Comments on: Seeing into the Infra Red: On Cameras, Connections and Conservation Documentation Part II http://www.imamuseum.org/blog/2009/07/24/seeing-into-the-infra-red-on-cameras-connections-and-conservation-documentation-part-ii/ The IMA blog is a space to discuss everything related to the Indianapolis Museum of Art. Fri, 10 Feb 2012 12:32:47 +0000 hourly 1 http://wordpress.org/?v=3.3.1 By: Edwin Herdman http://www.imamuseum.org/blog/2009/07/24/seeing-into-the-infra-red-on-cameras-connections-and-conservation-documentation-part-ii/comment-page-1/#comment-61572 Edwin Herdman Tue, 29 Dec 2009 08:42:54 +0000 http://www.imamuseum.org/blog/?p=6791#comment-61572 Modifying digital single-reflex cameras for fine art photography has been a hot topic for amateurs attempting to follow in the footsteps of Dr. Robert Wood for years now. Since roughly 2002 I have had access to the Sony F707, a cult IR crowd favorite which flips a low-pass filter out of the way for shooting infrared pictures in dim to nighttime scenes. Its proponents may well ask: What about saving even more money and using a compact camera? Unfortunately, my experience with the system seems to demonstrate that non-DSLR camera systems are not appropriate for anything far beyond casual IR photography, let alone critical or scientific work. That even assuming that modern cameras allow an easy IR mode, which they don't seem to do since the early 2000s. I suspect this helps assist makers in clamping down on IR polluting visible spectrum photos, color balance, and changing focus points; improves reliability (no moving "hot mirror" low-pass filter for blocking infrared), and also to avoid press issues such as Sony reportedly faced after a rash of "Sony cameras see under clothes" sensationalism is said to have tarnished the feature. The answer to the question is apparent from the paper's discussion of the appropriate wavelengths to allow through the filter for this purpose, but although that has been solved by enthusiasts using filters outside the camera body (actually not a huge problem with the F707), other problems tend to abound when using a compact camera with non-removable lenses that happens to have the IR sensitive properties of CCDs exploited for easy night shooting capability. The F707 did enjoy a cult following for years due to its IR photography capability, but it also needs a bit of extra investment to take IR-only photos (such as a ND filter to overcome an arbitrary 1/60 second maximum shutter speed in this mode (meant to prevent daytime use), or an ultraviolet filter which leaks some IR to act as both an ND filter and high-pass filter, such as a Schott UG1 suggested by Bob Fosbury on his webpage discussing shooting with the F707). Even then it is limited to being used only in an automatic mode with a shutter speed of 1/60 or slower, and there are other problems as well (a zoom lens with a narrow aperture, small sensor, high gain applied for IR capture, and other problems such as TIFF or JPEG only instead of RAW and other functionality or usability issues). An actual DSLR will provide the photographer with a wider choice of lenses, and art studies seem ideally suited for a fast prime such as my Canon 50mm f/1.4, not a compact camera's softer zoom. Fundamentally, the F707's IR modes were a quirky extra bullet point that is not calibrated for scientific use, and seems to have been a fairly short-lived trend; from what I can tell the Nikon Coolpix series around the 950 and 4500 model marks had some IR capability as well, but newer compact cameras with up-to-date sensors seem to have done away with the feature and any inherent complexity or reliability challenges. It's great to use something as flexible and affordable as a DSLR for this serious work. When it's newly obsolete, I might inqure about having my Canon T1i converted to infrared - being able to do studies like this in addition to tilt-shift infrared landscapes all in one camera body is serious value for the photographer. (Incidentally, the T1i has proved sufficient for my needs thus far, and it has already dropped in price over $200, I'd guess due to Canon concerns about the market segment it covers; it seems fairly equal for regular photography to the 50D which has held its price better). Thanks to Mr. McCoy and Mr. Falco for this engaging series, and especially for Mr. Falco's paper on infrared photography. There are many reputable providers of infrared conversion services, but with this paper the scientific and practical details are no longer a matter of guesswork but of actual figures. Modifying digital single-reflex cameras for fine art photography has been a hot topic for amateurs attempting to follow in the footsteps of Dr. Robert Wood for years now. Since roughly 2002 I have had access to the Sony F707, a cult IR crowd favorite which flips a low-pass filter out of the way for shooting infrared pictures in dim to nighttime scenes. Its proponents may well ask: What about saving even more money and using a compact camera? Unfortunately, my experience with the system seems to demonstrate that non-DSLR camera systems are not appropriate for anything far beyond casual IR photography, let alone critical or scientific work.

That even assuming that modern cameras allow an easy IR mode, which they don’t seem to do since the early 2000s. I suspect this helps assist makers in clamping down on IR polluting visible spectrum photos, color balance, and changing focus points; improves reliability (no moving “hot mirror” low-pass filter for blocking infrared), and also to avoid press issues such as Sony reportedly faced after a rash of “Sony cameras see under clothes” sensationalism is said to have tarnished the feature.

The answer to the question is apparent from the paper’s discussion of the appropriate wavelengths to allow through the filter for this purpose, but although that has been solved by enthusiasts using filters outside the camera body (actually not a huge problem with the F707), other problems tend to abound when using a compact camera with non-removable lenses that happens to have the IR sensitive properties of CCDs exploited for easy night shooting capability.

The F707 did enjoy a cult following for years due to its IR photography capability, but it also needs a bit of extra investment to take IR-only photos (such as a ND filter to overcome an arbitrary 1/60 second maximum shutter speed in this mode (meant to prevent daytime use), or an ultraviolet filter which leaks some IR to act as both an ND filter and high-pass filter, such as a Schott UG1 suggested by Bob Fosbury on his webpage discussing shooting with the F707).

Even then it is limited to being used only in an automatic mode with a shutter speed of 1/60 or slower, and there are other problems as well (a zoom lens with a narrow aperture, small sensor, high gain applied for IR capture, and other problems such as TIFF or JPEG only instead of RAW and other functionality or usability issues). An actual DSLR will provide the photographer with a wider choice of lenses, and art studies seem ideally suited for a fast prime such as my Canon 50mm f/1.4, not a compact camera’s softer zoom. Fundamentally, the F707′s IR modes were a quirky extra bullet point that is not calibrated for scientific use, and seems to have been a fairly short-lived trend; from what I can tell the Nikon Coolpix series around the 950 and 4500 model marks had some IR capability as well, but newer compact cameras with up-to-date sensors seem to have done away with the feature and any inherent complexity or reliability challenges.

It’s great to use something as flexible and affordable as a DSLR for this serious work. When it’s newly obsolete, I might inqure about having my Canon T1i converted to infrared – being able to do studies like this in addition to tilt-shift infrared landscapes all in one camera body is serious value for the photographer. (Incidentally, the T1i has proved sufficient for my needs thus far, and it has already dropped in price over $200, I’d guess due to Canon concerns about the market segment it covers; it seems fairly equal for regular photography to the 50D which has held its price better).

Thanks to Mr. McCoy and Mr. Falco for this engaging series, and especially for Mr. Falco’s paper on infrared photography. There are many reputable providers of infrared conversion services, but with this paper the scientific and practical details are no longer a matter of guesswork but of actual figures.

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