Adobe Bridge and 715nm Images

bbloewen

I have a Canon 5d, converted to IR 715nm. I shoot a custom white balance using a target and take my images. They are a robust black and white in camera. When I bring them into Bridge and from there to Photoshop they flip to "Pink"???

Anybody have a suggestion as to why this might happen and if so can it be corrected?

Much thanks...

B

Scott_Quier

I'm probably of no help here. I have a 20D converted to IR (830nm) by MaxMax.com. I shoot, exclusively RAW and when I set the Custom White Balance (CWB), I get the gray image to which you refer on both the camera LCD and when I import them into either Lightroom, CS3 or CS4 Bridge.

Like I said, probably no help. Just an example of one way that might work for you.

From your description of the symptons, I've got to assume you are shooting RAW (can't think of any other way to get the WB reset to "native") so I'm thinking there's probably a setting in Bridge you have reset to ignore the CWB information written to the image file.

ziggy53

IR converted cameras really do not have a true "white balance" so I disregard that concept for RAW processing. I do start with a tungsten setting in the RAW converter, but just as a starting point. Then I move the color temperature and tint around until I see the type of tonality that I think I will need to produce the final image.

For a B&W conversion I look for either the combination which produces the best separation of the subject from the background or which produces the best subject definition.

At any rate the preview image from the camera is of no concern because the camera is not designed for presenting IR captures. The camera is designed for presenting visible light captures, at best.

For the following image the barn side was masked and processed for color, inverting the blue and red channels using the channel mixer. The reds were promoted from the image but they were not painted. The barn roof was processed for B&W.

The field was processed for B&W and intentionally treated as high key and high contrast. The sky was processed for B&W and to enhance the tonality of the sky.

bbloewen

Scott_Quier wrote:

I'm probably of no help here. I have a 20D converted to IR (830nm) by MaxMax.com. I shoot, exclusively RAW and when I set the Custom White Balance (CWB), I get the gray image to which you refer on both the camera LCD and when I import them into either Lightroom, CS3 or CS4 Bridge.

Like I said, probably no help. Just an example of one way that might work for you.

From your description of the symptons, I've got to assume you are shooting RAW (can't think of any other way to get the WB reset to "native") so I'm thinking there's probably a setting in Bridge you have reset to ignore the CWB information written to the image file.

Thanks, yes I shoot Raw only.

bbloewen

bbloewen wrote:

Thanks, yes I shoot Raw only.

I also own a MaxMax converted to 830nm Canon 5D & have no problem with it. It does not flip the images therefore eliminating the need to "Neutralize" or waste time trying to find tonality... it is just there. Really nice actually. That's why it is so surprising that I do not get the same result from the 715nm conversion.

bbloewen

ziggy53 wrote:

IR converted cameras really do not have a true "white balance" so I disregard that concept for RAW processing. I do start with a tungsten setting in the RAW converter, but just as a starting point. Then I move the color temperature and tint around until I see the type of tonality that I think I will need to produce the final image.

For a B&W conversion I look for either the combination which produces the best separation of the subject from the background or which produces the best subject definition.

At any rate the preview image from the camera is of no concern because the camera is not designed for presenting IR captures. The camera is designed for presenting visible light captures, at best.

For the following image the barn side was masked and processed for color, inverting the blue and red channels using the channel mixer. The reds were promoted from the image but they were not painted. The barn roof was processed for B&W.

The field was processed for B&W and intentionally treated as high key and high contrast. The sky was processed for B&W and to enhance the tonality of the sky.

Thanks for the info Ziggy. Your image is much appreciated. I did try your method. What I need is a method which does not require a whole lot of guessing.

I require a method which is consistent as a starting point in post processing. This is the point of taking a white balance for me. I save much time and can cut through to the really excellent images my husband and I take doing Landscape Photography, which translates into dealing with light variations which are all over the board. I have found good results with the channel mixer_ R 75 _Grn 25 & convert to Monochrome.

The point being I am just curious as to why the 830nm does not flip it's in camera white balance and the 715nm does?

Thanks again,
B

CavalierPhoto

For what it's worth, I've never been able to get mine to come out of my camera black and white (count hours and hours on several different methods). I've got a 715nm filter on a Nikon D50. I couldn't get close to a solid color other than red out of the camera, an angry red actually.

I've resigned myself (or just given up may be more like it since I'm inherently lazy) to the fact that I'll have to add a step in processing (remove color). To your original query, I've noticed that the color shifts with LR, Bridge and Photoshop. As in, I usually get a different shade of red out of each before I process. I just figured it was a quirk within them all and since I work B&W it hasn't ever affected any of my processed images. I wouldn't sweat it unless you're doing some false color stuff.

Hope this helps.

ziggy53

bbloewen wrote:

... The point being I am just curious as to why the 830nm does not flip it's in camera white balance and the 715nm does?

Thanks again,
B

See if this explanation of the differences between 715nm and 830nm filtration helps to clarify:

http://digitalsilverimaging.blogspot.com/2009/10/infrared-conversions-715nm-versus-830nm.html

bbloewen

CavalierPhoto wrote:

For what it's worth, I've never been able to get mine to come out of my camera black and white (count hours and hours on several different methods). I've got a 715nm filter on a Nikon D50. I couldn't get close to a solid color other than red out of the camera, an angry red actually.

I've resigned myself (or just given up may be more like it since I'm inherently lazy) to the fact that I'll have to add a step in processing (remove color). To your original query, I've noticed that the color shifts with LR, Bridge and Photoshop. As in, I usually get a different shade of red out of each before I process. I just figured it was a quirk within them all and since I work B&W it hasn't ever affected any of my processed images. I wouldn't sweat it unless you're doing some false color stuff.

Hope this helps.

It helps to know one is not alone in this world if you know what I mean. Short answer..Yes this helps.

B

bbloewen

ziggy53 wrote:

See if this explanation of the differences between 715nm and 830nm filtration helps to clarify:

http://digitalsilverimaging.blogspot.com/2009/10/infrared-conversions-715nm-versus-830nm.html

Thanks very much ziggy53! This is exactly what I needed . Just a good old fashioned reason why, so to speak. Much appreciated.

B