2020 September

September 2020 collage
My collage of all the photos and images I uploaded to Flickr during September 2020

We started month 7 of our pandemic experience with bright sunshine and the determination to get out and about as much as possible! So September 1st saw us driving to Fyvie Castle grounds for fresh air and photo opportunities.
When Mike is driving I usually shoot my ‘drive-bys’ of the countryside as we pass. With today’s smartphones taking such good qualty shots, I often use mine rather than an actual camera! Here we are climbing up the steep hillside out of the howe of the Ythan.
The barley has been harvested, and the fields are ready for hay baling. This croft and the trees on the horizon are a feature of the landscape we see from our house. But I rarely get to catch such a goood, close-up shot! And yes, that angle really is accurate, the hillside is steep!

hillside croft
climbing the hillside out of the howe

I took an unusual combination of cameras and lenses – an old Eastern European lens, the Meyer Optik (known now as the ‘bokeh monster’) and an old Nikon D90 which has been converted to shoot only in the infrared range. This one has the gentle 720nm filter, and was my very first infrared converted camera, and my way into the whole IR world!
[more about my adventures in IR here]
Trees are a special subject for me, and together with catching the play of light, a great obsession when I am photographing outdoors.

Infrared sunshine and trees
Sunshine and trees at Fyvie Castle, caught in infrared.

The infrared light range turns the greens of the grass and leaves white, which makes the foliage very delicate, and also makes for a scene that looks like winter!

Fyvie castle walk in infrared
Fyvie castle walk, and driveway, caught in infrared

Branches, tree trunks and tarmac give wonderfully contrasting dark tones. We can walk down this driveway, listening to the pigeons cooing, and the leaves rustling, and the cares of the world seem far away.

Autumn leaves in the sunshine
Autumn leaves caught in the sunshine

This time in colour, with the heavy Meyer Optik lens. It can really capture the rich colours of the autumn leaves. As September began the autumn colours were just beginning to appear. We had fingers crossed that there would be a sunny dry month ahead, to give us the best of the flaming reds and rich golds as the leaves turned.
And a week later we were back to see how the colours were progressing …

across the loch at Fyvie Castle
Across the loch at Fyvie Castle, Aberdeenshire

This time with a Canon 70D and another old lens attached – a Russian Helios 44-2. The Canon is not my usual camera – I use mainly Sony. So I struggle with this 70D!
But the views of the loch and the trees are always beautiful and so calming. I think this year, more than before, we value the therapeutic effect of our trips out. Instead of thinking only in terms of exercise and photography, we now find the added value of reducing the stress levels, and refreshing our spirits.

As we picked out more calm days with the promise of sunshine, we went adventuring up the coast twice during September – once to Banff Bay, and then further up the coast to Cullen, both favourite haunts we had missed through the long lock-down months!
We rarely have the luxury of choosing times when the tide is in or out … we need to go in the morning when our energy is ‘in’. By lunch-time it is most definitely ‘out’ and we need to head home for a siesta!
Banff Bay found us enjoying the sand as the sea retreated ……

The beach at Banff Bay
The beach at Banff Bay on a chilly September day

while Cullen found a wild (and very noisy) sea delighting us with crashing waves.

Cullen Bay stormy weather
Cullen Bay with the waves crashing. Wild and noisy!

We kept true to our plan, and visited the grounds of Leith Hall twice in September too. It was exactly a year since we were last there! This time entering the Walled Garden we met our first sign of Covid changes, with a one-way system to walk around and a reminder to ‘social distance’. On our second visit we found some of the gates we often use to access the top levels of the gardens were locked. We met almost no other people as we wandered around with our cameras … glad at least, and at last to be able to enjoy the fresh air and the gardens.

Leith Hall
Leith Hall nestling among the trees

The Hall looks as majestic as ever. I’m not sure if it is open to the public again, but our main delight lies in the tree walks, the flower gardens and the wonderful views.

Leith Hall autumn colours
The autumn colours at Leith Hall. Shot with the Lensbaby

The autumn colours were showing in some of the trees. This one is close to the huge rock garden, which is being rescued, rebuilt and re-planted according to original plans recently found at the Hall.
So September had the feel of sunshine, the outdoors, visits to favourite haunts, and a whole lot of photographs!
But that was not all. At home we had a surprise with the best harvest of plums we’ve had for years.

the plum harvest
2020 has been a bumper year for our plums!

We are aware that the single Victoria plum tree we have is now over 20 years old, and maybe past its best in producing plums. Some years the frosts kill the flowers in Spring, some years there is not enough rain, or too much – not enough sun or too much. So a sudden bumper harvest was a great surprise and delight. Home grown plums, fresh from the tree, taste so good! We collected a bowl like this every day or two for about two weeks.

But of course I can’t look back on September without reference to the pandemic!

This month saw the biggest gamble, as it was decided that schools, colleges and universities had to open again. It began with schools. Here in Scotland we start the school year a few weeks before the rest of the UK, so we were the first to try out opening up our schools, both Primary and Secondary. Personally we looked on with sinking hearts, as young children are notorious spreaders of infections. Is coronavirus so different? And teenagers and college students are the least likely groups to follow the guidelines on social distancing and avoiding crowds! But the ‘science’ said differently … at least in September! But as the month ended there were signs of infection rates picking up. October might prove to be a difficult month!

On to October and autumn arrives.
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Morning mist across the howe

mist morning turbine
The sun lights up the wind turbine as the mist lifts

Yesterday morning brought the most glorious sunrise. We’ve had several misty starts recently, but not one where the sun broke through so early. I grabbed a camera at 6.30 a.m. and went out to catch the ever-changing scene as the sun and the mist danced together and wove such magical patterns before my eyes and lens!
Here the huge turbines across the howe (valley) were slowly revealed as the mist rose – catching the metal with the light! Two minutes later the turbines had vanished again!

tree silhouette
The mist hides everything except the lonely bird in the tree

A few minutes before, and the sun was just changing the colour of the mist from grey to gold. And here it caught the ‘early bird’ waiting to catch the proverbial worm! Nothing of the view down the howe towards the Kirk was visible – just the tree and its lone occupant!

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The invisible boundaries!

The gate
The invisible boundary is our gate, though there are occasions when I step across the road!

Lock Down! We’ve been this way for most of March and the whole of April. Our driveway never had a gate, just the gateposts and a low boundary wall. This morning the misty start to the day had me out with my camera before anyone else was stirring!
As the sun came up and the mist dispersed it caught the last flowers on the ornamental plum tree by the gate. Just the kind of morning when we would usually pack the car with cameras and head up the coast to shoot the headlands and the bays of Aberdeenshire. Or maybe drive inland to wander round the walled gardens of Leith Hall, before a fish and chip lunch!
Dream on! It will be a long time before what we took for granted, and counted as ‘normal’ will return. But we do have a quiet village, a good garden, and such lovely views, especially when the sun shines ;o)

Bow Fiddle

Bow Fiddle Rock seen from the cliffs above, on a calm day.

The Bow Fiddle Rock is near to Portknockie, a small cliff-top fishing village on the Moray coast between Findochty and Cullen, that overlooks the Moray Firth.
The sea around Portknockie is home to dolphins and many sea birds. and it is where the Bow Fiddle Rock can be seen and photographed. The rock is so called because it resembles the very tip of a bow. It was formed by erosion of a rock called Cullen Quartzite which is one of the many types of quartzites found around Scotland. Cullen quartzite is about 2500 metres (8000 feet) thick and makes up the coastline from Buckpool (the west end of Buckie) to Logie Head, the main headland east of Cullen.

The cliffs at Portknockie
The cliffs at Portknockie, showing the rock formation.

As you leave the village and walk towards the Bow Fiddle, you can clearly see that the entire coastal cliff structure has the same steep downward angle. This has been formed over many millions of years, and is visible evidence of the fact that Scotland and England were once part of different ‘continents’ that collided and made the distinctive Scottish Geology and geography!

I’ll let Scottish Geology.com explain
“Quartzite is a metamorphic rock, which means that it has been altered in nature by heat or by pressure. It was originally sandstone laid down in layers under the sea around 750 million years ago. More and more sediment piled up on top until the sandstone was buried several kilometres down, and as the pressure from overlying rocks built up, and heat from the centre of the Earth rose into the crust, the grains of silica in the sandstone were crushed and welded together to form the much harder rock called quartzite.

Movements of the tectonic plates which make up the surface of the Earth also had an effect. Scotland lay on the edge of an ancient continent called Laurentia, and another continent called Avalonia, on which what is now England lay, was carried towards Laurentia and eventually the two continents collided. The result was to crumple and fold the strata of rock, which is why the rock layers making up the Bow Fiddle Rock slope down to the south.

Over millions of years the overlying rocks were eroded away again, and the Cullen Quartzite became exposed at the surface, where the sea and the weather began to attack weaker spots in the rock and carve out the arch we see today. The sloping layers can be traced on to the land from which you first see the Rock. From further east along the clifftop, you get a completely different view, where you can see that the Rock is a long sloping slab of rock.
source: Scottish Geology.com

The Bow Fiddle Rock appears
The Bow Fiddle Rock appears with the surrounding rocks

As you walk along the cliff top path, the Bow Fiddle rock begins to appear, very much aligned with the mainland cliffs. You can walk round the headland, or scramble down the narrow track to get a sea level view.

Bow Fiddle Rock
Bow Fiddle Rock seen from the seashore

From the seashore the rock towers out of the water, and the surrounding sound is of the seagulls and other birds that inhabit the rocks and cliffs all along this stretch of coast. When I was shooting these photos the sea was calm and tranquil, and the midday sun cast strong shadows.

The rock strata at Bow Fiddle Rock
The rock strata at Bow Fiddle Rock at Portknockie

Once you have seen the effects of the massive collision between the two continents, you can recognise the distinctive sloping layers and steeply angled rock formations all along this stretch of coast.

Rocks near Findochty
The same rock striations as the Bow Fiddle, showing the effects of tectonic plate movement.

Here, just a mile along the coast from the Bow Fiddle, the same steep angle is clearly visible. It is fascinating and awe-inspiring to imagine the forces at work over 500 million years ago that have given us this wonderful, sculptural coastline!
© 2019 Elisa Liddell

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Lensbaby section

Lensbaby Double Glass trees
Lensbaby Double Glass optic shooting trees and reflections

The Lensbaby is a system of optics that you can screw on to your DSLR camera body in the same way as you add or remove any lens. And that, more or less, is where the similarity ends! Stepping into the world of the Lensbaby is rather like stepping inside a kaleidoscope. The optics can create the most wonderful effects inside the camera. It is a whole new ‘take’ on what you see normally through your own eyes, and through the view-finder of your camera. Prepare to be enchanted.
The Lensbaby system has been around since 2004. To quote their own words: “In 2004, Lensbaby was born out of a photographer’s frustration with flat, sterile, digital images. Since then, we’ve been helping photographers gain creative control and inject emotion into their images.” Lensbaby.com
And that is indeed what I get from my Lensbaby optics, a way to transform ordinary shots into something special, something that I have created rather than just recorded, and sometimes I create something that takes me quite by surprise!

The pages that I’ve made here roughly follow my own journey into Lensbaby land, from my very first bundle in 2013 through to today.

Meet the Lensbaby
I start with a little about the ‘base unit’ called the Composer Pro, and how you drop in the ‘optics’

The Double Glass optic
Then I look at this first optic, and what I could do with it right from day 1.

The Sweet 50 optic
In 2015 I bought my next optic, the Sweet 50. This added a new range of effects, and a simpler focusing system.

The Edge 80
In 2017 I added a third optic to my range, this time with landscape especially in mind. This optic has range of subtle effects, and a sharpness of focus that is quite remarkable.

As I suggested, the results that you can get straight out of the camera can be truly artistic – and I like to think my Lensbabys are for ‘Art Photography’. I really love that I don’t have to manipulate imaged on my computer in Photoshop.

Lensbaby Art 1
Looks at how the Lensbaby can help to compose a shot.

Lensbaby Art 2
Some of the ways in which the Lensbaby can take me by surprise.

I seem to work in 2 year cycles, as in 2019 I have just added a Twist 60 to my Lensbaby range. I haven’t used it enough yet to add it to this section.
I’ve got more Lensbaby shots on Flickr. I’ve divided them into the 3 lenses I use
On Flickr you can find my Album of Sweet 50 photos
On Flickr you can find my Album of Double Glass photos
On Flickr you can find my Album of Edge 80 photos

Note: the range of camera bases that Lensbaby support, Taken from their website July 2019: “We make creative effects lenses, tools, and accessories that fit the following DSLR and mirrorless camera bodies: Canon EF, Nikon F, Sony E, Fuji X, Micro 4/3”.

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© 2019 Elisa Liddell

Infrared section

Trees reflected in the loch at Fyvie Castle. Infrared FAUX

My Adventures in the IR Wonderland

Infrared (IR) photography first really caught my attention in 2015, through looking at IR groups on Flickr. I loved the different ‘view’ it offered, making even familiar places and subjects fresh and new to my eyes. I began by using Photoshop, and trying the B+W adjustment layer, which offered infrared as an option. Disappointed I turned to the internet, and found a wealth of information, most of it too technical to help a complete beginner. I though about using a screw-on filter as the simplest way to experiment, but soon learned that Sony cameras were the least successful for IR shooting. I’m a Sony fan, so I had an additional problem!
Then in 2016 I learned about IR converted cameras. These are usually old cameras that have been modified to shoot ONLY in IR. I found an old Nikon D90 on eBay, and the adventure began.
The pages here follow roughly the stages or steps that I have followed as I gradually learned more, and experimented. The first 6 pages cover the 2 converted Nikons – a D90 with a 720nm filter, and a D80 with a Super Goldie 580nm

Infrared first steps
The start of my adventure, from Photoshop disappointment to Nikon delight. First experimental shots.

Infrared second steps
The next step in the adventure, learning what IR does to the colours we see with our eyes. A still life experiment with colour, B+W and IR versions of the same set-up.

Infrared third steps
Taking my ‘new’ Nikon and its 720nm filter out and about shooting landscape, sky, trees and water. And comparing full colour, B+W and infrared shots of the same scene.

Infrared fourth steps
Enter the Super Goldie! I buy a second Nikon, a D80 with the 590nm Super Goldie filter. This allows more of the colour spectrum in, and moves from the B+W realm into a fantasy land of surreal colour.

Infrared fifth steps
FAUX post processing. Moving from the SOOC shots with a little Photoshop to tweak the shot to using a Photoshop Action (free to download) to apply colour inversions, and refinements to Goldie shots. I use the Khromagery action.

Infrared sixth steps
FAUX processing taken even further with the Photoshop Supply action (free to download) which includes 9 separate action that you can use, mix and experiment with to create a range of surreal effects.

The next pages will be about using converted Sony A5000 cameras.

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Infrared sixth steps

Bow Fiddle rock shot in Infrared
The Bow Fiddle rock shot in Infrared, with a FAUX action applied in Photoshop

Adventures in IR Wonderland 6 – the Goldie 8 FAUX

As I mentioned at the end of the previous section, I have recently found a second FAUX action for Photoshop. I couldn’t leave the subject of how to handle your Super Goldie shots at the post-processing stage without taking a look at this option. The action is free, and you can download it from the Photoshop Supply website. The actual page where you’ll find the zip download is here . There’s lots of information on installing an .atn file, colour channels, inversions, and what you can do with your IR shots.
I thought I would experiment with the action and see what it could add to the range of processing that I currently use with my Goldie IR shots.

Photoshopsupply 8-action ready to run
Photoshopsupply 8-action loaded and ready to run

This shows the range of FAUX processing options inside this single .atn file. There are 9 options as number 4 has two options.
You can import your image (for me a Nikon D80 Jpeg here) and then run each action. You end up with a file containing each action as a separate file. The original is there at the bottom, unchanged. I quickly found it was most useful to name each action to avoid confusion! Then you can turn them on and off and use the opacity slide to mix colours and effects.

The FAUX 8-action with all 8 actions run
The FAUX 8-action with all 8 actions run

This shows the complete range of FAUX actions once they have all been run and numbered.
Here I wanted to try both the NEF (RAW file) and Jpeg versions of a shot of the Bow Fiddle rock at Portknockie. I chose actions 1 and 4.1 and lessened the opacity of 4.1 to 71%. Each action has a layer mask, which means you can remove portions of that layer effect too, just as you would with a Quick Mask. It makes for an impressive array of tools to create an original and exciting image!
So back to the Fyvie walk shot. Here is the original shot converted into FAUX using the Khromagery action I demonstrated on the previous page.

The cover shot of page 4 with the FAUX action applied

And here is the same conversion using the Photoshop Supply action.

The same shot processed using the 8-action
The same shot processed using the Photoshopsupply FAUX action

Here the sky is darker and slightly more purple. But the big difference is in the treatment of the trees. Instead of white and gold/ochre tints, you have a blue/grey range of tints. I like them both, so this action is a definite addition to my processing tool kit!
Note: All of these shots are just as they look when applied. I would most probably brighten them before completing .. as I did with the Khromagery image.

Select another Photoshop Supply action and …. how about a pink sky?

FAUX pink sky
A pink effect using one of the 8-action choices

Again you have the sky colour reflected in the path and the rock. Maybe it’s the visual effect of the pink sky, but there seems to be a slight green tone to the foliage now.

Next you have another choice, a more turquoise tint to the sky ….

A turquoise effect with 8-action
A turquoise effect using one of the 8-action choices

And here there is a definite pink tint to the grass and the near trees.

Or how about duck egg blue to the trees, and a grey sky …..

mix and match the choices
Blue tree effect mixing 2 of the 8-action choices

That particular effect was created by combining 2 effects – using numbers 5 +6. But you can play with the options and make your own mix.

The final action is a straight B+W

Black and White 8-action
Black and White effect using the final of the 8-action choices

I wondered if there was any difference if I chose to desaturate rather than choose B+W

desaturate the colour
Choose to desaturate the colour. Is the effect different?

Here I’ve used that technique to the max, and apart from being a little darker it seems the same, though I haven’t studied both versions closely. With the desaturating route you can simply slide move the desaturate slider and fade the colours rather than remove them. Again there is a whole range of options!

Sepia effect
Apply a sepia tint to the Black and White version of the infrared shot

Once you are into B+W it is easy to work a sepia version as well, as my final take on this one shot.
These are just a handful of ways that you can develop the image using this single action. I have found it a great addition to the post processing.
It is particularly helpful with handling the NEF files, which are the Nikon version of RAW. When you bring a NEF file into Camera Raw there is a disconcerting effect – the images all turn red

Nikon NEF infrared shows red
Nikon NEF file from my infrared converted camera displays as red

And the effect can be even more intense if you try to adjust the colour using the White Balance – here is the effect of choosing ‘Cloudy’

intense red
Nikon NEF file from my infrared converted camera displays as intense red

It needs to be a problem to adjust in Photoshop itself, and not Camera RAW!

The whole point of shooting in NEF (or any RAW format) is that the file in not compressed, so you have the maximum file size to work with. Any post processing will inevitably remove some pixels, and the image will gradually degrade each time you affect it. So using my Jpeg I start with a file size between 4.5-5 MB – if I work with the NEF of the same image I will have between 9-9.5MB of data. That difference in file size really matters.
So, returning to the image of the Bow Fiddle rock.

Nikon NEF of Bow Fiddle rock
The original Nikon NEF of Bow Fiddle rock

This is the NEF file, giving my the biggest file size to work with, but also the problem of a whole lot of red to contend with.
If I use the Khromagery FAUX conversion I get a pleasing image

Simple FAUX conversion
The simpler single action Khromagery FAUX conversion

But essentially it looks almost like a normal colour photo.

If I use the versatility of the Photoshop Supply FAUX and run all nine options and simply mix and match the results, I can get something quite different!

Bow Fiddle rock shot in Infrared
The Bow Fiddle rock shot in Infrared, with a FAUX action applied in Photoshop

So I think that the Photoshop Supply FAUX action is a definite for my processing of Nikon Goldie shots … and I guess for a whole lot more besides.

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© 2019 Elisa Liddell

Infrared fifth steps

Trees reflected in the loch at Fyvie Castle. Infrared FAUX

Adventures in IR Wonderland 5 – the Goldie FAUX action

So we have met the new Super Goldie filter, and seen what it can do straight out of the camera. A golden sky and lovely soft blue trees are the hallmarks of the shots you can get. My shots are taken on an old Nikon D80 which has been modified to ONLY shoot in the Super Goldie (590nm) range – there will be variations with different cameras and different ways of applying the filter. I usually shoot in both RAW and Jpeg format across all my cameras. RAW means the NEF format in the Nikon – but the results I have been showing you are all taken from the Jpegs. Working with the NEF throws up some problems that I’ll look at later. I wanted to start as simply as possible – and that meant using the Jpeg shots.
Once I was confident with the results the Goldie filter was giving me, I decided to go looking online for way to transform my original shots into the amazing and colourful shots I saw in Flickr and on the internet. The words that kept coming up was FAUX (or false) colours – so I began to investigate. Colour ‘inversions’ were frequently mentioned, and I struggled to find out what that meant and how to do ‘inversions’. Then I found David Burren’s website Khromagery which has a lot of helpful material – though it was written quite a while ago, and we have more advanced computer-based assistance now! But one gem that you can download from his site page: here is a Photoshop Action that I have found to be invaluable. I use Photoshop CS5 and it is my go-to starting point for playing with my Goldie Jpeg images.
To quote from his page: “A long time ago I wrote a Photoshop action (well, I built upon a technique I saw demonstrated by someone else) to help with this, and apparently, it’s still in use by many folks today. For anyone looking for the FalseColoursAction, a ZIP file can be downloaded here (this article was prompted by a reader searching for the old action). Do note however that the processing in that Photoshop action is purely “by the numbers”, and the visual results will be different depending on the colour space (ProPhoto, AdobeRGB, etc) you’re using.”
So I installed the action and began to run it on my Goldie Jpegs. I’ll take you through the process with just one shot – the cover shot from the previous page.

Running the FAUX action in Photoshop

Here the image is in Photoshop and ready for the steps in the Action to be applied. I run the action and …

The cover shot of page 4 with the FAUX action applied

Wow! That is quite a transformation!

The IR FAUX conversion, the final stage

If you look at the information that is on-screen the first thing you notice is that the Hue/Saturation window is left open in the middle of the image. This is so you can do a quick adjustment to the overall colour and intensity before you close/complete the action. To start with I just ticked OK. Then down the side panel in PS you see that the action steps are all showing but placed inside a folder. So you can collapse the folder neatly, and simple turn the action on or off – the original image is still there at the bottom of the Layers window. Neat and simple, and quite magical!
Here I was working with the Fine Jpeg, so the pixel size is only 3872×2592 – but the results are so good and so quick that I haven’t ventured into the trickier region of working with the larger NEF version of the shot until quite recently. I’ll be looking at that move later on. For the moment let’s stick with the FAUX action and the Jpeg image. So let’s try a few more conversions using the action on the default settings and see how they turn out.

Deveron estuary - the bridge
The bridge across the Deveron estuary at Banff, Aberdeenshire, Scotland.

Larger version here on Flickr.

Lens flares and trying to integrate them and use them.

One additional thing to mention about infrared converted cameras, and maybe infrared filters in general, is the tendency to create lens flares. I find that sometimes the flare can add a special touch to the image. Here it works well, though I did have to tone down the final large flare in Photoshop.

The bridge at Banff with the FAUX action applied

Here the Faux conversion works well, though the lens flare in orange may not be to everyone’s taste. I think I would tone down the brightest one just a little in post-processing!
The next bridge shot was taken from a slightly different angle. It clearly shows the lens flare you can get from the converted cameras IR filter.

A second shot of the bridge at Banff using the Super Goldie filter

The large blue flare in the foreground needs to be damped down, as I did in the previous shot that I posted on Flickr. And the green tint to the sky is stronger in this shot than in the previous one too.
And after the initial Faux conversion …..

The bridge at Banff shot with the Super Goldie IR filter with a FAUX conversion.

I like the tones of the tree and the scene beyond the bridge … but there is some post-processing playing to adjust this. So I copy the original image/layer and place one above and one below the FAUX action. Then I can use a quick mask to reveal the FAUX colours. Then I can choose what to do. Maybe keep the blue lens flares? And I prefer the original orange tones of the actual bridge, so maybe I’ll keep them too. The FAUX is better in handling the acid green of the sky top right of the shot …. and now I can proceed to mix and combine the colours, replacing some, and blending others.

Using two versions of the IR bridge capture and merging the colours.

Here you can see the process as it is happening.
I hope that this gives you some idea of how the FAUX action works, and how you can use it to make quite subtle adjustments to the image, and make it a personal result, rather than just what comes out of the camera, or what the FAUX action produces. I admit that I love this ‘messing about’ stage most of all. It really does make it personal.

And of course you can always opt to remove the FAUX effect altogether and have a simple IR black and white image – and again, play with the tonal values in Photoshop too!

The bridge at Banff. Super Goldie IR filter processed in B+W

So that is the basic range of possibilities that lie in the Super Goldie 590nm filter. And the sheer range of possibilities on offer, the versatility of the filter, is why it is my favourite of the 3 filters that I use.
I had intended to stop at this point, but in my online research for this article, checking facts, and generally scouting out points, I came across a second FAUX action – and I have begun playing about with it. So, on the next page I’ll share what I have discovered so far. But I figure that this is maybe a big enough chunk of information and examples for an introduction to FAUX here. And you might like a pause to digest ;o)

On to the second FAUX action and a look at the 8 ways it can apply to your initial shot.

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