Digital Infrared?
Train photography in black & white infrared (IR) is a radical concept not normally seen in railfanning. But if you enjoy working in b&w, you may like the dramatic “look” of white foliage and dark skies and water in- frared will give to an occasional train photo. B&W IR photography is possible with b&w IR films. And while most digital cam- eras cannot capture in IR as they have an IR blocking filter over the sensor, a few do not have this filter and can take both visible light and IR photos. But both IR film and IR capable digitals require a deep magenta, near-opaque filter (an R72, 87B, 87C, 89B or similar), which blocks visible light but lets IR (invisible light) in. This filter limits you to stationary subjects as your shutter speed will be in the range of ½ second, and as you cannot see through the filter, you have to re- move and replace it to refocus and recom- pose for each new shot. For action train photography, you will need instead a digital camera converted for IR photography by the replacement of the IR blocking filter with an IR admitting filter covering the sensor, not the lens. This allows quick and accurate composition and focus, using normal metering with fast shutter speeds, as you have a clear viewfinder. A caveat: IR light focuses at a different point than the shorter wavelength visible light camera focus systems are designed for. Most film SLR camera lenses have a red dot on the aperture ring for IR focus adjust- ment. You focus normally, then move the fo- cus point back to beside the dot. A camera converted for IR use will usually be modified to focus IR light without this adjustment, al- lowing autofocus. Some lenses will focus IR light differently.
A technician can usually calibrate a camera to focus IR light correctly with a specific lens or at a specific zoom setting for a specific zoom. But the camera may or may not focus
correctly with all other lenses or other zoom settings. If using an APO/ED/SD/LD type lens, there is no focus shift needed for the IR light because these lenses control refraction, so autofocus can be used. Otherwise, you may have to manually focus. The deep depth of field of a ƒ11 or ƒ16 aperture also helps overcome any minor focusing errors. Test your lenses on your DSLR converted for IR with different manual focus settings to de- termine how each will work with IR.
Post Processing Digital Infrared Unless your camera has a b&w mode, your digital IR photos will appear magenta col- ored, and will have to be converted to Grayscale in the computer. Then you make the same type of sharpening, tonal and other adjustments as with any digital image.
Conversion
Converting a digital camera for IR use re- quires a trained professional, and will cost $300 and up. And because this conversion is “permanent” (reversing the IR conversion also requires a technician), consider doing this only if you have a spare digital camera after upgrading to a newer model, and only if you like to shoot other subjects, such as landscapes, as its use for trains may be too limited to justify the cost. To find a conver- sion facility, do a web search with key words “digital infrared conversions” or similar. Alternatively, you may locate a camera al- ready converted on the used market. Or, if you are technically inclined, do the conver- sion yourself. But to avoid ruining an expen- sive camera, search the used market includ- ing pawn shops, as older point-and-shoot digitals can be found very cheaply. Free web tutorials are available to explain the process of converting a camera. (If you have any questions on any of the above or other photography questions, e- mail me at
nostalgicphotos@juno.com.)
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In this photo of a Cumbres & T
on the side-lit conifers adds a nice contrast to a composition of mostly dark tones. A sepia tone has also been added. T
oltec Scenictrain in southern Colorado, note how the IR effect aken with a Nikon D100 converted for IR use.
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