Fuji IS-1: Factory-Ready Digital Infrared
My current favorite infrared camera is the Fujifilm Finepix IS-1. This is an infrared-enabled variation of Fuji's popular Fuji FinePix S9100. Like the S9100, it is a 9MP prosumer with a 28-300mm equivalent zoom lens.
What does "infrared enabled" mean? Unlike the majority of digital cameras on the market, the IS-1 does not have an infrared-blocking filter in front of its sensor, so it is very sensitive to near-IR wavelengths. It's marketed at medical and police markets, since infrared is often useful in forensic photography. (This echoes history -- Kodak's IR films were developed for non-artistic markets, too, such as military intelligence, aerial photography, forensic use, and agricultural surveying. Just because it's useful doesn't mean it can't be beautiful.)
You may have heard of the so-called "X-Ray Vision" voyeurism hysteria in Japan that led Sony to hobble the infrared capabilities of NightShot cameras and camcorders. Unlike Sony, Fuji does not cripple its cameras, but it does sell them with a restrictive end user license agreement -- you must agree to use the camera only for legitimate, legal purposes. (If you're thinking of buying a camera for this X-Ray voyeurism, save your money. It's mostly bunk anyway. Very few fabrics become even slightly translucent at deeper IR wavelengths.)
Distribution of the IS-1 is also quite limited compared to ordinary consumer or professional digital cameras. Your local camera store will probably not have an IS-1 available, but you can find them at more reputable professional photo supply companies, such as Adorama or B&H, or at police/forensic specialty suppliers.
Other useful features of the IS-1 include:
- A traditional PC-sync terminal for external flash, which means I can use it with the same Sunpak 622 Super flash system I've used for years with 35mm and medium format film systems. (The 622 Super has interchangeable flash heads, including a visually-dark infrared flash head, a ring-flash for macrophotography, a diffused head, zoom, etc.)
- A plain old fashioned mechanical cable release socket, rather than insisting on a proprietary electronic remote like so many cameras today, though a wired remote is also available. I have an old 1960s radio remote that uses a mechanical cable release -- in an era of dedicated accessories, it's good to have one remote that will work with every threaded release socket camera.
- An articulating LCD display, useful when you're using the camera on a tripod or copy stand. The electronic viewfinder has a nice bright view when the camera is being used for infrared, so you can compose and preview IR effects.
- A 10X center-loupe function on the viewfinder helps with critical focus, especially for closeups. This appears in either the viewfinder or the LCD display as a greatly-magnified box. Unlike a traditional optical viewfinder loupe, the electronic loupe is as bright as the rest of the display.
- Macro focusing is available as close as half an inch on wide-angle, and can be used with either automatic or manual focus.
- No dedicated battery pack -- the camera runs on four AA batteries, NiMH, NiCad, or alkaline. This makes it practically impossible to run out of batteries on a long trip.
For general-purpose photography, the IS-1 does require a filter to block IR, or else the color balance will be heavily skewed by infrared. One of the best filters for this sort of use is the B+W UV/IR Blocking filter #486. Unlike traditional filters that use colored glass to control transmission, this is an interference filter with very sharp cutoffs on IR and UV and a fairly smooth transmission curve through the visible spectrum. And it costs less than many traditional dyed-glass hot mirror filters.
Filters and Exposures
The output of the IS-1 changes dramatically depending on the filter used. Below are several examples of different filtration, with little post-processing other than re-sizing for the web. These photos are all linked to larger versions on my flickr page, where you can also view EXIF data.
Visible-Light Photography
As I noted above, the IS-1 needs an IR-blocking filter when used for conventional photography.
Unfiltered, trees turn brown or orange because of their high IR reflectivity, many other colors are a bit "off," and images get a bit soft because of the wide range of wavelengths not focusing at the same plane.
This version is filtered with a B+W UV/IR Blocking filter #486. Besides much better color rendition, the filter improves sharpness considerably. It gives the best color rendition of any filter I have tried with my IS-1.
Infrared Photography
Unfiltered. ISO 400, 1/1500 @ f/8.0.
Note IR-influenced coloration of the green grass and trees along the shoreline.
B+W 041 Red-Orange Filter. ISO 400, 1/850 @ f/8.0.
Very strong IR response despite the mild filtration, somewhat reminiscent of false-color infrared film. Note contrast among various species of trees along the shoreline, deepened sky/cloud contrast.
No.25 Red, ISO 400, 1/680 @ f/7.1.
Strong IR response, deepened sky/cloud contrast, still a very fast response despite the deeper filtration.
760nm Visually-Opaque Infrared filter, ISO 400, 1/550 @ f/5.6.
Color is fading towards monochrome, though there is slight residual color on some objects. Slightly less contrast among different types of vegetation than with the color filters, more like a traditional B&W infrared photograph. Still fast enough response to hand-hold and capture action.
850nm Visually-Opaque Infrared filter, ISO 400, 1/250 @ f/4.0.
Monochrome image, no residual color differences between different objects. Great reduction of atmospheric haze. On the right edge of the image, note the bright contrast of moss against the composition shingle roof.
950nm Visually-Opaque Infrared filter, ISO 400, 1/56 @ f/2.8.
Exposure is finally slowing down, but auto-focus still works in daylight -- note the good focus despite the wide aperture. Open water is darker, making reflections more visible on the surface of the ripples.
Post-Processing
With filters in the visible red and organge ranges, digital infrared photos tend to show reddish skies and bluish vegetation. This is a very surreal look, but it's a bit too disconnected from reality for some tastes. One simple post-processing trick is to swap the red and blue channels of the digital photo, restoring vividly blue skies. If there are clouds in the scene, I often adjust the color balance to make the clouds appear white. For example, using the photos above:
B+W 041 Red-Orange, Red & Blue Swapped.
25 Red, Red & Blue Swapped.
Other IS-1 Links
This page written by Josh Putnam. Please feel free to email questions, comments, corrections, suggestions, etc.