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After a lot of work, my Nikon D700 Infrared is ready for action! After several Nikon D70 as well as a Nikon D80, I have now converted a full frame camera to full spectrum for the first time: My old Nikon D700. It already has a few years under its belt, the rubber pads it has in several places came loose from the substrate. But overall it is still in tip-top condition. Removing the IR cut filter is much more involved than the other models. Many more screws, many more cables. Much more concentration is required. According to instructions online, you have to desolder cables. But it can be done without. Just make sure that you can support the different layers of the camera somewhere without tearing out cables. Important: To get a Nikon D700 Infrared, it is not enough to remove the cyan hot mirror. You also have to remove the glass plate to which the internal cleaning mechanism is attached. Because this also blocks out infrared (and also UV) light. However, this is not a problem. Just cut the cable, remove the glass completely, and good. Who needs that anyway. As with other cameras, the Nikon D700 Infrared has problems with focusing, since glass layers have been removed (and thus distances are no longer calibrated) and IR has different focal planes anyway. Fortunately, it has Liveview. That simplifies the whole thing a lot. And so I was able to shoot wonderful 720nm photos with the 50mm AF lens – from aperture 8, even objects further away are always sharp. With the Aerochrome variant with green and orange filters, it’s a bit more difficult. Here, you need at least aperture 16 to get distant mountains or trees in focus. But thanks to the excellent ISO properties of the Nikon D700, this is no problem either. Nikon 50mm f/1.8 D, green and orange filters:

Every now and then you come across something special when experimenting with different filters and lenses. For example, this: golden yellow and purple trees. It almost looks as if a gold dust has blown over the landscape. I like it. Very much, in fact. Straight out of the camera, the vegetation is more reddish. With a change in the red channel, the reddish becomes a bluish purple. The post-processing is minimal. But beware: this does not work with every lens. I used my full-spectrum Nikon D700, the standard 50mm lens (Nikkor 50mm f/1.8 D) and the unique X1 filter from Hoya. In Photoshop I changed the values in the channel mixer at red as follows: Red: +50 Green: +120 Blue: -50

The title reflects the impressions made by the legendary Nikkor-N 5 cm f/1.1 lens for Nikon rangefinders of the late '50s. Thus it certainly qualifies as 'old' most remaining items now would push 60+ years. 'Elusive' is guaranteed by a production run of < 3000 units, of which lenses with external bayonet, the version most desirable, makes up about one-half. The lens was a pinnacle in optical design for Nikon at the time, so not surprising it was regarded as good. However, uncountable photons have struck Earth since the late '50s and optical development since then has been amazing. Thus can such an old item be of any value today, except as a collector's item? When I purchased the Nikon Z fc some months ago, I found it handled superbly with the old Nikkor rangefinder lenses and at least some were surprisingly good performers in optical terms. True, you get 'character' -- often, a lot -- instead of edge-to-edge perfection, but is that the end of the story? So when the opportunity arrived to get a 5cm f/1.1 Nikkor in excellent shape, and my banking account had sufficient depth to it, time had come to get this lens. Which I did and it arrived very quickly thanks to being whisked across the globe by carrier. The old Nikkor complements the Z fc nicely. I had in mind using the lens on the Z fc, plus for more edperi,mental use, on my full-spectrum Primaluce Z5. First test in IR showed a remarkable 'glowing' performance which instantaneously endeared the lens to me. This is at f/1.1 so shutter speeds almost went out of range on the Z5. Manual focusing on moving subjects isn't easy when one gets lazy by all the AF wizardly available to us today, but is doable in a pinch. And 21 Century Mothers move slowly lest they miss a subject on their mobile. 100% crop to show the impressive sharpness even if focus wasn't perfect. Being able to do well in IR wasn't as surprising as going to UV and learn the lens performs there too. The next example is a test with Baader U and the lens on my monochrome Sony NEX-5N. Despite a dull, overcast day, and a low 200 ISO setting, getting UV hand-held was a breeze. Shutter speeds could get up to 1/100 sec. Apparently I no longer have any excuse not to post excellent images. Oh well, to paraphrase our commander-in-chief. Just wish the ambient temperature to go above the freezing point, as I no longer can stand the cold.

So I had this 590 filter stashed away, figured I'd try some IR color before winter. I had to go wide open, because trying to clean sensor with home remedies is a pain. Shot with F/S Canon 2000D/T7 24mm, K590. I really like the Blue foliage out of camera(No Man's Sky game vibe) but trying out some swapping with a blue sky.

World's Cheapest Infrared band 1,000nm to 14,000nm Camera Produces Images Pixel-by-Pixel for Just $11 https://www.hackster.io/news/the-world-s-cheapest-infrared-camera-produces-images-pixel-by-pixel-for-just-11-83b00a12c7ac?fbclid=IwAR3zi0x_EcrRQpIVmH-hWi9OkBayNeJTrdqifHauY5mHdky9jLl0uTAay8A

Technique explained in previous post. IR reference (720nm longpass) visible reference fluorescence under green fluorescence under blue fluorescence under 395nm trichrome (the "dust" is contamination on my PTFE sheet, which this shell was laid on)

So recently, I have developed a new (maybe) way to investigate the properties of objects. I'm not sure if it's been tried here before, but what I do is that I use three lightsources, each of different wavelength, l filter these lightsources with a QB39, and on the camera I mount a 720nm longpass and a 650nm longpass. The lightsources I use are generic chinese made spotlights that you find on eBay or Aliexpress. https://www.ebay.com/itm/164732255359?var=464226938551 https://www.aliexpress.com/item/4000068864312.html?spm=a2g0s.9042311.0.0.27424c4dpYRypM I use the blue, green and 395nm variety. The light causes the given object to give off fluorescence but its amount and wavelength differs slightly depending on the wavelength. I then stack the images and map them to different channels to illustrate the differences. The 650nm longpass is used in tandem in order to weed out the little green light that leaks through the 720nm longpass. I have prepared two examples, an apple, and a decaying leaf. leaf reference leaf under green leaf under blue leaf under 395nm leaf trichrome apple under green apple under blue apple under 395nm apple trichrome bonus: apple UVIVF If you have any suggestions of what else I should do, please do tell. I have tried a few other things, including pumpkin seeds, a mineral rock, the outside of an apple or the print on a juice box to see how the different dyes and bare paper behave. I might post that later. So far I love the results, I think they're really interesting and rich in how the color varies, which cannot be said for many other techniques here, such as UV, which really only gives around 3-4 colors depending on your reach. Next step for me is to make a setup with three different wavelength UV LEDs to make UV trichromes, I think that's a superior way to see into UV as it can give a full spectrum of colors and works in a way our brains understand. But enough rambling, hope you enjoy the post.

A bright sunny day usually has more UV at midday. I've been shooting during this time. Recently, a blog (not here) said to avoid this because IR is the strongest and has more chance to overload the blocking filter. Do you agree with this? Does the ratio of IR to UV change on a sunny day? Thanks, Doug A

I have in general found older lenses to produce better IR images than the very newest and modern offerings. Due to the simplicity of the opticl layour and costings it seems likely they generate less artifacts and in many cases, show less tendency towards hot-spotting. The latter is a real issue for mirrorless systems in my experience. For example, not a single of the native Z-mount Nikkors are free of troublesome IR hot-spots. On the other hand, my "new" Nikkor-N 5cm f/1.1 produces glorious IR with the PrimaLuce-modified Nikon Z5. Hoya R72 filter, lens set to f/1.1. This lens harks back to 1959.

I've just had a very geeky few days evaluating a Phase One IQ4 Achromatic camera. Medium format BSI sensor (53.4 mm x 40.0 mm), 151Mp, black and white. Thanks to Teamwork Digital Ltd in the UK for making this possible and sending it to me along with an adapter to use my Hasselblad lenses and a really solid tripod. This was one that really interested me, as it should be good for UV as well as visible and IR, and I could try out my Zeiss UV Sonnar on it, as that was made for the Hasselblad 6x6 cameras. First impressions, it is very solidly built, and very well made. Here's a couple of pictures of the camera with some of the lenses I was trying out (El Nikkor 80mm f5.6, and the Zeiss UV Sonnar). Was able to take some images in UV, visible and IR and thought I'd share a few here. Landscape - Chobham Common in the UK in the IR and visible. Natural light in the evening. IR (Zeiss UV Sonnar, Hoya R72) Visible (Zeiss UV Sonnar, Schott S8612 1.5mm plus 420nm long pass) IR (Zeiss UV Sonnar, Hoya R72) Product shot in visible light using a big softbox. Single Bowens GM500 flash. Flower shots (from local flower shop - Tangerine and Green, Englefield Green, UK), in visible and UV. Single Bowens GM500 flash with quartz tube. Sunflower in UV (El Nikkor 80mm f5.6, Baader U) Not sure on this one - Dahlia perhaps - anyway, a white flower in UV and visible. Visible (Schott S8612 1.5mm plus 420nm long pass) UV (Baader U) These images have obviously all been reduced in resolution for sharing. As an example of the resolution of the original images, below is the image of the Sunflower in the UV along with a region marked in red. That little red square is 1000 pixels by 1000 pixels, and this is what it looks like in the original image. Working with the files is certainly challenging for the computer - a full size image in high quality jpeg is around 60Mb and the raw files are pushing 200Mb. You need a lot of storage with a camera like this. Not seen much UV imaging done with medium format, so thought it would be interesting to share. Unfortunately with only 3 days with it, I barely even learned how to use it, but it certainly impressed me in that short time. It has now sadly gone back to the dealer, and if I want to buy one I'll need to get buying those lottery tickets.....

Have been a bit lazy with posting recently, busy taking photos Here are a few from one nearby zoo ( https://www.tierparkstadthaag.at), already a few months ago. Please don't ask me about the proper zoological names for the animals, I know as much about animals as I do about plants: zip, zero, nada. However, I do know a few of the rules of animal photography, like always focus on the eyes, don't show an animal from behind, etc., but you know what? I don't care, just posting the photos I like best. The equipment was Canon EOS 6D, converted to 700 nm, and some long lens, don't remember which one. But oh boy, was I glad not having to get to close to those big cats, they just don't blink. Owl: Wolf: Horned cattle (I did tell you I don't know the proper names, right): Bear: Small, furry thing: Lazy cat: Intimidating cat:

From the same place as the photos in this thread: https://www.ultravio...-ir-at-the-zoo/ , but this time more plant life and less animal life Canon EOS 6D, converted to 700nm.

What a difference a day makes, & taking a step back. I had thought that Photo Ninja was the 'bees knees', but I ventured back into Sigma's Photo Pro for the processing of the Sigma fp files.... Oh, What a difference a day makes..... Finally Red & Gold vegetation that 'pops'.....

I don't know if this picture you think is appropriate. But I hope that you will forgive me if I refer to all the wonders and horrors of Halloween - I am more than indifferent to all holidays, but I like the atmosphere of some of them. It's been a year since I've been haunted by this scene - after I read this https://www.ultravio...__fromsearch__1 and this https://www.ultravio...__fromsearch__1 I'm sorry if I broke any rules lighting - incandescent lamp, filter 950 nm

this is the best I am attaching the original and the false colors (old CS6 action ... more magenta)

I spent the day trying to replicate a photo I saw on Photoni's flickr page.... Nearly got there ? Here I show the raw converted to .jpg, then a channel swap, RGB to BRG. I can't work out what I have to get the raw to look like to end up with this yellow that photoni got, instead of the greenish yellow that I have ended up with ? Raw to .jpg..... Swap RGB to BRG

My local estuary park in golden Anaglyph. Anaglyph goggles needed or red cellophane in left eye & cyan cellophane on right eye.

I have a very similar one, it works fine. 780-1250nm. https://www.ebay.com...=item548c172552

Bellissimo - Golden Trees & Vegetation. I think I have struck the gold I was looking for .......... straight out of camera. Sigma fp full spectrum, full frame, Bayer CFA. Tiffen 47 + Chinese BG 29.

Hi friends! Sorry its been a while, I moved to the US in the middle of the pandemic and then there was so much daylight I stoped playing with fluorescence so I have been several months away. Anyways I have been playing around with my camera and filters and thought I would share. These are all done with my nikon coolpix and cheapo chinese filters. The IR is 720nm from amazon, channels not swapped, the UV are done with a ZWB1 and a BG39 from tangsinuo. 1. Treeline Love how the IR has crazy contrast of the light and shadows while the UV you can see the light scattering. 2. Above the treeline 3. Ocean cliffs I love the long exposure birds in the UV one

I'm still experimenting with MidOpt DB850/ yellow stack on my FS-a7R. For these, I switched from the Tiffen #12 to the slightly darker Tiffen #15 yellow, for more sky contrast. Lots of post processing, adjusting CWB and controlling the reds.

I bought a Stitz Universal Stereo Adapter on eBay, with the intent of using it to take simultaneous captures in UV and IR, or similar two-filter-at-once combinations. I haven't had time to mess with it much, but I did a proof of concept below. Please note that that air outside is horribly smokey due to fires on the west coast of the US and in Canada, so much of the haze is not the fault of the system, but instead is the fault of the atmosphere. First the setup: And here is a photo. The two sides were independently edited in Photoshop and PhotoNinja and combined afterwards with layers. The large black line can be adjusted with the diaphragm control, but I didn't have time to adjust it.

Converted Sigma fp, with a minus red filter & a limited IR filter. The yellow / gold comes from the camera making 'yellow' from green & near IR.

GRB3 plus Lee 115 or Rosco 729 filters Tests on the full spectrum Sigma fp with the Canon 40mm pancake lens, CWB in camera, with GRB3 plus Lee 115 or Rosco 729 filters, no other processing. I am amazed at the versatility of the Canon 40mm pancake lens. Never having used a film 35mm camera & only ASP sensor digital cameras over the last 18 years, I can't get over how wide the 40mm lens is. Time for some photos.... 1/ GRB3 filter only, CWB in camera, UVA + Visible, with some IR leak. 2/ GRB3 + Rosco 729 filters, CWB in camera, half widths 460nm to 525nm. 3/ GRB3 + Lee 115 filters, CWB in camera, half widths 400 to 555 nm + IR leak. 4/ Rosco 729 filter only, CWB in camera, half widths 460 to 525nm, minus red, IR above 775nm. 5/ Lee 115 filter only, CWB in camera, half widths 400 to 560nm, IR leak above 730nm.