Canon 10D Infrared Conversion

Saskatoon Skyline, though it looks frigid this was shot in 20°C weather :)

Earlier this year I'd seen a body only Canon 10D posted on Kijiji (similar to Craigslist) for $160 CDN, in its day the 10D was a great camera and marketed at pros. I didn't really have a need for the camera but at that price I was thinking I'd pick it up and leave it in my car so I always had a DSLR with me, at that price point if it got damaged or stolen I'd be disappointed but not distraught. I wound up buying it and was pleased to find it was in near mint shape. Despite being older and only 6.3MP it took very nice photos and I was surprised at the lower than expected ISO noise. My first DSLR was the first Canon Digital Rebel (300D) and since it was also 6.3MP I expected it to be the same but was delighted to find it was better.

At this point I started to think more about what I should do with this camera, I did after all already have a Fuji X100 which I'd picked up primarily as my "take anywhere" camera. Maybe my initial plan for this camera wasn't really a good one. Then I stumbled across an IR photo online somewhere and I remembered about the conversion services offered by a few companies and figured I'd look into it again. Previously it seemed way to pricey, first you had to provide a DSLR which weren't cheap and then pay for the conversion which makes it a dedicated IR camera so its not something you'd do to your main body. The more I read up online the more good things I was hearing about Lifepixel.com, in fact I don't think I read anything negative about them at all. The internet is full of horror stories about people sending their cameras into cheaper "fly by night" operations where some guy was doing these conversions in his basement or garage and was simply substituting the IR blocking filter (aka hotmirror) with Rosco or Lee filters. Since I work in electronics manufacturing and am familiar with some of the various standards I was impressed to learn that they use a Class 5 clean room to ensure they do not introduce any dust into your camera when performing the conversion.

Let me backtrack a little, for those who don't know what this conversion entails I'll explain it here, if you know what this is then feel free to skip ahead. In the old days of film all you needed to do to shoot IR was buy a roll of IR film and away you go. Nowadays all digital cameras have a glass filter installed over top of the sensor that is meant to block out infrared light while allowing visible light to pass through. Without this filter your everyday images would have a pinkish cast to them and generally not look right. The places that offer conversion will take apart your camera, remove the IR filter, also known as a "hot mirror" and replace it with a filter that only lets infrared light through. The thickness of the replacement filter must be the same as the filter they removed, even still the cameras focusing system must be re-calibrated because IR does not focus at the same distance as visible light. The fact that the insides of these modern cameras are crammed with enough electronics and mechanical parts to make Swiss watchmakers wince along with the need for an absolute dust-free environment means you should be wary of who does the conversion. There are DIY instructions available on the web but even if you get the filter installed and you manage to get very little dust in your camera your autofocus still won't work properly. If you want to see just what all is involved (minus the recalibration) Lifepixel has DIY guides though they expressly state they should not be attempted and are purely for educational purposes, here's the step-by-step for my Canon 10D.

What to expect when ordering the service:
Right now the price for converting most DSLR's at Lifepixel with a "standard" IR filter with "standard" re-calibration is $250 +$55 for return shipping and handling (keep in mind I'm in Canada) . I considered paying the extra $50 for the Deep IR filter but after talking to others who had the conversion done I stuck with the standard IR filter. Their standard lens calibration calibrates the camera for the "nifty fifty" 50mm 1.8 EF lens, since I had one kicking around after upgrading to the 50mm 1.4 last summer I stuck with this too. The shipping seems steep but this is because they insure the package decently, if I remember correctly their cost for the shipping was around $40 so they aren't skimming too much. You do have to pay to ship the camera to them as well so I think that cost me under $20 and it was insured for the conversion price and camera replacement. When you order the conversion they send you detailed shipping instructions too. When they receive the camera they notify you, the conversion is supposed to take 5-10 business days from the date they receive the camera. I mailed mine out Apr 27th and they received it May 3rd. They shipped it back May 21st and I received it May 25th, all total about 1 month.

What to expect when you get your camera back:
I did have one small gripe and that was concerning their return packaging. It was well protected and padded but all of the materials were types that generate huge static charges. Maybe its just because I work in electronics and jump through all sorts of hoops to avoid static electricity which can cause serious damage to sensitive electronics, the damage may not be immediate either. When I shipped my camera to them I put it in an antistatic bag that I had leftover from some prior electronics purchase. Anyway I don't know if Canon's packaging is entirely ESD safe either. Ok so when you get the camera back before you can start shooting you should set the custom white balance by shooting some green foilage. After that you're good to go!

A quick note about using other lenses, not all of them will work. Some lenses have special coatings inside to reduce reflections but they are made for visible light, sometimes these coatings in IR appear white and can cause blooming. Blooming is a white haze in the center of the image and is most unwanted. Since my 50mm on the cropped sensor of the 10D behaves more like 79mm I thought I'd try my 35mm 1.4 lens, unfortunately this lens suffers from this bloom effect so I'm going to have to trial and error and figure out which lenses will work. All of the images in this post were shot with the 50mm 1.8 type II lens and turned out great. The pano was shot with this lens too and multiple images digitally stitched together.

Considerations for post production:
Straight out of the camera the shot is going to look like the one below, colourwise at least.

 Colour untouched, other processing like levels and sharpening/clarity added.

In your favourite photo editing program you can swap the red and blue channels to yield a shot like the one below:

Red and blue channels swapped. 

I'm looking forward to heading out and shooting some interesting landscapes this summer with this camera. In the fall hopefully I'll get to go to Scotland where the lush greens will be perfect for IR photography. One added benefit to IR is that there aren't many people shooting it and it can give you an edge especially if you're looking at selling your artwork. The Delta Bessborough Hotel is one of the most photographed landmarks in my city, since everyone and their dog has a photo of it the chances of getting a truly unique shot of it that stands out against the rest is hard, thanks to IR I'm probably one of only a few people in my province that can get this shot digitally.

Urban Guerrilla Shooting Take 3

 A dilapidated cage elevator proved an amazing backdrop during my latest shoot

Who needs a studio anyway?
Eventually my basement renos will be done and I will have a proper studio to work in but chances are I'll try to avoid using it in favour of location shoots as much as I can anyway. For my latest shoot I once again set out on an urban exploring mission, shooting wherever the backdrop looked interesting, ducking into cool old buildings and busting off shots until asked to leave. Despite leaving my innocuous X100 in my camera bag this time and touting my 5DMKII in its stead I wasn't hassled once about shooting anywhere. In fact people were apologizing for getting in my way. 

Let me backtrack a little. May 1st my gallbladder decided it was going to throw a temper tantrum, it started becoming unruly about a week after my Cuba trip and landed me in the ER a few times. This time however it really outdid itself and a simple trip to the ER turned into a 3 night stay and date with a scalpel. I then had an unexpected two week holiday to recover. After going stir crazy for a week and a half I was feeling pretty good and since my camera was under my 10lb weight lifting limit I figured I'd set out on a shoot. The very pretty and incredibly photogenic model, Deanna Alyse, had just contacted me through model mayhem wanting to work with me sometime. The timing was perfect so I contacted her and made plans to shoot that upcoming weekend.

I had just had lunch that week with a photographer buddy of mine, Krystian Olszanski, and since our last co-shoot was such a blast I invited him along as well. Shooting with another photographer is great for two reasons: one you have a knowledgeable lighting assistant two: while you're lighting and they're shooting you get to see how another photographer approaches the same subject.

We all met up at a mall downtown and set off without really having a set destination in mind. We happened along a small patio beside a coffeeshop/bistro so I snapped a few quick portraits there just using available light.

 

Shooting as we go

At this point Krystian mentions that a pub on the next corner actually has a seldom-used (or known about) patio out back and that it might be an interesting location.

As we turn into the back alley  we both notice a nicely painted brick wall with some pallets stacked up which are screaming to be used as a backdrop.

 

Cutest hobo ever

Lucky for us our model was willing to get a little dirty in order for us to get our shots. Even before we busted out the flash and umbrella the subdued light of the alley was great to shoot under. It was also quite windy that day but it worked and gave some of the shots a nice dynamic.

Below is one of my favourite shots from the whole shoot, something about it just has that vintage pinup vibe to it and her innocent yet coquettish smile just completes the pose. This one was lit with off camera flash, a 580EXII triggered with Cactus V5's shooting through a 48" white umbrella. Krystian acted as my voice activated lightstand.

  A definite fave from the shoot.

We probably shot at this location for a good hour, exploring every idea we could think of. While one of us was shooting the other was lighting and constantly coming up with new ideas for when it was their turn again. Often one of us would pose the model in a certain way or shoot from the a unique angle and the other would groan and say "ahhh I was going to do that on my turn". Ultimately though we both have our own style, especially once the images have been processed, so I don't think we overlapped too much.

As I stated this alley was a goldmine, turning 180 degrees the opposing wall was interesting too as you can see below.

 

 Every part of this alley was dripping with character.

Having tapped this alley for every angle we did eventually make our way to the back patio we'd initially set out for only to find it quite lame photowise.  Just across the street was a building I'd shot in during my last outing, since we had off-camera lighting with us this time I figured we should check it out.

Right off the bat I wanted to try a shot I'd done last time but felt I could improve upon with some added backlighting.

 

 Krystian lit this from behind while thinking thin thoughts.

I always love shooting in stairwells when I have the chance, there's just something about them that always yields a good shot. In the photo below we had to resort to some rather crazy lighting since we only had the one flash. Krystian stood behind the model at the top of the landing on the camera right, I held a reflector below and left out of frame which he then aimed at. The result actually looks naturally lit as if window light is providing the rimlight with ambient fill. 

Strobist Trick Shot. 

While shooting on the main floor I had lamented that it would have been awesome if the elevators were the old-school style ones with the cage and attendant. At one point between poses Krystian disappeared down the stairwell and when he finally resurfaced he had a big grin.  

This is what he'd found:

Looks like a scene straight out of Silent Hill

What a cool find! Not only was it a cage style elevator but it had the most amazing grunge texture on the walls from the stripped paint. Shooting with ambient left a little to be desired though, two CFL bulbs lit the elevator, one regular and one daylight balanced. For the above shot I only had to push the ISO to 400 since I was shooting my 50mm at f1.4 but for other shots I pushed the ISO to 1600. Its for this reason that I love the full frame goodness of the 5DMKII though I have to give props to my X100 that handles high ISO nicely too. Its amazing how far cameras have come with respect to ISO noise and in 10 years I'll probably look back and wonder how I ever managed with only being able to push it to 1600 :)

Love cage elevators

The last photo I'm including proved very tricky, I knew I wanted to light through the cage but it was extremely difficult to light the whole face. Initially we were shooting bare flash from a distance to get those nice crisp shadows but eventually wound up using and umbrella quite close to the cage.

I apologize for the extra long blog post (which I tend to do often) but I felt this shoot warranted a full walk through. This was my third "guerrilla shoot" this year and I'm finding them to be an excellent way to shoot. By wandering around and exploring you find new cool locations, push yourself creatively to adapt to each new location, and ultimately wind up with a diverse range of photos from a single shoot. You simply can't do the same thing in the studio.

Power of Primes

Late this summer I decided to take some of my photography earnings and invest in some new lenses. Since getting my 5D MK II I've become acutely aware of the need for good quality lenses, however, my pockets aren't deep enough to always seek out that illustrious "L" and the red ring that accompanies it. There is a way to cheat this a little though and that is through the power of primes. If you read the reviews on most prime lenses and see their output is often compared to L glass. Rather than being a jack of all trades but a master of none the prime lenses focus their efforts (accidental pun) on being great at just one focal length all while remaining decently affordable.

Knowing my main intent with these lenses would be portraiture I opted for the Canon EF 35mm f/2.0, the Canon EF 50mm f/1.4, and finally the Canon EF 85mm f1.8. The 85mm was initially what got me cruising the B&H site, I'd heard good things about this lens and knew the wide aperture would be great for melting the backgrounds away. I already owned the practically disposable "nifty fifty" but I wanted to upgrade more for build quality than the extra 0.4 of a stop that the 1.4 offered. The 35mm was more of an afterthought, I had emailed a friend needing some help to justify my purchase and while giving me the push I needed also suggested the 35mm.

My first order of business with the new primes was to test them out by doing some maternity portraits of a friend of mine. I decided to revisit a location I'd relied on heavily when I first started out doing portraiture, Kinsmen Park in Saskatoon. I grew up in a nearby neighbourhood and this park has a lot of interesting angles. Already being familiar with it let me focus on shooting rather than scouting for places to setup etc.

Canon EF 50mm f/1.4 - Shot at 1/640 @ f1.4

Canon EF 85mm f/1.8 - Shot at 1/200 @ f2.2

Canon EF 85mm f/1.8 - Shot at 1/500 @ f1.8

I tried shots with all 3 lenses but quickly found that the 35mm was not my favourite choice. Whether it was just my shooting style or the fact that being outside allowed for use of wider lenses I wound up just putting it back in my bag. I'm thinking that where the 35mm will really shine is in my basement studio where space is limited and I'll be shooting in close quarters.

A few weeks later I found myself back at this park with another friend's family to further put the lenses through their paces. This time the 50mm got more use than the 85 just because I was shooting 3 people instead of just 1. By this time the golden hues of autumn had taken hold and with apertures down around 1.8 the backgrounds became a sea of orange and yellows.

Canon EF 50mm f/1.4 - Shot at 1/200 @ f1.4

Various exposures

By the time I got around to doing one of my last summer shoots, again of friends, I was pretty comfortable with these lenses and was feeling confident that they were indeed a great investment. For this shoot I was pointing the lens at another photographer so I knew I had to be at the top of my game :) His wife was a week away from her due date and at times I was worried we might have to stop the shoot and just head to the nearest hospital. Luckily I was shooting at the University of Saskatchewan which has a hospital right on the grounds, though fortunately we made it through the shoot without anyone's water breaking.

Canon EF 85mm f/1.8 - Shot at 1/200 @ f1.8

Canon EF 85mm f/1.8 - Shot at 1/250 @ f1.8

I did wind up using the 35mm for a few shots during this shoot, the shot below wouldn't have been possible with the 50 or 85mm unless I had a lift of some kind.

Canon EF 35mm f/2.0 - Shot at 1/160 @ f2.0

Now I should point out a few things to anyone reading this, especially those newer to digital SLR cameras that might be shooting with cropped sensors. [I explain crop sensors in another post here] All of the entry and mid level cameras have sensors that are not equivalent to a full 35mm frame, most are 1.5 or 1.6 times smaller or "cropped" as they call them. If you use an EF lens on a cropped frame sensor two things will happen: 1) The effective "zoom" of the lens will increase by the crop factor and 2) the dept of field will increase a little. This means that a 35mm lens will behave more like a 50mm and a 50mm will behave more like an 80mm. Shooting at 1.8 on a crop sensor will result in a slightly less blurry background (aka less Bokeh) than if shot on a full frame sensor. Don't let this deter you however, the loss of Bokeh is fairly minimal and if you plan ahead the amount of zoom you get won't matter at all. There is the added bonus that if you ever upgrade to a full frame camera you'll be able to use these lenses whereas your EFs lenses will be useless.

I also want to mention that I bought my lenses online through B&H Photo at a significant savings compared to my local camera stores. I'm not affiliated with B&H at all and I'd actually rather have put money into my local economy but in the end even with shipping I saved a few hundred dollars by ordering through B&H. One aspect I was quite happy with was the shipping, being in Canada online shopping can be a real pain because people forget about brokerage and duty fess which can be ridiculous. Most of the time these insane fees can even be avoided if the US merchant would take the time to fill out an extra form when shipping. B&H apparently does take the time and uses Purolator to get you your stuff within a few days. On a $1200+ order I worked out the duty I paid and it wound up being exactly equivalent to the GST which is what its supposed to be, and the best part is there was no brokerage! I just wanted to point this out because gear is expensive and you shouldn't get gouged on shipping if you don't have to. Also hopefully some of the local stores in Saskatoon will see this and realize how insane it is that I can order stuff from New York and have it shipped while still saving 20% on their inflated prices.

Help Portrait 2010 Update

Photo credit to Dustin

UPDATE: Just wanted to throw in a special thanks to Costco photo lab for coming through with a deal on prints to help us out!

Well Saskatoon's first year participating in the Help-Portrait event is over and it was a huge success. We had 7 photographers and 10 other volunteers on site that day including a makeup artist! In total we had 71 groups sign up ranging from individual people to large families, all total we had 105 people get their portraits taken. Not bad for a handful of photographers, especially considering that this was the first time some of the photographers had worked with studio lighting.

As I'm writing this we're still waiting on some people to finish the post processing work on their shots, from what I've seen of the finished files they all look great! On the 11th we're hoping to have all of the photos ready and are going to be down at the Salvation Army handing them out, I can't wait to see everyone's reactions.

Our shoot started at 10:30am Dec 4th and went until 4pm. We ran two setups, one using my Impact 5x7' collapsible background that could accommodate 1-2 people and another larger setup using a fabric backdrop for individuals or big groups. We split up my two studio strobes, one for each setup, then used speedlights on each for secondary lighting. For triggering we used my Yong Nuo PT-04 Transmitter/Receiver sets on one side and PW's provided by another volunteer for the other side (thanks Jay!). All in all we didn't have any real issues, maybe a few minor things here and there but nothing big.

Behind the scenes shots from the day's event can be seen here at the Saskatoon group's page on Flickr and BTS shots from worldwide participants here.

In an effort to document some ideas while they're still fresh here are some things to consider for next year.

Things that worked really well:

• Each person/group coming in to have their portraits taken were given a number on a small piece of paper, for their first photo they held this up so we could match pictures to the appropriate people.

• Props, only one of our volunteers was on the ball in this department and she brought a huge teddy bear along with other props. These really helped and were a great idea, thanks Kim!

• Dropbox. This is a great way for groups of people to collaborate and share files. So far everything is going good, just hope we don't run out of space ;)

• The flyers that were handed out at the Salvation Army during the two weeks before the event really seemed to help get the word out and to the right people. Announcing stuff on the radio/TV ahead of time is likely to result in the wrong people taking advantage of the event whereas these flyers hit our target market perfectly.
  

Things that could be improved upon:

• Backdrops, since it was our first year and we didn't know what to expect we thought one setup for small groups and one for large groups would work. We ended up with a lot of larger groups so this made it uneven, next year we'll just setup two large backdrops. Also I think that 2 studio strobes per side would probably work better especially if we're having larger groups (sorry Krystian you were right lol).

• ID number slips, while they did work out really well one thing I'd suggest for next year is having them underlined. We had one incident where the person held a 9 upside down so it appeared to be a 6. The issue was quickly sorted out since we had names to match the numbers up with, since one was male and one was female it was easy to figure out.

• Bring a whiteboard to keep track of how many sittings each photographer has shot. All in all it worked out fairly evenly for us, I think everyone got to shoot enough. Still it would have been easier if we had a whiteboard so that nobody got left out. On the other hand everyone is different and some people might only want to shoot a certain amount, it depends on each person's comfort level.

• Bring a hotshoe adapter for Sony/Minolta cameras or figure out before hand if one is going to be needed. One of the photographers at our event was shooting a Sony and was stuck bouncing her speedlight off the roof instead of being able to take advantage of the lighting setup.

• Fund-raise and seek out sponsors earlier. This was our first year and the majority of members didn't join until there was a month or less left before the event so we did pretty good despite that. Now that we have a base of support next year we'll be on the ball earlier.

• Krystian (our lead organizer) suggested shooting in pairs and having another photographer aid in reviewing the shots as they were taken. This would help avoid surprises later during post ie Oh crap I shot a group at f2 and only the people in front are in focus ;)

All in all it went very well and I can't wait to see everyone's reactions when we give them their photos this Saturday. Thanks to everyone that volunteered and a big thanks to Krystian and his wife Aleksandra for starting this Saskatoon group rolling.