Infrared Cow Parsnip
A common herbaceous plant, it once formed the principal foodstuff of the now exceedingly rare infrared cow. The near-extinction of the latter probably accounts for the ubiquity of the former.
Olympus E620, through a Hoya R72 on the 35mm f 3.5 macro.
Illumination from one 12W and one 16W 850nm LED array and two 500W incandescent halogen workshop lights.
B+W conversion using the +3 stop push process preset in Nik Silver Efex and some cleaning up, noise reduction and cropping in PSP
An infrared view across the biodiversity lake towards the main mall at UCD.
A slightly cleaned up B+W image from the green channel, which gave the most dramatic shading.
Shot through a Hoya R72 on an unconverted Olympus E-620.
This one had a bit of playing around with Nik Silver Efex in PSP, but to be fair, the building is dramatic enough on its own.
I was very lucky with the weather, as I think the cumulus in the deep blue sky were perfect for applying a virtual red filter after applying the full contrast and structure preset, then tinkering with it a bit.
The Dunster Castle Express is about to leave the station.
Ready To Go
Final checks are just about complete on the loco of the Dunster Castle Express
Dunster Castle Express
Ready and waiting at Bishop's Lydeard station.
Before anybody asks, no, it doesn't have a second funnel made of brick. 😉
on the formal lake in UCD this afternoon.
Most of Stogursey Castle is now ruined, but the gatehouse, since developed into a substantial thatched cottage, remains in fine form and can be rented as a holiday home. The moat no longer serves much of a defensive purpose, but does provide a habitat for visiting waterfowl.
Vicars' Close, Wells
Laid out in the mid 14th century by bishop Jocelin of Wells in his home city, of which he became bishop, Vicars' Close is the oldest surviving residential street in Europe. The house facades have been modified over the years, but the original mediaeval fabric of the buildings is essentially intact.
This one was almost straight out of the camera, with just a little sharpening and removal of lens vignetting.
From Offshoot's spring 2018 Shoot With Me project.
Steve and Richard ran a projected image portrait workshop, where the only light source comes from an image projected onto the model, who gives depth and structure to the scene, or brings an image into relief.
Here, Anuit models for Edvard Munch's Scream.
Phalenopsis in visible light and in infrared through a Hoya R72.
The lighting is the same in both cases:
2 x 500W halogen incandescent workshop lights
1 x 12 W 850nm IR LED array
1 x 16 W 850nm IR LED array
Both images were processed in PSP 2018. The visible image just had very basic brightening and sharpening, while the IR one went through the high structure filter in Nik Silver Efex, preceded and followed by burning to take out some haze in the background, then the usual cleaning, sharpening and brightening.
Shot through the Zuiko 35mm f/3.5 macro, a wonderful little lens. 🙂
Back to experimenting with my home IR studio, here's one from my first time playing with my new IR LED lamps, along with the workshop lights.
1x 12W 850nm LED array
1x 16W 850nm LED array
2x 500W incandescent halogen workshop lights.
Unconverted Olympus E-620 with Hoya R72 on the kit 14-42.
The difference in wavelength and practical illumination of the LED and filament lights is really quite marked. The image from the former is mostly magenta in live view and appears surprisingly dim at first. When the halogen lights kick in, the image shifts to deep orange-red and is a lot brighter, but compared with previous shots using only the halogen lamps, I estimate that the IR lamps give an extra 2 stops of illumination at a negligible extra power drain. As a result, I can now shoot at reasonably small apertures, for better depth of field, while keeping the exposure to 2 to 4 seconds, without having to pump the ISO up too much. This time,
I avoided the burnt highlights from the halogen lights by using aluminium mesh diffusers, improvised from car body repair sheets.
With the brighter lights, I suspect I can probably bring the ISO down further, but this was just an early experiment.
Post processing was fairly minimal, just a B+W conversion in Nik Color Efex, burning to remove unwanted background detail and the usual brightening and sharpening.
I was looking more or less randomly through my catalogue and thought this one had potential, so I set to work on it.
Mariana from an Offshoot studio evening.
A spathiphyllum leaf in IR, trying my improvised aluminium mesh diffusers on the lights to avoid burning out the highlights.
This one was a bit noisy, which is something I'll have to work on.
Playing with my old E620 with the dead screen, shooting tethered using Olympus Studio.
Some ivy from the garden, lit with a couple of 500W halogen workshop lights, shot through a Hoya R72
Coliemore Sunrise Silhouette
After playing around for a bit with PSP and Nik Color Efex, this time with the classic camera tool
Dalkey Island Sunrise
From Coliemore Harbour on a chilly morning.
From our first minimalist landscape outing, at the Seapoint bathing spot.
From Larry's minimalist landscape Shoot With Me project.
It was a hazy, drizzly, blustery day, so I decided to go along with the conditions and applied a light fog in post processing.
Coliemore Harbour with what there was of a sunrise this morning.
Let me out!
It's easy to get lost in Loughcrew and this fellow still hasn't found his way out.
In another one from last week's OffShoot studio evening, Julien looks a bit less menacing this time.
For this one, I spent a little while playing around with the solarisation in Nik Color Efex.
In another one from the latest OffShoot portrait session, Jocelyn makes good use of Barry's single reflector-mounted light
Lucy in this week's OffShoot studio evening, in a two light setup organised by Tony.