Another great video Ben. If I'd known you were at Jack & Jill, I would have popped up the road to say hello. It's only 6 minutes from my house, according to Google Maps.
It was an impromptu visit, as the dew pond was empty! I would like to return to shoot Jill again. We turned up on an open day and the gentleman told us that the grinding stones had been stolen, they were my foreground interest! I can’t get my head around why someone would do that, so sad.
@@benharveyphotography That's shocking news about the grindstones. I like Jill Mill, I've arranged a couple of private shoots there. A night shoot with just two of us & a late afternoon/early evening shoot with a small group from the Guild of Photographers.
Informative video Ben, it's a genre I have no real knowledge of. although follow a few people online who post IR work on a regular basis. I met one of them on my last visit to London and certainly the architectural images are impressive. Talking of London, I'm back for a flying visit last weekend of October. Currently planning out some new locations to see if I can add anything decent to my London collection
Ben, some of your images are sublime. In particular your architecture shots... wowzers! I found the contrast of our two cameras very interesting. I also managed to convince myself initially that you were at Bodiam Castle. I just kept thinking 'where the heck has he parked?'
Thanks Louise. Well time flies and it turns out I converted my camera in 2013, so I have 9 years of images to pick from. The buildings at the beginning of the video are a selection of buildings in Oxford, and I have shot Bodiam in Infrared, but not much success!
Hi Ben. Your photos are excellent and you’ve provided very useful information. The castle looks like it would be a lot of fun to tour and photograph. It looks like a nice place to go and relax while photographing it.
Thanks for the video, Ben. Really good point made on wide angle lenses helping with the separation and depth. Looking at the hotspot side of things, I recently upgraded my IR conversion to the antireflective coating from Kolari Vision, and it enabled me to get clean photos 2-3 stops higher than in the past with lenses that are prone to hotspots. That upgrade gave me a lot more flexibility with lens choices. Each person's experience can be different, but that seemed to help me quite a bit with lens hotspots
Focusing on edge sharpness is important as well. I have a Sony A7R full spectrum and the Sony 16-25 GM lens is not sharp on the outer 1/3 of the image wider than 24 mm. The Sigma 24-70 f2.8 ART lens is terrible for IR. Great for visible light.
Thanks for this video Ben, it confirms that I'm heading in the right direction. I have noticed that some of my shots have more contrast than others but not sure why. Would using a grey card for achieving proper exposure be useful? Going to try that and see what happens.
Hi Tim, I tend to rely upon the histogram and ‘shoot to the right’ like a do for normal photography. But when I edit the images they tend to be using just over half of the histogram anyway, therefore I adjust the white and black points in Lightroom and you instantly get more contrast that way.
The only problem I see with that light you were whinging about is your inability to use it. It's my favourite, you have absolutely epic skies. For 18 months I didn't drive, so if I wanted to photographs stuff, I had to get my wife to drive me to a station and then pick me up when I got back. I had to learn to use the light on offer. In Perth, Western Australia, that's often blue skies. Clouds are a bonus. I do quite a lot of black and white.
I know how to work with these lighting conditions for portraits, but I can’t manipulate the light or backlight a landscape scene to my advantage. And since I predominantly share landscapes and architecture on my channel here, I can’t suggest that anyone shoots landscapes in the middle of the day at summer because the scenes just look flat. It can work for other genres, but for landscapes you need low-side light to appreciate the contours of the land and create depth.
What makes a good subject for black & white infrared vs. color infrared? What makes a good subject for film infrared vs. digital infrared? What makes a good subject for 720nm infrared vs. 950nm infrared?
There is a lot to answer here! Normally I decide in the edit whether I will convert to black and white or manipulate the colour. I like the balance of having water in an image of using colour as you get blue in the water and sky. Whereas if you have foliage in the foreground and a blue sky I find it to be unbalanced. That kind of answer when you might want to shoot 720nn versus a higher wavelength as 810 or 950 produces entirely black and white images. If you haven’t already watched my first video on IR then I explain why I stopped using IR film and switched to digital. I have provided the link here. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-b8N4Xp0s0ZY.htmlsi=Lc2aWxtA76Ylzuv3
Hi Ray, its a good question. I tend to shoot infrared in the summer months, because of the amount of leaves on the trees and bright sunshine that allows shutter speeds for handheld shooting. But if you found some ever green trees I am sure it will work on a sunny day in winter.
