because of light leak, simply tape it over. Experiment with closing the Viewfinder after composition - sometimes light can leak through it and ruin an IR or UV shot. IR Focus Shift Focus shift between the Visible & Infrared wavebands in a lens is a form of axial chromatic aberration that occurs because shorter, higher frequency Visible lightwaves refract more in typical optical glass than do longer, lower frequency Infrared lightwaves. Such wavelength-induced focus shift is a topic of particular interest in IR photography when using an external IR-pass filter and a camera that has no Live View or that uses a very dark IR-pass filter. First you must focus the lens in Visible light before mounting the IR-pass filter. After mounting the filter you might have to adjust your initial focus if the lens has not been designed to bring the IR rays to the Visible plane of convergence. With a bit of trial and error you should be able to determine the proper correction and note it for future reference. IR focus shift is less of a worry with an internal IR filter because during conversion the auto-focus can be adjusted a bit to compensate for IR for most lenses at most apertures. Focus shift is not problem at all when using Live View. Just remember that if you are using an external IR-pass filter with Live View you will need sufficient IR illumination to be able to use Live View. Links to definitions: Chromatic Aberration Axial/Longitudinal CA: Different wavelengths (colours) focus at different distances from the lens because the lens refractive index varies along the optical axis by wavelength (dispersion). Axial CA causes colour fringing at bright/dark boundaries in the photo and may be reduced by stopping down. Transverse/Lateral CA: Different wavelengths (colours) focus at different positions on the focal plane radially from the center because the lens magnification varies perpendicularly to the optical axis by wavelength (dispersion). Transverse CA causes problems outside the center of the photo and is not reduced by stopping down. [*]Spherical Aberration An optical distortion caused by increased refraction of light towards the edge of a lens. [*]Achromatic Lens [*]Apochromatic Lens [*]Superachromatic Lens . Diffraction In photography, diffraction is the spread of light waves caused by their passage through a lens aperture. The narrower the aperture, the more the diffraction. In UV/IR photography, a key fact to note is that longer IR wavelengths spread more at a given aperture than shorter Visible or UV wavelengths. Thus IR shots are more prone to the effects of diffraction and UV shots less so. So, for example, if you make a Visible light photo with a sensor & lens combo that begins to show diffraction blur past f/8, then you will have to open up your lens to f/5.6 (or larger) to shoot a reasonably sharp IR version of the same photo. On the UV side, you could stop down to f/11 (or smaller) and still stay sharp. The rule of thumb is that there is approximately a 1-2 stop aperture variation around the diffraction limit of a given sensor & lens combo. When diffraction is recorded by a digital sensor, it shows up as a loss of sharpness in an image. Links to definition: Diffraction Huygens-Fresnel Principle Airy Disk George Biddell Airy . About the IR Lens List For a lens to be on the IR Sticky Lens List, it must have at least one contributer who has either used it or tested it to confirm that the lens is IR-capable in some portion of the IR bandwidth. Our lists are by no means exhaustive, so please experiment and let us know of your discoveries. As before note that the IR Sticky was started by Nikon users so the IR Lens List is rather Nikon oriented. Please tell us about your non-Nikon IR gear so that we can add it here. Please Note: IR-Capability ? The amount of IR-capability of the lenses on this list varies. We have tried to list some lenses that do not show hotspotting in IR or have only minor hotspotting at certain apertures or magnifications. Investigate before purchase! F-Mount ? A few lenses on this list may not have Nikon F-mounts. Modification of the lens mount and the use of focusing helicoids and/or bellows may be necessary for use on a Nikon camera body. Investigate before purchase! IR-Focus Shift? Most of the lenses listed below experience some degree of the IR-Visible focus shift discussed below. Lenses without such focus shift are noted. Investigate before purchase! Contributors to the IR Lens List annedi = Andrea Blum anon = Anonymous brianc1959 = Brian Caldwell Danijel = Danijel Vrgoc Erik Lund = Erik Lund easeavey7 = Eric Seavey kds315 = Klaus Schmitt nfoto = Bjørn Rørslett oojala = Oskar Ojala scottnilsson = Scott Nilsson shane = Shane Elen Lens info for each brand includes: Focal Length & Speed, Description, User/Mount/Filter and Remarks, if any. UV/IR Lenses: with No UV-Vis-IR Focus Shift These lenses have no focus shift between UV, Visible or IR wavelengths. These lenses are very expensive, but we list them here just for the record. /contributor/mount_type/filter_size Asahi Pentax 85mm f4.5 Ultra Achromatic Takumar. /kds315/M42/49mm No longer manufactured. Coastal Optics 60mm f4.0 Apo Macro. /nfoto/F/52mm Currently manufactured. Color corrected for 310-1100nmm. Jenoptic Optical Systems, Inc. Home page. CoastalOpt Lenses Hotspots at high magnification can be controlled via extension tubes or a certain kind of lens shade: CoastalOpt 60mm f/4 Apo: the Hotspot Issue (with new solution) How to get rid of the hot spot of Coastal Apo 60mm f/4 MegaVision 120mm f4.5 Macro UV-IR Apo. /brianc1959/?/ Designed by Brian Caldwell. Currently manufactured for medium format. Color corrected for 325-1100nm. http://www.mega-visi...lens_130101.pdf . IR Lenses: Non-Nikon Help me get some good stuff listed here!! IR Lenses: Nikon Zoom Auto-Focus 10-24mm f3.5-4.5G AF-S DX. /nfoto/F/ 14-24mm f2.8G AF-S. /anon/F/ 16-85mm f3.5-5.6G AF-S DX VR. /nfoto/F/ 17-35mm f2.8D AF-S. /nfoto/F/ 18-55mm f3.5-5.6GII AF-S non-VR. /nfoto/F/ Best used on a modified camera because it is easily upset when adding a front IR filter after a pre-focus. 18-105mm f3.5-5.6G AF-S DX VR. /nfoto, annedi/F/ 18-200mm f3.5-5.6G AF-S DX VR. /nfoto/F/ 20-35mm f2.8D AF. /Erik Lund/F/ 24-70mm f2.8G AF-S. /nfoto/F/ 28-300mm f3.5-5.6G AF-S VR. /nfoto/F/ 35-70mm f2.8D AF. /nfoto/F/ 70-180mm f4.5-5.6D AF Micro-Nikkor. /nfoto/F/ 70-300mm f4.5-5.6G AF-S VR. /nfoto/F/ Best with 89B or R-72 filter. 200-400mm f4.0G AF-S VR. /nfoto/F/ IR Lenses: Nikon Zoom Manual Focus 25-50mm f4.0 AI & AI-S. /nfoto/F/ Hotspot only if facing main light source. 28-45mm f4.5 AI. /nfoto/F/ Set up shots carefully to avoid picking up ghosts & flare. 35-70mm f3.5 AI-S. /nfoto/F/ Both 62mm and 72mm filter thread OK. 36-72mm f3.5 Series E. /nfoto/F/ 43-86mm f3.5 AI. /nfoto/F/ Models having serial numbers > 774xxx. 75-150mm f3.5 Series E. /nfoto/F/ 180-600mm f/8.0 ED. /nfoto/F/ Negligible or no focus shift. 200-600mm f9.5 AI-S. /nfoto/F/ IR Lenses: Nikon Prime Auto-Focus 10.5mm f2.8G AF DX Fisheye-Nikkor. nfoto/F/ 14mm f2.8D AF. /nfoto/F/ 18mm f2.8D AF. /Eric Lund/F/ 20mm f2.8D AF. /nfoto/ 50mm f1.8D AF. /nfoto/F/ See Bjørn Rørslett's caveats. 80mm f2.8 AF. /nfoto/F/ 85mm f1.4D AF. /nfoto/F/ 85mm f1.8D AF. /oojala/F/ 85mm f3.5G AF-S DX. Micro-Nikkor. /nfoto/F/ 105mm f2.8G AF-S VR. Micro-Nikkor. /nfoto/F/ 200mm f2.0G AF-S VR. /nfoto/F/ 300mm f2.8D AF-S. /nfoto/F/ 300mm f4.0D AF-S. /nfoto/F/ 600mm f4.0D AF-S II. /Danijel/F/ 600mm f4.0D AF-S VR. /Danijel/F/ 1200mm f/11 ED-IF. /nfoto/F/ Negligible or no focus shift. IR Lenses: Nikon Prime Manual Focus 15mm f5.6 QD.C pre-AI. /nfoto/F/ Corner fall-off. 20mm f2.8 AI-S. /nfoto, anon/F/ 20mm f3.5 AI-S. 52mm & 72 filter thread. /nfoto, anon/F/ 20mm f4.0 AI. /nfoto/F/ See B. Rørslett's caveats. 24mm f/3.5 PC-E 28mm f2.0 AI. /nfoto/F/ See B. Rørslett's caveats. AI-S version not recc. 28mm f3.5 AI. /oojala/F/ 28mm f3.5 K. /nfoto, anon/F/ Non-K versions also good, but some think K is better (perhaps because of a bit more contrast?) 35mm f2.0 O pre-AI, AI & AI-S. /nfoto/F/ 35mm f2.0 AI-S. /nfoto/F/ 45mm f2.8 GN. /nfoto/F/ 45mm f2.8 AI-P. /nfoto, annedi/F/ 50mm f1.2 AI. /nfoto/F/ 50mm f1.8 AI-S. /nfoto, Fenwoodian/F/ 50mm f2.0 pre-AI & AI. /nfoto/F/ 50mm f2.8 EL-Nikkor. /nfoto/M39/40.5mm 55mm f3.5 AI. /Shane/F/ 58mm f1.2 AI Noct-Nikkor. /nfoto/F/ 63mm f3.5 EL-Nikkor. /Danijel/M39/40.5mm 85mm f2.8D PC Micro-Nikkor. /nfoto/F/ 85mm f1.4 AI-S. /nfoto/F/ 85mm f2.0 AI & AI-S. /nfoto/F/ 105mm f1.8 AI-S. /nfoto/F/ 105mm f2.5 AI. /nfoto/F/ 105mm f2.5 P.C Gauss Type. /nfoto/F/ 105mm f4.0 Bellows-Nikkor. /nfoto/F/ Focusing only possible with bellows. 105mm f4.0 Micro-Nikkor. /nfoto/F/ 135mm f2.8 Q pre-AI. /nfoto/F/ 135mm f3.5 AI-S. /nfoto/F/?/ Sharp, just a small focus shift, no hot spots. 200mm f2.0 AI & AI-S. /nfoto/F/ 200mm f4.0 AI-S Micro-Nikkor. /nfoto/F/ 200mm f4.0 Q pre-AI & AI-modified. /nfoto/F/ 300mm f4.5 AI-S ED-IF. /nfoto/F/ See B. Rørslett's caveats. Non-IF version not reccommended. 400mm f3.5 AI & AI-S. /nfoto/F/ 400mm f5.6 AIS. /FenwoodianF/ 500mm f4.0 P AI-P & AI-S. /nfoto/F/ IR Lenses: Non-Nikon F-mount Asahi Pentax 300mm f5.6 Ultra Achromatic Takumar. /kds315/M42 Designed for Vis-IR, but also transmits UV with focus shift. Carl Zeiss 25mm f2.8 Distagon T* ZF-IR. /nfoto/F/ IR-dedicated. 50mm f1.4 Planar T* ZF-IR. /Shane/F/ IR-dedicated. 85mm f1.8 Planar T* ZF-IR. /nfoto/F/ IR-dedicated. Cosina Voigtländer 20mm f3.5 SL II or SL II N /Fenwoodian/F/ 180mm f4.0 APO-Lanthar. /nfoto/F/ Kiron 105mm f2.5 Macro. /RKPhotog/F/ Samyang 85mm f1.4 Aspherical IF. /nfoto/F/ Sigma 105mm f2.8 EX DG Macro. /easeavey7/F/ 18-50mm f3.5-5.6 DC. /easeavey7/F/ 300mm f4.0 Apo-Macro /RKPhotog/F/ Focus shift compensation tricky because of short focus throw. Tamron 90mm f2.8 Di 1:1 Macro SP AF. /nfoto, RKPhotog/F/ MF version hotspots @f8. . IR Lenses: Hotspotters Please remember: Hotspots in IR may not be caused just by the lens alone, but by the combination of camera + lens + filter + light conditions. So the inclusion of a lens in this list does not automatically mean that it is useless for IR, but only that some user has rejected it for their IR photography. You may find that a lens listed here works well for you, or not. This list is by no means exhaustive. Remarks are basically as reported. Nikon 10.5mm f? D Fisheye AF Hotspots on converted D2X. OK on some cameras. 24-70 f2.8G AFS Sometimes works wonders in IR; sometimes it fails badly. Check for light leak through focus distance window. 24mm f1.4G AFS Guaranteed IR hot-spotter. 28-85mm f3.5-4.5 AF At f16. 35mm f1.4G AFS Hotspots badly in IR. 35mm f1.4 AIS Hotspots on converted D2X, especially with filters. 35mm f1.8 Strong hotspot. 35mm f? Series E Faint hotspot @f16 infinity. 60mm f2.8G AFS Micro-Nikkor Huge hotspot problem in IR. 50mm f? Series E 55mm f3.5P Micro-Nikkor Produces a hotspot. Later versions do not. 70-210mm f4.0 AF At f11 or smaller at some focal lengths. Sigma 35mm f/1.4 Art Strong central hotspot. Sony RX100 Hotspot less noticeable if monchrome setting used. Tamron 17-35mm f2.8-4.0 Slight hotspot, but still usable. 90mm f? MF Had hotspots on both my Fuji & Nikon cameras. Tokina 12-24mm f4 If you like hotspots, this Tokina is very good at that! . IR LENS LINKS All You Ever Wanted to Know about Digital UV and IR Photography But Could Not Afford to Ask This classic reference article by NG member Dr. Bjørn Rørslett contains IR lens info. Diglloyd Guide to Digital Infrared Photography This guide (subscription only) by Lloyd Chambers contains information about the IR capabilities of a multitude of Nikon and Canon lenses. You can see the guide index with this link. IR and Lenses This article by Gisle Hannemyr lists many IR-capable lenses. Lens Survey and Subjective Evaluation This survey by Dr. Bjørn Rørslett contains UV/IR ratings for some lenses. Macrolens Collection Database: Special Lenses This extensive compliation by Dr. Klaus Schmitt contains UV/IR lens info. . IR LIGHTING The typical on-board flash or hotshoe flash will provide enough IR light for most IR photography. Here are a few links to other IR lighting options. UV & IR Photography Equipment for Sale Shane Elen offers various modified flash units including a Nikon SB-14 Speedlight. Digi-Slave IR-LED Ring Light Uses 24 IR-LEDs @ 850nm. This is listed simply as an example of an IR-LED hotshoe flash. It does not constitute an endorsement because I haven't used one. "-) Polaroid IR-LED Light Bar This is listed simply as an example of an IR-LED hotshoe flash. It does not constitute an endorsement because I haven't used one. "-)

Blum, A.G. (2013) Unidentified spider on florist's chrysanthemum photographed in visible, infrared and ultraviolet light. http://www.ultraviol...e-fluorescence/ Middletown, New Jersey, USA 29 March 2010 Comment: I was photographing these chrysanthemums when I discovered they were hosting this little spider who proved to be fluorescent in UV light. Equipment [Nikon D200-broadband + Rodenstock 60mm f/5.6 UV-Rodagon] Visible Light [f/8 for 1/30" @ ISO 400 with onboard Flash and Baader UVIR-Block Filter] https://www.ultravioletphotography.com/content/uploads/post-4-0-77767000-1382406271.jpg" Infrared Light [f/8 for 1/60" @ ISO 320 with onboard Flash and B+W 092 IR-Pass Filter] UV-Induced Visible Fluorescence [f/8 for 1/2" @ ISO 400 with Nichia 365nm UV-LED and Baader UVIR-Block Filter] The UV-Led was used with a Baader-U filter. Ultraviolet Light [f/8 for 1/4" @ ISO 320 with Nichia 365nm UV-LED and Baader UV-Pass Filter] Infrared Light [f/8 for 1/125" @ ISO 320 with onboard Flash and B+W 092 IR-Pass Filter]

Blum, A.G. (2013) Another example of Nama demissum A. Gray var. demissum (Boraginaceae) Purplemat. Flowers photographed in ultraviolet, visible and infrared light. http://www.ultraviol...nother-example/ Joshua Tree National Park, California, USA 05 March 2012 Wildflower Comment: Nama was formerly placed in the family Hydrophyllaceae. The single-style variety Nama demissum var. colvillei is found further north in the Death Valley area. Nama demissum was first described in UV by Rørslett(2013). The vibrant magenta flower of the double-styled N. demissum var. demissum is UV-absorbing. Note that the older flowers, beginning to shrivel up, have become more UV-reflective. There appear to be some conical cells creating a dark shimmer across the corolla and a ring at the corolla's throat. The anthers are UV-bright. Reference: 1. Jepson eFlora (2013) Nama demissum var. demissum. Jepson Herbarium, U. of Cal.-Berkeley, Berkeley, CA. http://ucjeps.berkel...JM.pl?tid=62249 2. Rørslett, B. (2013) Equipment [Nikon D300-broadband + Nikon 105mm f/4.5 UV-Nikkor] Visible Light [f/9.5 for 1/750" @ ISO 400 with Nikon D3S + Nikon 60mm f/2.8G Micro-Nikkor] On its way to forming a big mat. Visible Light [f/8 for 1/1500" @ ISO 400 with Nikon D3S + Nikon 60mm f/2.8G Micro-Nikkor] Growing amongst the rocks. Ultraviolet Light [f/11 for 1/160" @ ISO 400 with SB-14 UV-modified Flash and Baader UV-Pass Filter] Infrared Light [f/11 for 1/160" @ ISO 400 in Sunlight with B+W 092 IR-Pass Filter]

Blum, A.G. (2013) Mohavea breviflora Colville (Plantaginaceae) Golden Desert Snapdragon. Flowers photographed in visible, ultraviolet and infrared light. http://www.ultraviol...ert-snapdragon/ Death Valley National Park, California, USA 29 February 2012 Wildflower Synonyms: Lesser Mohavea Comment: Native to the Sonoran desert area in the southwestern US and northern Mexico. The entire plant is quite UV-dark against the lighter background of desert gravelly washes where it grows. Reference: 1. Jepson eFlora (2013) M. breviflora Coville. Jepson Herbarium, U. of California-Berkeley, Berkeley, CA. http://ucjeps.berkel...JM.pl?tid=33869 Set 1 Equipment: [Nikon D300-broadband + Carl Zeiss 60mm f/4.0 UV-Planar] Visible Light [f/11 for 1/100” @ ISO 800 in Sunlight with Baader UVIR-Block Filter] Ultraviolet Light [f/11 for 1/250” @ ISO 800 with SB-14 UV-modified Flash and Baader UV-Pass Filter] Ultraviolet Light [f/11 for 1/250” @ ISO 800 with SB-14 UV-modified Flash and Baader UV-Pass Filter] Set 2 Equipment: [Nikon D300-broadband + Nikon 105mm f/4.5 UV-Nikkor] Visible Light [f/11 for 1/800” @ ISO 800 in Sunlight with Baader UVIR-Block Filter] Ultraviolet Light [f/11 for 1/2” @ ISO 800 with SB-14 UV-modified Flash and Baader UV-Pass Filter] Infrared Light [f/11 for 1/1250” @ ISO 800 in Sunlight with B+W 092 IR-Pass Filter]

Blum, A.G. (2013) Sphaeralcea ambigua A. Gray (Malvaceae) Desert Globemallow. Flowers photographed in visible, ultraviolet and infrared light. http://www.ultraviol...rt-globemallow/ Other Common Name: Apricot Mallow Comment: Characteristic of all Malvaceae are the fused anthers which in S. ambigua flare out around the eventually protruding central stigma. S. ambigua is easily found in the Southwestern US deserts and Baja California. The UV appearance of the flower is bright with UV-dark petal bases and primarily UV-dark central parts. The filaments are only moderately UV-dark, and there is a UV-bright accent on each anther. Reference: 1. Morhardt, S. & E. (2004) Sphaeralcea ambigua, page 201. California Desert Flowers. The U. of Cal. Press, Berkeley, CA. 2. Jepson eFlora (2013) Sphaeralcea ambigua. Jepson Herbarium, U. of Cal.-Berkeley, Berkeley, CA. http://ucjeps.berkel...JM.pl?tid=45130 Set 1 Death Valley National Park, California, USA 29 Feb 2012 Wildflower Equipment: [Nikon D300-broadband + Nikon 105mm f/4.5 UV-Nikkor] Visible Light [f/4.8 for 1/2000” @ ISO 200 with Nikon D3S] Visible Light [f/4.8 for 1/8000” @ ISO 200 with Nikon D3S] Visible Light [f/16 for 1/200” @ ISO 200 in Sunlight with Baader UVIR-Block Filter] Visible Light [Detail from preceding bud showing stellate hairs which cover sepals and leaves.] Ultraviolet Light [f/11 for 1/250” @ ISO 200 with SB-14 UV-modified Flash and Baader UV-Pass Filter] Infrared Light [f/11 for 1/160” @ ISO 200 in Sunlight with B+W 092 IR-Pass FIlter] Set 2 Boyce Thompson Arboretum, Superior, Arizona, USA 24 April 2013 Wildflower Equipment: [Nikon D600-broadband + Nikon 105mm f/4.5 UV-Nikkor] Visible Light [f/3.5 for 1/1600” @ ISO 200 with Nikon Coolpix A] Ultraviolet Light [f/8 for 1/60” @ ISO 400 with SB-14 UV-modified Flash and Baader UV-Pass Filter]

Blum, A.G. (2013) Geraea canescens Torrey & Gray (Asteraceae) Desert Sunflower. Flowers photographed in visible, ultraviolet and infrared light. http://www.ultraviol...raea-canescens/ Death Valley National Park, California, USA 28 February 2012 Wildflower Synonyms: Desert Gold Geraea canescens var. paniculata (A. Gray) S. F. Blake Comment: Reference: 1. Jepson eFlora (2013) G. canescens Torr & A.Gray. Jepson Herbarium, U. of California-Berkeley, Berkeley, CA. http://ucjeps.berkel...IJM.pl?tid=3054 Equipment [Nikon D300-broadband + Nikon 105mm f4.5 UV-Nikkor] Visible Light [f/11 for 1/500" @ ISO 200 with Nikon D3S] Visible Light [f/11 for 1/500" @ ISO 200 with Nikon D3S] A foraging bee looks for an early treat from the just opening Desert Sunflower. Visible Light [f/11 for 1/500" @ ISO 200 with Nikon D3S] Visible Light [f/11 for 1/2000" @ ISO 800 in Sunlight with Baader UVIR-Block Filter] Ultraviolet Light [f/11 for 1/250" @ ISO 800 in Sunlight with Baader UV-Pass Filter] Infrared Light [f/11 for 1/1600" @ ISO 800 in Sunlight with B+W 092 IR-Pass Filter]

As a precursor to using UV for landscape photography, it can be useful to look into the various spectral bands available to invisible spectrum usage. One can combine bands to make false-colour, multispectral composites. There are virtually endless combinations to explore. Here are a few early experiments on an alpine landscape at Jotunheimen Norway. Taken with a broad spectrum modified D1 and the Nikkor 28 mm f/3.5 lens. This lens is usually regarded as excellent for IR photography, but its UV propertiers are less familiar. While it certainly does not transmit deep into UV, it can depict the usual test objects such as UV patterns of a dandelion in a satisfactory manner. For this hastily improvised trial I used a combination of UV and two IR bands. I had no suitable bandpass filter for visible at hand on that trip. All captures were conducted at f/16. The mountain air was crystal clear and cool to give little turbulence and excellent visibility even of the remote peaks (up to 15 km away). First autumn colours had started to appear (this was mid August, 2004). UV light: Hoya U-360 stacked with B+W BG-38. The ground vegetation is rendered fairly dark and the sky is bright. Water surfaces reflect sky and thus are rendered rather bright as well. There probably is some IR contamination present in this capture due to the non-optimal filtration, but the expected UV appearance is present. IR band 1: Hoya RT-830 filter, with a peak around 830 nm and having fairly strong attenuation to either side of the peak. This represents the middle section of the near photoactinic IR. As expected, vegetation is bright and sky and water show up quite dark. IR band 2: Hoya RG1000 filter, starts to transmit around 950 nm and is fully transmitting above 1000 nm. The IR character of the landscape is very strong. Sky and water surfaces are jet black, while vegetation is medium grey to bright depending on vegetation type and ground moisture. When these three are combined into a false-colour composite, or multispectral image, the following picture results: Image reference: :ALPINE_T04081397513_MS(UV,IR).jpg Here, UV is coded B(blue), IR 1 is G (green) and IR 2 is R (red). In the composite, the haziness brought by the UV band tends to blur the distant mountain peaks.

Blum, A.G. (2013) Encelia farinosa A. Gray ex Torrey (Asteraceae) Brittlebush. Flowers photographed in ultraviolet, visible and infrared light.http://www.ultravioletphotography.com/content/index.php?/topic/133-encelia-farinosa-brittlebush/ Synonyms: Incienso White Brittlebush Comment: The ubiquitous E. farinosa with its silvery green leaves and bright yellow flowers provides a pretty sight along the roads and highways in desert areas of California and Arizona. Its resins were used for glue and incense by Native Americans. It has a UV-dark central disc with brighter, veined rays. Reference: 1. Epple, A.O. (1995) Brittlebush, page 270. A Field Guide to the Plants of Arizona. Falcon Guides, Globe Pequot Press, Guilford, CT. 2. Jepson eFlora (2012) Encelia farinosa. Jepson Herbarium, U. of Cal.-Berkeley, Berkeley, CA. http://ucjeps.berkel...IJM.pl?tid=2557 SET 1 Death Valley National Park, California, USA 27 February 2012 Wildflower Equipment [Nikon D300-broadband + Carl Zeiss 60mm f/4.0 UV-Planar] Visible Light [f/5.6 for 1/500" @ ISO 800 with Nikon D3S] Visible Light [f/9.5 for 1/350" @ ISO 800 with Nikon D3S] Visible Light [f/9.5 for 1/350" @ ISO 800 with Nikon D3S] Visible Light [f/11 for 1/4" @ ISO 100 in Sunlight with Baader UVIR-Block Filter] Ultraviolet Light [f/11 for 1/8" @ ISO 100 with SB-14 UV-modified Flash and Baader UV-Pass Filter] Infrared Light [f/11 for 1/5" @ ISO 100 in Sunlight with B+W092 IR-Pass Filter] Infrared Light [f/11 for 1/400" @ ISO 1000 in Sunlight with B+W092 IR-Pass Filter] SET 2 Desert Botanical Garden, Phoenix, Arizona, USA 22 April 2013 Wildflower in botanical garden Equipment [Nikon D600-broadband + Nikon 105mm f/4.5 UV-Nikkor] Visible Light [f/5.6 for 1/2000” @ ISO 100 with Nikon Coolpix A] Not too many flowers left on this one, but it does show the characteristic silvery-green leaves. Visible Light [f/8 for 1/400 @ ISO 100 in Sunlight with Baader UVIR-Block Filter] Ultraviolet Light [f/8 for 1/60” @ ISO 800 with SB-14 UV-modified Flash and Baader UV-Pass Filter]