Secret to Colors that POP in Infrared Photography
Вставка
- Опубліковано 28 лип 2024
- In this video, I'll demonstrate using Subtractive Color to add pop to the primary colors in your infrared images. This is done using Color Balance or Split Toning. I'll show how to do this with Lightroom, Photoshop, Daraktable, and RawTherapee.
0:00 Intro
0:20 Subtractive Color
2:27 Lightroom
9:22 Photoshop
11:43 Darktable
13:07 RawTherepee
14:16 Comparisons
Infrared Book: www.infraredbook.com
Lightroom Infrared Color Swap Profiles: 590.red/lr-ir-color-swap
Infrared Profiles, LUTs, & Presets: 590.red/profiles
Infrared Blog: 590.red/blog
Infrared Newsletter: 590.red/news
Infrared Coaching: 590.red/coach
Diffraction Calculator: www.diffraction.cAm
Infrared Lenses: 590.red/lenses
Infrared Editors: 590.red/raw
Email (no attachments): yt@590.mozmail.com
Send images: 590.red/share
Tip Jar: 590.red/tip
Instagram: 590.red/ig
Vero: 590.red/vero
---
Affiliate Links
---
Camera Conversions & Filters
---
Kolari Vision USA and worldwide: 590.red/kv
LifePixel Infrared USA and worldwide: 590.red/lp
Full Spectrum International EU and worldwide: 590.red/fsuk
---
Gear
---
KEH Camera - Used Cameras and Lenses: 590.red/keh
---
Raw Editors
---
ON1 Photo Raw - Get 20% off with code ROBSHEA20 590.red/on1
DxO PhotoLab: 590.red/dxo-photolab
Nik Collection: 590.red/nik
---
#infrared #infraredphotography #infraredcamera #lightroom #lightroomediting #lightroomtutorial #photoshop #photoshoptutorial
In my traditional remedial, painfully slow learning curve with this skill set of photography I’m not in the slightest discouraged … this will be a game changer for me when I am able to
He fluent in what you are teaching in this video rob ! It’s a huge piece of the fun puzzle in my IR photo obsesssion … if I could only quicken my initial learning abilities ,.. once things click they click f… thank you for the priceless lesson in this vid … learning to have more dynamic control over my image and being able to contextualize not just the solution, but to understand the deficiency is beyond cathartic for an obsessive maniaic like myself lol … watched your IR chrome vid 20 mins ago and was very briefly tempted to ask if a non converted cam could some how bend itself to the new pack you created lol … time to act acrodingly .. not having a converted IR cam is volunteering for suffering
Unfortunately, IR Chrome requires a full spectrum camera.
I guess I shouldn't be surprised that additive colour theory can be used to mute unwanted colours like in painting but... I hadn't even thought about that before. You're really smart, and have thought a lot about your craft.
Wow this is incredible. You’ve got quite a lot of knowledge on color theory. This is huge. Thanks
Hi Rob,
Thank you so much for this video. It's a fantastic technique!
incredible Rob incredible
Rob! This is a great idea! This opens so many possibilities!
That’s brilliant! Thanks for sharing! 👍🏼
Thanks for the video, especially the segments on darktable and Raw Therapee. Those programs have so many possible adjustments it's hard to determine just where to start.
Darktable and RawTherapee are powerful, but difficult to use. The complexity can be intimidating, but I learn more every time I use them!
wow that's so cool! thank you, will come in handy
Fantastic
Perfect- Τέλειο!!!!!
Hi Rob,
You invited us to suggest topics for coming episodes in this video, so I thought that I would do just that.
First, I want to acknowledge the work you have already done! In a short amount of time, you have covered the basic and beyond of color infrared photography in a way that is more comprehensive and much better thought out and executed than any other UA-cam channel I am aware of.
Since you seem to have covered the foundation so well, I thought that perhaps it could be an idea to begin to give attention to what can be done, when things don’t quite as well as we would like. Perhaps even help us recognize situations where there isn’t a known solution.
Let me give an example of an issue that occurs quite often for me: Sometimes I find it difficult to get a color separation that is as clean as I would like. Here is what I mean: In color IR you generally end up with two families of hue, perhaps in the blue/teal family and in the yellow/orange family. My problem then is that the two groups aren’t as cleanly separated as I would like. For instance, the sky isn’t just blue/teal, it has faint ‘spots’ from the yellow/orange family. When you zoom into 100% you see spots that look a bit like color noise of the opposing hue family, only on a much longer length scale than normal color noise. I also think of this phenomenon as color cross-contamination.
A thought I have about this, is that good color separation depends a lot on choosing a white balance that supports you in achieving the color separation you want. If this is true, it would seem reasonable that one can run into problems with color separation when e.g part of the scene is lit by sunlight, and another part is in shadow, effectively lighting our scene with lights of different color temperatues.
My current strategies for dealing with inadequate color separation, isn’t as effective as I would like, but this is what I have tried (in Lightroom): First find the best possible white balance, for the LUT/profile-based swap method chosen. Then, where color-cross contamination is disturbing, I may try to select the area where it is occurring with a local adjustment tool, target the offending color with the color range tool, and shift it’s hue out of the offending region. Generally, I have not found this to work well, although I do not understand why. Another approach I have tried is to desaturate the offending hue instead of trying to shift it, once it is selected with a local adjustment + color range, and optionally apply the desired color as an overlay within the local adjustment. This has worked better for me than the hue shift approach:
This was a very long way to suggest that you discuss what we can do to avoid the problem of color cross-contamination, and what we can do about it, when it occurs. But I felt it was probably necessary to explain what I meant by this :-)
Karsten, I appreciate the detailed response, it helped me to visualize what you are seeing. I have something close to this on my topic list called "split white balance", essentially using 2 different white balances on the same image. This has been languishing on my list as I've looked for good use cases and tried to find the most straightforward approach. This will prod me to take another look at it. Maybe I will try to shoot something specific. Thanks so much for the feedback!
@@robshea, thanks Rob, for considering the suggestion. Being able to apply two different white balances sounds like a very interesting approach :-)
Karsten, do you have an image you could share that would show the color cross contamination? It could even be a crop showing the issue. I'm working on a couple of split wb solutions and want to see if they would address this. Thanks!
@@robshea Rob, thanks for considering this!
Since your color IR editing skills no doubt exceeds mine, I was thinking that perhaps it would be an advantage if you could see both a raw file, and what I got out of if (= the issue). I mean, if there is a way not to run into the issue, then that is probably better than fixing it?
So, can we figure out a way that I can get a couple of files to you (without sharing them publicly)?
@@kbqvist You can share files with me using this link. I will not share files uploaded here. www.dropbox.com/request/bMTnqdUz6977kvSjbgrx
this is fantastic video.. just a couple of days ago i got a 720nm filter for my z6, and i was not able to post process as desired in photo shop. will try these steps now and see
Thanks! Let me know how it goes.
Thank you so much for your informative tutorials. I would like to ask you why can't I stay in camera raw and PS instead going to LR with all your IR editing . Thank you.
Thank you for the feedback. I will keep this in mind for future videos.
I'm glad I found your channel. Watched a couple of your videos and I think my editing has become a lot better. So far I've mainly used an older version of Photoshop. Don't have lightroom, but I'm considering trying out darkroom
I still find that some IR photos are harder to edit than others. I also find pics I've taken with the r25a filter harder to edit. Often resort to auto adjustment. Is it a good idea to make a different camera profile for each filter type?
Yes. The profile that I made for 590nm infrared images used Temp -100 in the DNG Profile Editor and it provided plenty of WB Temp range in LR. However, when using this profile on 720nm images, I frequently found the WB Temp capped at 50,000, the top end of the slider. I created profiles set to Temp -25, Temp -50, and Temp -75 in the DNG Profile Editor. I found that Temp -50 profile worked well for my 720nm images, giving me a flexible range of WB, without hitting the end of the Temp slider in LR. You may need to do some tests to find the ideal profile(s) for you.
@@robshea thanks for the tip :)
What's the name of the music played in the background? I think I've heard it before in Cities: Skylines.
I don't remember the exact name. It's from UA-cam's collection of royalty free music.
Very interested in how to cross the channel in ACR or Lightroom
This video describes a process for setting up channel mixing right in LR or ACR. ua-cam.com/video/jYk6Jr-0a_I/v-deo.html
Hi thanks again for all your help and training.I just converted a Point and Shoot to IR problem is it only records in JPG,So how would you create a profile.
A profile will only help with a raw image, not a JPEG. Here are some other options.
- You can set your white balance in-camera. Set a custom white balance by pointing at a neutral element, such as white/gray objects, clouds, concrete, etc. This is what I do with my IR point-and-shoot camera. If lighting conditions change dramatically or if you change an external filter, you may need to reset the custom white balance.
- If your camera supports custom firmware, you may be able to modify it to write DNG files. CHDK can be used on many Canon point-and-shoot cameras to write DNG raw files. It's a nice option to have, but it can be complicated to use, so I try to set custom white balances in-camera.
@@robshea thanks will give that a try so I guess I still should aim for a raw shooter
Hi Rob, I came across a couple of articles by Bob Visneshi on Photographylife.com where he applies some 'unorthodox' tricks to get more color out of IR images. Firstly he doesn't necessarily use the standard channel swap, but rather suggest one that also involves the green channel. And secondly, he makes heavy use of the camera calibration tab, which can produce dramatic results (that are diffuicult to predict). I have experimented a bit with these methods, and at the moment I see them as just a couple of more things one can play around with.
Link: photographylife.com/infrared-photography-720nm-filter
Interesting article! I had previously read about using the green channel with the channel mixer. However, it has no impact on my images shot with Canon or Fuji. I suspect that it depends on the sensor, maybe it only has an impact on Nikon images. I created a number of LR presets that use color calibration and use them occasionally. I have a video on that here: ua-cam.com/video/yRK9kou6zAM/v-deo.html It's great to have a variety of tools in your toolbelt!
@@robshea In my case, with a Fuji X-T2 converted to 720 nm by Protech Repairs in the UK the 'Vishneshi swap' was sufficiently different from the methods you suggest in video you mention, that I decided to make an additional LR profile based on a small tweak of it. Not a major thing, just gives one more thing to play with..