Digital Infrared Resource Page
Table of Contents
1. Introduction
All digital cameras have sensors that to some extent are sensitive to infrared light. This is simple to verify. Standard remote controls uses infrared light to signal a TV or a VCR. Take a TV or VCR remote control, point the remote at your digital camera and push one of the buttons. No visible light can be seen, but if you look at the preview or review of the remote on your camera's LCD screen, you should see the infrared light emitted by the device as a bright spot.
Unfortunately, the sensitivity of different digital cameras to infrared light vary a great deal, and this simple test with a remote can not tell much about your camera's sensitivity to infrared light.
A better test of your camera's infrared capabilities would be to borrow or buy a cheap IR-pass filter such as Hoya R72 or Wratten 89B and go out on a bright sunny day to photograph scenes with a lot of green foliage. Or, if you don't have access to a real IR-pass filter, do the test using an unexposed (black) frame of slide film taped in front of the lens. (Slide film has about the same transparancy to near-IR light as the Hoya R72, but it is probably not as good, optically speaking.) A look at the resulting images and the histogram should tell you a lot of how capable the camera is in the infrared part of the spectrum.
For people to lazy to test, I've started this project to keep a record of the IR-sensitivity of the sensors in digital cameras, the IR-suitability of interchangable lenses and a list of filters suitable for IR photography.
2. IR and Sensors
Do you shoot infrared? Please click here to report your settings. I'll then include them in the table below.
This table indicate the relative IR-sensitivity of a number of popular digital cameras, sorted according to sensor and average EV. The higher the average EV, the more sensitive the sensor is to infrared light. For comparison, a camera's sensitivity to a scene lit by bright sunlight corresponds to EV around 15. To find out how less sensitive the camera is to infrared light, you subtract the Avg. EV in the column below from EV 15, and the result is the difference in number of stops.
Example: The Epson 850Z infrared light sensitivity with the Hoya R72 filter is EV 9, so it is about 6 stops (15-9) less sensitive to infrared light than to visible light with this particular filter.
| Sony 1/2" 2.11 MPx | ||||||||
| Camera | Avg. EV | Max f/ | EV | T | f/ | ISO | Fltr. | Link |
|---|---|---|---|---|---|---|---|---|
| Epson 850Z | 9.0 | 2.0 | 8.9 | 1/60 | 2.8 | 100 | R72 | ddb #1 |
| 9.2 | 1/75 | 2.8 | 100 | R72 | ddb #2 | |||
| Oly C20x0Z | 8.1 | 2.0 | 8.6 | 1/100 | 2,0 | 100 | R72 | gd #1 |
| 7.9 | 1/30 | 2,8 | 100 | R72 | gd #2 | |||
| 7.9 | 1/60 | 2,0 | 100 | RG715 | jr #1 | |||
| 7.9 | 1/60 | 2.0 | 100 | R72 | gh #1 | |||
| Nikon Coolpix 800 | 7.9 | 3.5 | 7.9 | 1/19 | 3.5 | 100 | R72 | rh #1 |
| Sony 1/1.8" 3.34 MPx | ||||||||
| Camera | Avg. EV | Max f/ | EV | T | f/ | ISO | Fltr. | Link |
| Canon G1 | 6.0 | 2.0 | 6.0 | 1.6 | 7.1 | 50 | R72 | cx #1 |
| Minolta DiMAGE 5 | 6.0 | 2.8 | 6.0 | 1/8 | 2.8 | 100 | R72 | fm #1 |
| Sony 1/1.8" 4.0 MPx | ||||||||
| Camera | Avg. EV | Max f/ | EV | T | f/ | ISO | Fltr. | Link |
| Canon G3 | 5.3 | 2.0 | 5.3 | 1/5 | 2.0 | 50 | ? | ml #1 |
| Canon A80 | 5.0 | 2.8 | 5.0 | 2 | 5.6 | 50 | R72 | cac #1 |
| Sony 2/3" 5.24 MPx | ||||||||
| Camera | Avg. EV | Max f/ | EV | T | f/ | ISO | Fltr. | Link |
| Minolta DiMAGE 7 | 7.3 | 2.8 | 7.5 | 1/30 | 3.5 | 200 | ? | rt #2 |
| 7.0 | 1/16 | 2.8 | 100 | R72 | dt #1 | |||
| 7.5 | 1/45 | 2.8 | 200 | RG715 | jr #2 | |||
| Other compacts | ||||||||
| Camera | Avg. EV | Max f/ | EV | T | f/ | ISO | Fltr. | Link |
| Canon G5 | 3.2 | 2.0 | 3.0 | 8 | 5.6 | 50 | R72 | ds #2 |
| 3.4 | 1 | 3.2 | 100 | R72 | gh #2 | |||
| Panasonic DMC-FZ7 | 3.0 | 2.8 | 2.4 | 6 | 5.0 | 90 | B+W092 | grr #1 |
| 3.6 | 4 | 6.3 | 80 | B+W092 | grr #2 | |||
| Oly 5050Z | 2.4 | 1.8 | 1.0 | 3.2 | 2.0 | 64 | ? | kt #1 |
| 1.5 | 3 | 2.3 | 64 | ? | kt #2 | |||
| 2.6 | 1 | 2.0 | 64 | ? | kt #3 | |||
| 3.4 | 1 | 2.6 | 64 | ? | kt #4 | |||
| 3.3 | 1/2 | 1.8 | 64 | R72 | hc #1 | |||
| Casio QV-4000 | -0.6 | 2.0 | -0.6 | 6 | 2.0 | 100 | ? | ca #1 |
| DSLRs | ||||||||
| Camera | Avg. EV | Max f/ | EV | T | f/ | ISO | Fltr. | Link |
| Nikon D100 | 7.6 | - | 7.6 | 1/6 | 8.0 | 200 | IR720 | ss #1 |
| Nikon D70 | 7.0 | - | 5.3 | 1/3 | 8.0 | 400 | R72 | rt #1 |
| 8.7 | 1/13 | 8.0 | 200 | W89B | br #1 | |||
| Nikon D50 | 6.5 | - | 6.5 | 1/15 | 3.5 | 200 | R72 | wjc #1 |
| Fuji S2 | 6.0 | - | 6.0 | 1/4 | 5.6 | 200 | R72 | ddb #3 |
| Oly E-300 | 4.3 | - | 4.3 | 1/4 | 4.5 | 400 | R72 | sh #1 |
| Canon D30 | 4.3 | - | 4.9 | 4 | 11.0 | 100 | B+W092 | cs #1 |
| 4.0 | 2 | 8.0 | 200 | R72 | cx #2 | |||
| 4.0 | 1 | 5.6 | 200 | R72 | ca #2 | |||
| Canon 350D | 1.6 | - | 1.6 | 2.5 | 11 | 1600 | R72 | nn #1 |
| 2.7 | 10.0 | 8.0 | 100 | R72 | pn #1 | |||
| 0.7 | 0.8 | 4.5 | 1600 | R72 | fe #1 | |||
| Fuji S3 | 1.5 | - | 1.5 | 23 | 8 | 100 | W89B | cm #1 |
| 1.5 | 23 | 8 | 100 | W89B | cm #2 | |||
| Canon 10D/ Canon 300D |
1.1 | - | 1.5 | 0.71 | 1.4 | 100 | R72 | bc #1 |
| 1.4 | 6.0 | 8.0 | 400 | R72 | aa #1 | |||
| 0.4 | 6.0 | 4.0 | 200 | R72 | gs #1 | |||
| Canon 1D Mk2 | 0.7 | - | 0.3 | 4 | 9.0 | 1600 | R72 | nn #2 |
| 1.1 | 15 | 8.0 | 200 | R72 | nn #3 | |||
| Nikon D200 | -1.3 | - | -1.3 | 25.0 | 4.5 | 200 | R72 | an #1 |
| Canon 20D | -2.0 | - | -1.0 | 15 | 11 | 1600 | R72 | nn #4 |
| -3.0 | 20 | 4.5 | 800 | R72 | ck #1 | |||
| IR-modified / without IR-blocking filter | ||||||||
| Camera | Avg. EV | Max f/ | EV | T | f/ | ISO | Fltr. | Link |
| Nikon D1 ir | 15.3 | - | 15.3 | 1/320 | 16.0 | 200 | W89B | |
| Canon 10D ir | 13.8 | - | 14.0 | 1/1000 | 8.0 | 400 | R72 | je #1 |
| 13.6 | 1/400 | 11.0 | 400 | R72 | jwk #1 | |||
| Oly 2040Z ir | 13.3 | 1.8 | 13.3 | 1/500 | 4.5 | 100 | RG715 | jr #3 |
| Sigma SD10 | 13.0 | - | 13.3 | 1/160 | 8.0 | 100 | W87C | ca #1 |
| 13.0 | 1/125 | 8.0 | 100 | B+W093 | spm #1 | |||
| 12.6 | 1/50 | 11.0 | 100 | W87C | rd #1 | |||
| Canon D30 ir | 11.9 | - | 11.9 | 1/60 | 8.0 | 100 | W89B | jrs #1 |
| Nikon E990 ir | 11.6 | 2.5 | 11.6 | 1/158 | 4.4 | 100 | W87 | rdh #1 |
| Sony f828 ir | 11.3 | 2.0 | 11.5 | 1/60 | 5.6 | 64 | ? | aw #1 |
| 11.0 | 1/200 | 4.5 | 200 | ? | aw #2 | |||
| Minolta D7 ir | 11.3 | 2.8 | 11.3 | 1/125 | 4.5 | 100 | RG715 | jr #4 |
| Kodak DCS 460 | 8.4 | - | 8.4 | 1/16 | 3.3 | 80 | R72 | gh #3 |
How to read the table: The first column (Camera) list the camera model, the second the average Exposure Value (Avg. EV) computed for the camera, and the third the maximum aperture (Max f/) for the particular camera. Then the next six columns list image specific data: The EV for the particular image (EV), the shutter time (T), the aperture (f/), the ISO setting (ISO), the filter(s) used (Fltr.), and finally, in the Link column, the photographers initials, with a a link back to the page with the original image
Methodology: The EV numbers listed in the table are computed from images taken by different photographers, at different times and under different conditions. It would obviously have been better to make comparisons by setting up all the different cameras under identical conditions and make fair and direct measurements. However, I don't have the resources to do such a controlled experiment, and those who have (e.g. DPreview) are not suffiscient interested in ir-photography to include ir-sensitivity in their standardized testing suite. I give priority to images taken under roughly the same conditions, depicting the same subject matter. This means that if possible, I use images taken with a filter with an IR pass point of 720 nm (Wratten 89B or equivalent) depicting a bright sunlit landscape (EV 15 in the visible spectrum) with plenty of foliage. While these constraints are not suffiscient to eliminate all errors, it is the best I can do. What I eventually hope, is to have a large number of samples from each camera. By computing an average EV I hope that the “law of large numbers” eventually will even things out.
Disclaimer: Many of the samples linked to has been extensively post-processed by skilled artists. Do not assume that this is how the image appears out of the camera. The samples indicate at most what can be expressed by a skilled craftsman or artist and a particular camera, lens and filter combination.
3. IR and Lenses
In
addition to the sensitivity of the sensor the quality of digtal
infrared depends on the characteristic of the lens.
For example, the Canon EF-S 18-55mm f/3.5-5.6 typically produces a pronounced hot spot as can be seen in the sample picture to the left. The hot spot is a a result of internal reflections within the lens produced by the lens' coatings. Some types of coating are not transparent to near-infrared wavelengths. Almost any lens will exhibit more flare and ghosting at near-infrared wavelengths.
Below is a preliminary list of various lenses and whether they are suitable for digital infrared or not. The list is not a result of systematic testing, but compiled from observations submitted by readers. The lenses listed in the intermediate category - May produce a hot spot, etc. - are those where I have inconsistent reports, or where the hot spot, flare and/or ghosting is so unobtrusive that modest post-processing will clear things up.
If you want to add to the list, or comment on one of the entries, please use the comment facility in my blog. If you want to read the original comments by the testers, and not just the summary below, the blog is also the place to look.
The recommended way of testing a lens' susceptibilty to the hot spot problem is to make an IR photograph of a sheet of white plain typing paper.
Fixed focal length
- Recommended for IR:
- Asahi Super-Takumar 55 mm f/1.8 MF (*)
- Canon EF 28 mm f/2.8
- Canon EF 35 mm f/2.0 (*)
- Canon EF 50 mm f/1.8 MKI
- Canon EF 50 mm f/1.8 MKII
- Canon EF 100 mm f/2.8 macro
- Canon EF 135 mm f/2.0 L
- Lensbaby 50 mm f/2.8
- Nikon 20 mm f/2.8 D
- Nikon 20 mm f/3.5 AI-S
- Nikon 28 mm f/3.5 PC AI-S
- Nikon 85 mm f/1.8 Pre-AI MF (*)
- Peleng 8 mm fisheye
- Phoenix 100 mm f/3.5 macro
- Sigma 105 mm f/2.8 EX DG macro (*)
- Vivitar 24 mm f/2.8 MF (*)
- May produce a hot spot, etc.:
- Canon EF 85 mm f/1.8
- Canon EF 200 mm f/2.8 L
- Gives hot spot:
- Canon EF 20 mm f/2.8
- Canon EF 24 mm f/2.8
- Canon EF 50 mm f/1.4
- Canon EF 50 mm f/2.5 macro
- Carl Zeiss Planar T* 50 mm f/1.4 (for Contax)
- Nikon AF 50 mm f/1.8 D
- Sigma 30 mm f/1.4
Zoom
- Recommended for IR:
- Canon EF-S 10-22 mm f/3.5-4.5 USM
- Canon EF 17-40 mm f/4 L
- Canon EF 24-70 mm f/2.8 L
- Canon EF 24-105 mm f/4.0 L
- Canon EF 28-135 mm f/3.5-5.6 IS
- Canon EF 70-200 mm f/4.0 L
- Canon EF 75-300 mm f/4.0-5.6 IS
- Canon EF 100-400 mm f/4.0-5.6 IS L
- Nikon 18-55 mm f/3.5-5.6 G AF-S ED DX
- Nikon 24-70 mm f/2.8 ED G AF-S
- Nikon 24-70 mm f/3.5-5.6 UC
- Nikon 35-70 mm f/2.8 AF-D
- Nikon 35-70 mm f/3.3-4.5 AF (1986) (*)
- Nikon 35-135 mm f/3.5-4.5 AF
- Nikon 70-210 mm f/4.0-5.6 AF-D
- Nikon 70-300 mm f/4.5-5.6 G IF ED AF-S VR
- Sigma 12-24 mm f/4.5-5.6 EX
- Sigma 18-50 mm f/3.5-5.6 DC (*)
- Sigma 55-200 mm f/4.0.5.6 DC (*)
- May produce a hot spot, etc.:
- Nikon 18-70 mm f/3.5-4.5 AF-S G ED DX
- Sigma 10-20 mm f/4.0-5.6 EX DC HSM (*)
- Sigma 70-200 mm f/2.8
- Gives hot spot:
- Canon EF 16-35 mm f/2.8 L
- Canon EF-S 18-55 mm f/3.5-5.6
- Canon EF 24-85 mm f/3.5-4.5 USM
- Canon EF 28-70 mm f/2.8 L
- Canon EF 35-80 f/4.0-5.6
- Canon EF 70-200 mm f/2.8 L IS
- Nikon 12-24 mm f/4.0 G IF ED AF-S DX
- Sigma 18-50 mm f/2.8 EX
- Tamron 17-35 mm f/2.8-4.0 SP AF Di
- Tamron 17-50 mm f/2.8 SP AF XR Di
- Tamron 18-200 mm f/3.5-6.3 AF XR (IF) Di-II
- Tamron 70-300 mm f/4.0-5.6 AF LD macro
- Tokina 12-24 mm f/4.0
Lenses marked with a (*) has been tested by me.
4. IR Filters
Visible light ranges from 400 nm (violet/blue) to 700 nm (red).
Wavelengths above 700 nm and up to about 5000 nm are known as near
infrared - but most digital sensors lose their sensitivity around 950 nm,
so “infrared photography” is really about capturing light at
wavelengths between 700 and 950 nm.
In infrared photography, the camera is used to capture infrared light reflected from a body. This may be used for artistic effect. Some scenes - in particular foliage - reflect near infrared light different from visible light. (Note that this has nothing to do with thermal photography, where the idea is to capture heat emitted by a body. Thermal photograhy uses the mid-infrared spectrum (above 5000 nm) - and to capture it you need a specialized thermal camera.)
To capture near infrared with ordinary digital sensors, we need to stop visible light from overexposing the sensor. To do this, we fit an visible light blocking filter (usually referred to as an IR-filter) to the lens. To get most of the IR-effect many photographers are interested in (white foliage, etc.), you should use a filter that cuts as much visible light as possible, while letting through infrared light in the band that the camera's sensor is capable of recording. Which filter is optimal depends on the camera's sensitivity to near infrared light, the cutoff wavelength of the hot mirror most cameras are fitted with, and the effect desired. You may need to experiment to find the right filter.
The table below gives the IR pass point (the first wavelenght for which the absortion is less than 50%) for a number of popular filters. For good measure, I've also included some filters with a pass point in the red end of visible light, as well as some filters with a pass point too high for most standard digital cameras.
| nm | Wratten | Hoya | Heliopan | B+W | Other | Comments |
|---|---|---|---|---|---|---|
| 600 | W25 | 25A | 1025 | B+W090 | - | Red |
| 625 | W29 | - | - | B+W091 | - | Deep red |
| 680 | W70 | - | - | - | - | Dark red |
| 695 | - | - | RG695 | B+W092 | - | - |
| 700 | - | R70 | - | - | - | - |
| 715 | - | - | RG715 | - | - | - |
| 720 | W89B | R72 | - | - | Cokin A/P007 | - |
| 750 | W88A | - | - | - | - | - |
| 760 | - | IR76 | - | - | - | - |
| 780 | - | IR80 | RG780 | - | Tiffen 87 | - |
| 795 | W87 | - | - | - | - | - |
| 830 | - | IR83 | RG830 | B+W093 | - | - |
| 850 | W87C | IR85 | RG850 | - | - | - |
| 860 | - | RM86 | - | - | - | - |
| 930 | W87B | RM90 | - | - | - | - |
| 1000 | - | RM100 | RG1000 | B+W094 | - | - |
| 1050 | W87A | - | - | - | - | - |
An abbreviated notation is used. The prefix “W” designates the Kodak Wratten series (e.g. W89B is Wratten #89B), the prefixes R, IR and RM is used by Hoya, RG is used by Heliopan, and B+W is used by Biermann+Weber.
The data from the manufacturers don't always add up. I've compiled the table above by using the Schott Glass (manufactures filters for Heliopan and B+W) and Hoya spectral curves and Wratten compatibility charts as reference, and placed the others according to their own Wratten compatibility charts. However this does not always match the data sheets.
The table show which filters have similar 50% pass points, but it does not tell the whole story. For example: Some filters, like the Hoya R-series, have a sharp cutoff gradient, others, like the Hoya RM-series, are more gradual, and some have a weird slope. To study this slope, you need to refer to the filter's spectral curve or transmittance chart. Use the table as a rough guide - nothing more.
There is no “ideal” IR-filter, but Hoya's R72 filter is very popular. This is probably because it is relatively cheap (at least when compared to some of the others), and widely available. It also have a very low cutoff point, so it can used with cameras whose sensitivity in the near-IR region is low, If you are starting out with infrared, and don't know which filter to get, I suggest you start out with the Hoya R72 or similar. The stronger filters, such as RM90, will cut of much more visible light and produce a more pronounced “IR-effect” - but may not work at all with an unmodified camera.
Thanks to Joseph S. Wisniewski for corrections.
5. Exposure Value
The exposure value (EV) system was invented in the 1950s to give an absolute measure of exposure needed. You get an EV when you combine sensor sensitivity, shutter speed and aperture. Sensor sensitivity settings, shutter speed and aperture combinations that results in the same exposure have the same EV (e.g. ISO 100, f/8 and 1/125 have the same EV as ISO 100, f/5.6 and 1/250 and ISO 200, f/8 and 1/250, and so on). EV is designated by integers such as ..., -2, -1, 0, 1, 2, 3, 4, 5, ... . Each increment of 1 EV corresponds to a increase in the light reaching the sensor by a factor of 2 (letting you use half the ISO value, double the shutter speed, or close the aperture down 1 stop).
Formally, at ISO 100, EV 0 corresponds to a shutter speed of 1 second and an aperture of f/1.0:
EV 0 = (ISO 100, f/1.0, 1 second)
EV 0 is very dark, e.g. a night scene with dim ambient light. By comparison EV 15 is f/16 at 1/125th second, at ISO 100 - this is what you would use for a landscape in bright sunlight (aka known as “sunny sixteen”). EV 8 corresponds to f/2 at 1/60th of a second at ISO 100. To use a digital camera for handheld infrared photography, I think it should have an EV of eight or more if its maximum aperture is f/2.0, and nine or more if its maximum aperture is f/2.8 (YMMV).
A basic problem with digital IR photography is that thermal noise increases and “hot” pixels appear due to the long exposure times involved. This means that EV is not the only thing that determines suitability of a particular sensor. If a less sensitive sensor has better noise characteristics, then it may be give an overall better IR-performance than one with a higher EV number but worse noise characteristics.
See Fred Parker's Ultimate Exposure Computer if you are interested in learning more about EV.
Note: There is some confusion whether EV takes film speed into account or not. Some insists that EV is only valid for ISO 100, and use a different term, such as light value (LV), or actual EV (aEV) for a number that is a function of the film speed, aperture and shutter triplet. To cut a long story short, the most useful metric for digital, where film speed is just as variable as the other two, is one that takes film speed into account, so that is what I use and call EV. Please note that the calculator featured in the excellent glossary at DPreview is in agreement.
6. Technique
Focus Shift
To get an infrared image in focus, it must be short focused (i.e. you need to focus closer than you normally would). Most fixed focal length lenses have a mark, e.g. a red “R”, a small red dot, or some other indicator of the focus shift to apply at infinity.
On
the 28-85 mm zoom depicted to the right, there are two focus
shift marks engraved on the lens, representing two different focal
lengths of the zoom.
If the focus shift mark is missing, focus well in front of the closest subject of interest. For a 28 mm wide-angle lens, a focus setting around 5-10 m will be suitable for an infinity infrared shot. Experiment with your lenses to learn the right amount of focus shift to apply. If you are doing close-ups using bellows, a rule-of-thumb is to increase the extension by 10% to compensate for the focus shift.
Another way to compensate for the IR focus shift is to use a large DoF. Small apertures increases DoF, but long exposure times may result in motion blur from leaves moved by the wind, etc. A wider angle also increases DoF, but wide angles tend to have a larger focus shift.
Viewfinder blackout
Because an ir-pass filter is opaque to visible light, the viewfinder of a DSLR camera will not let you frame the subject with the filter in-place. One work-around is to use an accessory viewfinder in the camera's accessory shoe.
The
image to the right shows a used Voigtländer Kontur 50 mm
accessory viewfinder. Originally made for the Voigtländer
Vitessa in the 1950ies, it was picked up at eBay for less
than $20 (expect to pay a lot more for a unit in mint condition). It
has a very unusual design. The center of the viewfinder blacked
out. Instead, it shows the frameline for the field of view of an
f=50 mm objective when using 35 mm film (the
“35 m/m” legend on the front refers to film format,
not field of view). The idea is that you look through it with one
eye, keep the other eye open, and your brain combines the two images
to show you the scene with a bright frameline and excellent peripheral
vison. With some experience, you should be able to use the
Kontur to frame almost any focal length, by mentally
adjusting for the smaller or larger field of view.
When using an accessory viewfinder on a digital camera, one need to adjust for the crop factor. If one uses the Voigtländer Kontur shown above on a camera with 1.5x crop, its field of view will correspond to 50 mm/1.5=33 mm actual focal length.
Aperture
Because of the longer wavelength of near IR light, diffraction works differently. Standard diffraction limits is based upon a mid-green wavelength around 550 nm. When you capture near-IR light, with (say) a R72-filter your spectrum is centered around 850 nm. In practice this means that your running into diffraction problems 1-2 stops before you do with visible light, so a lens than performs at its sharpest at f/11 with visible light will be best at f/5.6 or f/8 when used for near-IR photography.
7. Infrared Linkfarm
- Tutorials, Techniques & Resources:
- Ross A. Alford: Experiments with digital infrared photography
- Stephen R. Brown: Infrared photography with digital cameras
- Gerard Buckleman et al: Infrared Photography Forum
- David Burren: Digital IR Choices
- David Burren: Infrared images with a digital camera
- Brad Buskey: Infrared Photography Techniques
- E. Cheng: Digital Infrared Photography
- Wayne J. Cosshall: Camera Tests for IR Photography
- Andrew Davidhazy: Infrared photography
- Dale O'Dell: Digital Infrared Photography Made Easy
- dpFWIW: Infrared basics for digital photographers
- Andy Finney: Books on Infrared Photography
- Rob Galbraith Forums: Kodak DCS and IR
- Peter iNova: Pictures of a Warm World
- Dave Larson: Infrared Conversion Work Flow
- Jerry Lodriguss: Canon EOS 1DM2 and 20Da IR Daylight Tests
- Maher & Berman: How to shoot IR
- S. P. Merrill: Infrared Post Processing with Sigma Photo Professional 2.1 + PS
- Bjørn Rørslett: IR Colour Photography
- Jens Rösner: Infrared and modding
- Luben Solev: Infrared Photography Tutorials
- Clive Warren: Infrared Photography Faq
- Wikipedia: Infrared photography
- R. R. Williams; Digital Infrared Nikon D100
- J. A. Wrotniak: Infrared photography with a digital camera
- Removing the hot mirror and IR-sensitive cameras:
- Canon G-series (Tony Kaplan)
- Fujifilm FinePix S3 Pro UVIR (DPreview)
- Minolta D7x (Jens Rösner)
- Nikon 950/990 (James Wooten)
- Nikon D70 (Astrosurf)
- Olympus Cx0y0 (Jens Rösner)
- Sigma SD10 (Gisle Hannemyr)
- Webcam ir hack (Geoff Johnson)
- David Burren IR-enables many DSLRs + compacts
- Hutec: IR-enables various Fuji and Canons
- Lifepixel: IR-enables Canon, Fuji and Nikon cameras + DIY tutorials and materials
- Maxmax: Sells IR-enabled digital cameras
- Galleries:
- Daniella: Infrared with DiMAGE 7
- Don Ellis: Kleptography (IR enabled Canon G1)
- Chris Maher: Fine Art Infrared Photography
- Cory Shubert: Nikon 990 Infrared Gallery
- Corry Lee Smith: Infrared
- David Twede: Surreal Color Photography
- Science:
- Sue Ann Bowling: Two kinds of infrared
- Gilblom & Yoo: IR and UV imaging with the Foveon X3 sensor
- Ipac: Near, Mid & Far Infrared
- Williams & Williams: Pioneers Of Invisible Radiation Photography
- Misc (blogs, boards, communities):
- Flickr Groups: Digital Infrared
- Flickr Groups: Infrared
- Yahoo Groups: Infrared Photoraphy
Copyright © 2007 Gisle Hannemyr
If you want to comment, use the blog!