#aerochrome — Public Fediverse posts

@janamarie @nblr Welcome to the club! #Infrared is such a fascinating rabbit-hole! Kolari even created a dedicated "IR Chrome" filter that mimics the Aerochrome effect without requiring post-processing. Just set a custom WB when shooting and you get #Aerochrome JPEG out-of-camera!

Left: unmodified camera, OOC JPEG

Right: full-spectrum camera, IRchrome filter, OOC JPEG

@janamarie @nblr Welcome to the club! #Infrared is such a fascinating rabbit-hole! Kolari even created a dedicated "IR Chrome" filter that mimics the Aerochrome effect without requiring post-processing. Just set a custom WB when shooting and you get #Aerochrome JPEG out-of-camera!

Left: unmodified camera, OOC JPEG

Right: full-spectrum camera, IRchrome filter, OOC JPEG

@janamarie @nblr Welcome to the club! #Infrared is such a fascinating rabbit-hole! Kolari even created a dedicated "IR Chrome" filter that mimics the Aerochrome effect without requiring post-processing. Just set a custom WB when shooting and you get #Aerochrome JPEG out-of-camera!

Left: unmodified camera, OOC JPEG

Right: full-spectrum camera, IRchrome filter, OOC JPEG

@janamarie @nblr Welcome to the club! #Infrared is such a fascinating rabbit-hole! Kolari even created a dedicated "IR Chrome" filter that mimics the Aerochrome effect without requiring post-processing. Just set a custom WB when shooting and you get #Aerochrome JPEG out-of-camera!

Left: unmodified camera, OOC JPEG

Right: full-spectrum camera, IRchrome filter, OOC JPEG

@janamarie @nblr Welcome to the club! #Infrared is such a fascinating rabbit-hole! Kolari even created a dedicated "IR Chrome" filter that mimics the Aerochrome effect without requiring post-processing. Just set a custom WB when shooting and you get #Aerochrome JPEG out-of-camera!

Left: unmodified camera, OOC JPEG

Right: full-spectrum camera, IRchrome filter, OOC JPEG

A Full Spectrum Conversion That Went Wrong, Or: How I  Killed A Kodak Charmera

Unusually, I’m going to start this post off with a disclaimer and a warning. If you try to follow these guidelines to make a Charmera full-spectrum and kill the camera, like I did, it’s not my fault. This was my experience and it kind of worked, and then it didn’t. Also, and I’ll get this out at the start: always  make sure that the microSD card is removed from the camera. In this post I suggest using sharp blades in several (well two) places, so please, please take care when attempting this. I don’t want to read in any comments about cuts, and missing fingertips, or worse. Take care of yourselves, and if you find a better way of disassembling the Charmera that doesn’t involve blades, please let me know.

A couple of weeks ago, in December of 2025, I picked up a Kodak Charmera, a small ‘keychain’ camera. In fact, I have three Charmeras now; my original ‘rainbows and stars’ design, which is a normal unmodified version, and two others, which have remained in their boxes. This post is about the second Charmera, which I was hoping would be used for a full-spectrum conversion.

As a reminder, the Charmera is a small, no tiny, digital camera with a 1.6MP sensor and a tiny LCD screen. The controls are minimal, an on/off button, which also doubles as a menu selector, the shutter button, and three buttons on the back. One for playback/select items and two toggle buttons that cycle through the different filters. The shutter speed is fixed at around 1/30s, and images are stored on a microSD card. On the bottom of the device, next to the microSD card slot, is a USB-C socket for charging the camera or transferring files.  There are six different designs of the Charmera, with a seventh transparent design as a ‘special’, and they’re sold in ‘blind’ boxes, so you don’t actually know which one you’ve got until you open the box.

One thing I wondered with the original Charmera, as I do with all my cameras, was about it’s infrared sensitivity. With a 720nm infrared filter held over the lens I got a lovely result, and with red, green, and blue filters, made some nice digital aerochromes and trichromes. So I was certainly encouraged going into this experiment. In this case, I’m hoping to open up the Charmera and remove the IR cut filter in front of the sensor to make it truly full-spectrum. In this condition, the sensor will be sensitive to all wavelengths of light, from ultraviolet to infrared, and with 720nm and (a newly acquired) 590nm filters, I hope I might get some interesting results. 

Opening the blind box revealed that I had the ‘Kodak red’ version of the Charmera, which seemed appropriate considering what I wanted to do with it. Looking at the sealed camera, I wondered how I might get into it, but from a previous test with my original Charmera I knew that with a fine blade I could prise the back off the camera. You have to be really careful, and not press too hard with the blade. Once the back starts to come off, you can separate the back from the camera, it’s just held together with clips. One thing: if you’ve previously used the Charmera, make sure that you take out the microSD card. This will stop the main board from being removed from the body, and I think this is where I went wrong later.

Don’t pull the back away from the camera, the LCD screen is connected to the main board with a thin ribbon wire, and you don’t want the break that. I’ve seen videos where the user has opened the tab connecting the ribbon wire to the main board and separated the LCD screen completely, but you don’t have to do that, so long as you are careful. Lift the battery off the main board, this is held on with double sided tape, and gently pull out the speaker. Be very careful with this, the wires are very thin. I found it best to tug gently on the wires until the speaker is partially removed and then pull it completely out with tweezers.

The next stage is to remove the main board. The is fixed to the body with two tiny screws. (Remember to check that you’ve removed the microSD card.) When these are removed keep them safe, don’t lose them. The whole circuit board should fall out leaving two parts, the LCD back, with circuit board, speaker, and battery attached, and the now empty front of the camera. The sensor and lens assembly is connected to the front of the board with another ribbon wire, and this just pops into a mount in the front of the camera.

To get to the IR cut filter you need to pry the lens from the sensor. I was lucky to have a fine-blade medical scalpel, but a small X-acto (box cutter) should do to trick. Again, this seems to be lightly glued together, but once the two parts are partially separated, it’s easy to pull apart. This should reveal the small sensor on one side, and the lens and cut filter on the other. You can’t miss the IR cut filter, it’s the circular glass, and reflects light with a lovely pink hue. I tried to get this out in one piece with my blade, but it’s so thin that it just broke, so I just dug it out as best as I could. Underneath you can see the lens, and all you need to do is squeeze the two parts back together. I think that the foam padding on the back of the sensor holds the lens assembly securely in place when the main board is reattached, so you shouldn’t have to glue it together. As you’ll see shortly, it might be better not to glue the lens to the sensor in case adjustments have to be made.

Reassembling the Charmera is then just a matter of positioning the lens assembly in its socket, reattaching the main board with the two screws, and putting the speaker and battery back in place. Once all this is done, the camera back can be clipped back into place. Now it’s time to power up and test your nice new full-spectrum Charmera.

And this is where everything came slightly unstuck for me. Up close, the view through the LCD screen looked great, with all of the images having a lovely pink tinge. I took the camera to the window, and although the sun had set, the image looked like a full-spectrum image. I took an image of the view, and transferred it to the phone. It was blurred. It’s a known fact that infrared wavelengths have a slightly different point of focus to visible wavelengths, and the IR cut filter has a small refractive index that the manufacturers adjust for when making digital cameras. I was hoping that the cut filter of the Charmera was thin enough that this would not have been important, but it seems like it is.

I reopened the Charmera and started to take it apart, which was going perfectly well until I tried to remove the main board from the body. It just wouldn’t come out. And then I remembered the microSD card, which was still sitting in the camera. When I removed that the board came out easily, but when I tried to power the disassembled camera to check focus, it was dead. The only thing I can think of was that I tried to pull the board out with the microSD card in place, and somewhere along the line I broke something. So now I have a dead red Charmera. It’s a shame, I really liked that design. 

If you are on Mastodon, you can now follow this blog directly. Just go to Mastodon and follow my WordPress account at @keithdevereux.wordpress.com. All new posts will be automatically updated to your timeline on Mastodon.

#Abstract #Aerochrome #Charmera #Digital #Experimental #Filters #Infrared #Kodak #KodakCharmera #LoFi #Retro #ToyCamera #Trichrome #VintageVibes

A Full Spectrum Conversion That Went Wrong, Or: How I  Killed A Kodak Charmera

Unusually, I’m going to start this post off with a disclaimer and a warning. If you try to follow these guidelines to make a Charmera full-spectrum and kill the camera, like I did, it’s not my fault. This was my experience and it kind of worked, and then it didn’t. Also, and I’ll get this out at the start: always  make sure that the microSD card is removed from the camera. In this post I suggest using sharp blades in several (well two) places, so please, please take care when attempting this. I don’t want to read in any comments about cuts, and missing fingertips, or worse. Take care of yourselves, and if you find a better way of disassembling the Charmera that doesn’t involve blades, please let me know.

A couple of weeks ago, in December of 2025, I picked up a Kodak Charmera, a small ‘keychain’ camera. In fact, I have three Charmeras now; my original ‘rainbows and stars’ design, which is a normal unmodified version, and two others, which have remained in their boxes. This post is about the second Charmera, which I was hoping would be used for a full-spectrum conversion.

As a reminder, the Charmera is a small, no tiny, digital camera with a 1.6MP sensor and a tiny LCD screen. The controls are minimal, an on/off button, which also doubles as a menu selector, the shutter button, and three buttons on the back. One for playback/select items and two toggle buttons that cycle through the different filters. The shutter speed is fixed at around 1/30s, and images are stored on a microSD card. On the bottom of the device, next to the microSD card slot, is a USB-C socket for charging the camera or transferring files.  There are six different designs of the Charmera, with a seventh transparent design as a ‘special’, and they’re sold in ‘blind’ boxes, so you don’t actually know which one you’ve got until you open the box.

One thing I wondered with the original Charmera, as I do with all my cameras, was about it’s infrared sensitivity. With a 720nm infrared filter held over the lens I got a lovely result, and with red, green, and blue filters, made some nice digital aerochromes and trichromes. So I was certainly encouraged going into this experiment. In this case, I’m hoping to open up the Charmera and remove the IR cut filter in front of the sensor to make it truly full-spectrum. In this condition, the sensor will be sensitive to all wavelengths of light, from ultraviolet to infrared, and with 720nm and (a newly acquired) 590nm filters, I hope I might get some interesting results. 

Opening the blind box revealed that I had the ‘Kodak red’ version of the Charmera, which seemed appropriate considering what I wanted to do with it. Looking at the sealed camera, I wondered how I might get into it, but from a previous test with my original Charmera I knew that with a fine blade I could prise the back off the camera. You have to be really careful, and not press too hard with the blade. Once the back starts to come off, you can separate the back from the camera, it’s just held together with clips. One thing: if you’ve previously used the Charmera, make sure that you take out the microSD card. This will stop the main board from being removed from the body, and I think this is where I went wrong later.

Don’t pull the back away from the camera, the LCD screen is connected to the main board with a thin ribbon wire, and you don’t want the break that. I’ve seen videos where the user has opened the tab connecting the ribbon wire to the main board and separated the LCD screen completely, but you don’t have to do that, so long as you are careful. Lift the battery off the main board, this is held on with double sided tape, and gently pull out the speaker. Be very careful with this, the wires are very thin. I found it best to tug gently on the wires until the speaker is partially removed and then pull it completely out with tweezers.

The next stage is to remove the main board. The is fixed to the body with two tiny screws. (Remember to check that you’ve removed the microSD card.) When these are removed keep them safe, don’t lose them. The whole circuit board should fall out leaving two parts, the LCD back, with circuit board, speaker, and battery attached, and the now empty front of the camera. The sensor and lens assembly is connected to the front of the board with another ribbon wire, and this just pops into a mount in the front of the camera.

To get to the IR cut filter you need to pry the lens from the sensor. I was lucky to have a fine-blade medical scalpel, but a small X-acto (box cutter) should do to trick. Again, this seems to be lightly glued together, but once the two parts are partially separated, it’s easy to pull apart. This should reveal the small sensor on one side, and the lens and cut filter on the other. You can’t miss the IR cut filter, it’s the circular glass, and reflects light with a lovely pink hue. I tried to get this out in one piece with my blade, but it’s so thin that it just broke, so I just dug it out as best as I could. Underneath you can see the lens, and all you need to do is squeeze the two parts back together. I think that the foam padding on the back of the sensor holds the lens assembly securely in place when the main board is reattached, so you shouldn’t have to glue it together. As you’ll see shortly, it might be better not to glue the lens to the sensor in case adjustments have to be made.

Reassembling the Charmera is then just a matter of positioning the lens assembly in its socket, reattaching the main board with the two screws, and putting the speaker and battery back in place. Once all this is done, the camera back can be clipped back into place. Now it’s time to power up and test your nice new full-spectrum Charmera.

And this is where everything came slightly unstuck for me. Up close, the view through the LCD screen looked great, with all of the images having a lovely pink tinge. I took the camera to the window, and although the sun had set, the image looked like a full-spectrum image. I took an image of the view, and transferred it to the phone. It was blurred. It’s a known fact that infrared wavelengths have a slightly different point of focus to visible wavelengths, and the IR cut filter has a small refractive index that the manufacturers adjust for when making digital cameras. I was hoping that the cut filter of the Charmera was thin enough that this would not have been important, but it seems like it is.

I reopened the Charmera and started to take it apart, which was going perfectly well until I tried to remove the main board from the body. It just wouldn’t come out. And then I remembered the microSD card, which was still sitting in the camera. When I removed that the board came out easily, but when I tried to power the disassembled camera to check focus, it was dead. The only thing I can think of was that I tried to pull the board out with the microSD card in place, and somewhere along the line I broke something. So now I have a dead red Charmera. It’s a shame, I really liked that design. 

If you are on Mastodon, you can now follow this blog directly. Just go to Mastodon and follow my WordPress account at @keithdevereux.wordpress.com. All new posts will be automatically updated to your timeline on Mastodon.

#Abstract #Aerochrome #Charmera #Digital #Experimental #Filters #Infrared #Kodak #KodakCharmera #LoFi #Retro #ToyCamera #Trichrome #VintageVibes

A Full Spectrum Conversion That Went Wrong, Or: How I  Killed A Kodak Charmera

Unusually, I’m going to start this post off with a disclaimer and a warning. If you try to follow these guidelines to make a Charmera full-spectrum and kill the camera, like I did, it’s not my fault. This was my experience and it kind of worked, and then it didn’t. Also, and I’ll get this out at the start: always  make sure that the microSD card is removed from the camera. In this post I suggest using sharp blades in several (well two) places, so please, please take care when attempting this. I don’t want to read in any comments about cuts, and missing fingertips, or worse. Take care of yourselves, and if you find a better way of disassembling the Charmera that doesn’t involve blades, please let me know.

A couple of weeks ago, in December of 2025, I picked up a Kodak Charmera, a small ‘keychain’ camera. In fact, I have three Charmeras now; my original ‘rainbows and stars’ design, which is a normal unmodified version, and two others, which have remained in their boxes. This post is about the second Charmera, which I was hoping would be used for a full-spectrum conversion.

As a reminder, the Charmera is a small, no tiny, digital camera with a 1.6MP sensor and a tiny LCD screen. The controls are minimal, an on/off button, which also doubles as a menu selector, the shutter button, and three buttons on the back. One for playback/select items and two toggle buttons that cycle through the different filters. The shutter speed is fixed at around 1/30s, and images are stored on a microSD card. On the bottom of the device, next to the microSD card slot, is a USB-C socket for charging the camera or transferring files.  There are six different designs of the Charmera, with a seventh transparent design as a ‘special’, and they’re sold in ‘blind’ boxes, so you don’t actually know which one you’ve got until you open the box.

One thing I wondered with the original Charmera, as I do with all my cameras, was about it’s infrared sensitivity. With a 720nm infrared filter held over the lens I got a lovely result, and with red, green, and blue filters, made some nice digital aerochromes and trichromes. So I was certainly encouraged going into this experiment. In this case, I’m hoping to open up the Charmera and remove the IR cut filter in front of the sensor to make it truly full-spectrum. In this condition, the sensor will be sensitive to all wavelengths of light, from ultraviolet to infrared, and with 720nm and (a newly acquired) 590nm filters, I hope I might get some interesting results. 

Opening the blind box revealed that I had the ‘Kodak red’ version of the Charmera, which seemed appropriate considering what I wanted to do with it. Looking at the sealed camera, I wondered how I might get into it, but from a previous test with my original Charmera I knew that with a fine blade I could prise the back off the camera. You have to be really careful, and not press too hard with the blade. Once the back starts to come off, you can separate the back from the camera, it’s just held together with clips. One thing: if you’ve previously used the Charmera, make sure that you take out the microSD card. This will stop the main board from being removed from the body, and I think this is where I went wrong later.

Don’t pull the back away from the camera, the LCD screen is connected to the main board with a thin ribbon wire, and you don’t want the break that. I’ve seen videos where the user has opened the tab connecting the ribbon wire to the main board and separated the LCD screen completely, but you don’t have to do that, so long as you are careful. Lift the battery off the main board, this is held on with double sided tape, and gently pull out the speaker. Be very careful with this, the wires are very thin. I found it best to tug gently on the wires until the speaker is partially removed and then pull it completely out with tweezers.

The next stage is to remove the main board. The is fixed to the body with two tiny screws. (Remember to check that you’ve removed the microSD card.) When these are removed keep them safe, don’t lose them. The whole circuit board should fall out leaving two parts, the LCD back, with circuit board, speaker, and battery attached, and the now empty front of the camera. The sensor and lens assembly is connected to the front of the board with another ribbon wire, and this just pops into a mount in the front of the camera.

To get to the IR cut filter you need to pry the lens from the sensor. I was lucky to have a fine-blade medical scalpel, but a small X-acto (box cutter) should do to trick. Again, this seems to be lightly glued together, but once the two parts are partially separated, it’s easy to pull apart. This should reveal the small sensor on one side, and the lens and cut filter on the other. You can’t miss the IR cut filter, it’s the circular glass, and reflects light with a lovely pink hue. I tried to get this out in one piece with my blade, but it’s so thin that it just broke, so I just dug it out as best as I could. Underneath you can see the lens, and all you need to do is squeeze the two parts back together. I think that the foam padding on the back of the sensor holds the lens assembly securely in place when the main board is reattached, so you shouldn’t have to glue it together. As you’ll see shortly, it might be better not to glue the lens to the sensor in case adjustments have to be made.

Reassembling the Charmera is then just a matter of positioning the lens assembly in its socket, reattaching the main board with the two screws, and putting the speaker and battery back in place. Once all this is done, the camera back can be clipped back into place. Now it’s time to power up and test your nice new full-spectrum Charmera.

And this is where everything came slightly unstuck for me. Up close, the view through the LCD screen looked great, with all of the images having a lovely pink tinge. I took the camera to the window, and although the sun had set, the image looked like a full-spectrum image. I took an image of the view, and transferred it to the phone. It was blurred. It’s a known fact that infrared wavelengths have a slightly different point of focus to visible wavelengths, and the IR cut filter has a small refractive index that the manufacturers adjust for when making digital cameras. I was hoping that the cut filter of the Charmera was thin enough that this would not have been important, but it seems like it is.

I reopened the Charmera and started to take it apart, which was going perfectly well until I tried to remove the main board from the body. It just wouldn’t come out. And then I remembered the microSD card, which was still sitting in the camera. When I removed that the board came out easily, but when I tried to power the disassembled camera to check focus, it was dead. The only thing I can think of was that I tried to pull the board out with the microSD card in place, and somewhere along the line I broke something. So now I have a dead red Charmera. It’s a shame, I really liked that design. 

If you are on Mastodon, you can now follow this blog directly. Just go to Mastodon and follow my WordPress account at @keithdevereux.wordpress.com. All new posts will be automatically updated to your timeline on Mastodon.

#Abstract #Aerochrome #Charmera #Digital #Experimental #Filters #Infrared #Kodak #KodakCharmera #LoFi #Retro #ToyCamera #Trichrome #VintageVibes

A Full Spectrum Conversion That Went Wrong, Or: How I  Killed A Kodak Charmera

Unusually, I’m going to start this post off with a disclaimer and a warning. If you try to follow these guidelines to make a Charmera full-spectrum and kill the camera, like I did, it’s not my fault. This was my experience and it kind of worked, and then it didn’t. Also, and I’ll get this out at the start: always  make sure that the microSD card is removed from the camera. In this post I suggest using sharp blades in several (well two) places, so please, please take care when attempting this. I don’t want to read in any comments about cuts, and missing fingertips, or worse. Take care of yourselves, and if you find a better way of disassembling the Charmera that doesn’t involve blades, please let me know.

A couple of weeks ago, in December of 2025, I picked up a Kodak Charmera, a small ‘keychain’ camera. In fact, I have three Charmeras now; my original ‘rainbows and stars’ design, which is a normal unmodified version, and two others, which have remained in their boxes. This post is about the second Charmera, which I was hoping would be used for a full-spectrum conversion.

As a reminder, the Charmera is a small, no tiny, digital camera with a 1.6MP sensor and a tiny LCD screen. The controls are minimal, an on/off button, which also doubles as a menu selector, the shutter button, and three buttons on the back. One for playback/select items and two toggle buttons that cycle through the different filters. The shutter speed is fixed at around 1/30s, and images are stored on a microSD card. On the bottom of the device, next to the microSD card slot, is a USB-C socket for charging the camera or transferring files.  There are six different designs of the Charmera, with a seventh transparent design as a ‘special’, and they’re sold in ‘blind’ boxes, so you don’t actually know which one you’ve got until you open the box.

One thing I wondered with the original Charmera, as I do with all my cameras, was about it’s infrared sensitivity. With a 720nm infrared filter held over the lens I got a lovely result, and with red, green, and blue filters, made some nice digital aerochromes and trichromes. So I was certainly encouraged going into this experiment. In this case, I’m hoping to open up the Charmera and remove the IR cut filter in front of the sensor to make it truly full-spectrum. In this condition, the sensor will be sensitive to all wavelengths of light, from ultraviolet to infrared, and with 720nm and (a newly acquired) 590nm filters, I hope I might get some interesting results. 

Opening the blind box revealed that I had the ‘Kodak red’ version of the Charmera, which seemed appropriate considering what I wanted to do with it. Looking at the sealed camera, I wondered how I might get into it, but from a previous test with my original Charmera I knew that with a fine blade I could prise the back off the camera. You have to be really careful, and not press too hard with the blade. Once the back starts to come off, you can separate the back from the camera, it’s just held together with clips. One thing: if you’ve previously used the Charmera, make sure that you take out the microSD card. This will stop the main board from being removed from the body, and I think this is where I went wrong later.

Don’t pull the back away from the camera, the LCD screen is connected to the main board with a thin ribbon wire, and you don’t want the break that. I’ve seen videos where the user has opened the tab connecting the ribbon wire to the main board and separated the LCD screen completely, but you don’t have to do that, so long as you are careful. Lift the battery off the main board, this is held on with double sided tape, and gently pull out the speaker. Be very careful with this, the wires are very thin. I found it best to tug gently on the wires until the speaker is partially removed and then pull it completely out with tweezers.

The next stage is to remove the main board. The is fixed to the body with two tiny screws. (Remember to check that you’ve removed the microSD card.) When these are removed keep them safe, don’t lose them. The whole circuit board should fall out leaving two parts, the LCD back, with circuit board, speaker, and battery attached, and the now empty front of the camera. The sensor and lens assembly is connected to the front of the board with another ribbon wire, and this just pops into a mount in the front of the camera.

To get to the IR cut filter you need to pry the lens from the sensor. I was lucky to have a fine-blade medical scalpel, but a small X-acto (box cutter) should do to trick. Again, this seems to be lightly glued together, but once the two parts are partially separated, it’s easy to pull apart. This should reveal the small sensor on one side, and the lens and cut filter on the other. You can’t miss the IR cut filter, it’s the circular glass, and reflects light with a lovely pink hue. I tried to get this out in one piece with my blade, but it’s so thin that it just broke, so I just dug it out as best as I could. Underneath you can see the lens, and all you need to do is squeeze the two parts back together. I think that the foam padding on the back of the sensor holds the lens assembly securely in place when the main board is reattached, so you shouldn’t have to glue it together. As you’ll see shortly, it might be better not to glue the lens to the sensor in case adjustments have to be made.

Reassembling the Charmera is then just a matter of positioning the lens assembly in its socket, reattaching the main board with the two screws, and putting the speaker and battery back in place. Once all this is done, the camera back can be clipped back into place. Now it’s time to power up and test your nice new full-spectrum Charmera.

And this is where everything came slightly unstuck for me. Up close, the view through the LCD screen looked great, with all of the images having a lovely pink tinge. I took the camera to the window, and although the sun had set, the image looked like a full-spectrum image. I took an image of the view, and transferred it to the phone. It was blurred. It’s a known fact that infrared wavelengths have a slightly different point of focus to visible wavelengths, and the IR cut filter has a small refractive index that the manufacturers adjust for when making digital cameras. I was hoping that the cut filter of the Charmera was thin enough that this would not have been important, but it seems like it is.

I reopened the Charmera and started to take it apart, which was going perfectly well until I tried to remove the main board from the body. It just wouldn’t come out. And then I remembered the microSD card, which was still sitting in the camera. When I removed that the board came out easily, but when I tried to power the disassembled camera to check focus, it was dead. The only thing I can think of was that I tried to pull the board out with the microSD card in place, and somewhere along the line I broke something. So now I have a dead red Charmera. It’s a shame, I really liked that design. 

If you are on Mastodon, you can now follow this blog directly. Just go to Mastodon and follow my WordPress account at @keithdevereux.wordpress.com. All new posts will be automatically updated to your timeline on Mastodon.

#Abstract #Aerochrome #Charmera #Digital #Experimental #Filters #Infrared #Kodak #KodakCharmera #LoFi #Retro #ToyCamera #Trichrome #VintageVibes

A Full Spectrum Conversion That Went Wrong, Or: How I  Killed A Kodak Charmera

Unusually, I’m going to start this post off with a disclaimer and a warning. If you try to follow these guidelines to make a Charmera full-spectrum and kill the camera, like I did, it’s not my fault. This was my experience and it kind of worked, and then it didn’t. Also, and I’ll get this out at the start: always  make sure that the microSD card is removed from the camera. In this post I suggest using sharp blades in several (well two) places, so please, please take care when attempting this. I don’t want to read in any comments about cuts, and missing fingertips, or worse. Take care of yourselves, and if you find a better way of disassembling the Charmera that doesn’t involve blades, please let me know.

A couple of weeks ago, in December of 2025, I picked up a Kodak Charmera, a small ‘keychain’ camera. In fact, I have three Charmeras now; my original ‘rainbows and stars’ design, which is a normal unmodified version, and two others, which have remained in their boxes. This post is about the second Charmera, which I was hoping would be used for a full-spectrum conversion.

As a reminder, the Charmera is a small, no tiny, digital camera with a 1.6MP sensor and a tiny LCD screen. The controls are minimal, an on/off button, which also doubles as a menu selector, the shutter button, and three buttons on the back. One for playback/select items and two toggle buttons that cycle through the different filters. The shutter speed is fixed at around 1/30s, and images are stored on a microSD card. On the bottom of the device, next to the microSD card slot, is a USB-C socket for charging the camera or transferring files.  There are six different designs of the Charmera, with a seventh transparent design as a ‘special’, and they’re sold in ‘blind’ boxes, so you don’t actually know which one you’ve got until you open the box.

One thing I wondered with the original Charmera, as I do with all my cameras, was about it’s infrared sensitivity. With a 720nm infrared filter held over the lens I got a lovely result, and with red, green, and blue filters, made some nice digital aerochromes and trichromes. So I was certainly encouraged going into this experiment. In this case, I’m hoping to open up the Charmera and remove the IR cut filter in front of the sensor to make it truly full-spectrum. In this condition, the sensor will be sensitive to all wavelengths of light, from ultraviolet to infrared, and with 720nm and (a newly acquired) 590nm filters, I hope I might get some interesting results. 

Opening the blind box revealed that I had the ‘Kodak red’ version of the Charmera, which seemed appropriate considering what I wanted to do with it. Looking at the sealed camera, I wondered how I might get into it, but from a previous test with my original Charmera I knew that with a fine blade I could prise the back off the camera. You have to be really careful, and not press too hard with the blade. Once the back starts to come off, you can separate the back from the camera, it’s just held together with clips. One thing: if you’ve previously used the Charmera, make sure that you take out the microSD card. This will stop the main board from being removed from the body, and I think this is where I went wrong later.

Don’t pull the back away from the camera, the LCD screen is connected to the main board with a thin ribbon wire, and you don’t want the break that. I’ve seen videos where the user has opened the tab connecting the ribbon wire to the main board and separated the LCD screen completely, but you don’t have to do that, so long as you are careful. Lift the battery off the main board, this is held on with double sided tape, and gently pull out the speaker. Be very careful with this, the wires are very thin. I found it best to tug gently on the wires until the speaker is partially removed and then pull it completely out with tweezers.

The next stage is to remove the main board. The is fixed to the body with two tiny screws. (Remember to check that you’ve removed the microSD card.) When these are removed keep them safe, don’t lose them. The whole circuit board should fall out leaving two parts, the LCD back, with circuit board, speaker, and battery attached, and the now empty front of the camera. The sensor and lens assembly is connected to the front of the board with another ribbon wire, and this just pops into a mount in the front of the camera.

To get to the IR cut filter you need to pry the lens from the sensor. I was lucky to have a fine-blade medical scalpel, but a small X-acto (box cutter) should do to trick. Again, this seems to be lightly glued together, but once the two parts are partially separated, it’s easy to pull apart. This should reveal the small sensor on one side, and the lens and cut filter on the other. You can’t miss the IR cut filter, it’s the circular glass, and reflects light with a lovely pink hue. I tried to get this out in one piece with my blade, but it’s so thin that it just broke, so I just dug it out as best as I could. Underneath you can see the lens, and all you need to do is squeeze the two parts back together. I think that the foam padding on the back of the sensor holds the lens assembly securely in place when the main board is reattached, so you shouldn’t have to glue it together. As you’ll see shortly, it might be better not to glue the lens to the sensor in case adjustments have to be made.

Reassembling the Charmera is then just a matter of positioning the lens assembly in its socket, reattaching the main board with the two screws, and putting the speaker and battery back in place. Once all this is done, the camera back can be clipped back into place. Now it’s time to power up and test your nice new full-spectrum Charmera.

And this is where everything came slightly unstuck for me. Up close, the view through the LCD screen looked great, with all of the images having a lovely pink tinge. I took the camera to the window, and although the sun had set, the image looked like a full-spectrum image. I took an image of the view, and transferred it to the phone. It was blurred. It’s a known fact that infrared wavelengths have a slightly different point of focus to visible wavelengths, and the IR cut filter has a small refractive index that the manufacturers adjust for when making digital cameras. I was hoping that the cut filter of the Charmera was thin enough that this would not have been important, but it seems like it is.

I reopened the Charmera and started to take it apart, which was going perfectly well until I tried to remove the main board from the body. It just wouldn’t come out. And then I remembered the microSD card, which was still sitting in the camera. When I removed that the board came out easily, but when I tried to power the disassembled camera to check focus, it was dead. The only thing I can think of was that I tried to pull the board out with the microSD card in place, and somewhere along the line I broke something. So now I have a dead red Charmera. It’s a shame, I really liked that design. 

If you are on Mastodon, you can now follow this blog directly. Just go to Mastodon and follow my WordPress account at @keithdevereux.wordpress.com. All new posts will be automatically updated to your timeline on Mastodon.

#Abstract #Aerochrome #Charmera #Digital #Experimental #Filters #Infrared #Kodak #KodakCharmera #LoFi #Retro #ToyCamera #Trichrome #VintageVibes

Lens-Artists Challenge #335: Exploring Colour vs Black & White

This week, Patti of Creative Exploration in Words and Pictures is hosting the Challenge and she’s asking us to look at our use of colour or black & white in our photography. ‘When is it best to use one vs the other?’ She ponders: ‘What’s the benefit of each one?’

Patti sets us a challenge, ‘to explore the difference and the impact of using color [sic] or black & white photography in your selected photos. … Post pairs of the same image in both color and black & white. Limit the number of images to 3 pairs.’ She continues by asking us to: ‘Compare the differences in mood, texture, and light. Share your thoughts on how black & white or color processing impacts each photo. Tell us which one you prefer.’

I tend to use colour a lot in my photography, especially in film photography where I’m a big fan of those colour shifting emulsions like Lomochrome Turquoise or Purple. But in my digital work, I’m a little less … picky. 

Often it will depend on the subject. Most of my intentional camera movement (ICM) work is done in colour, I feel that ICM benefits from colour a lot, but the exception is urban ICM, which I think is much better in black and white. Similarly, if I’m out recording some street art then that always deserves colour — even if, or especially if, it’s starting to decay.

Sometimes, though, I set out to make images in black and white, then create colour images from them. There’s nothing I like more than taking an old digicam from the 2000s (the noughties) and testing out the infrared sensitivity of its lovely, lovely CCD sensor. This is often the first thing I do with every new digital camera I get my hands on, and the results can be … interesting. 

For example, here is a black and white infrared image of the steel footbridge over the Parque de Infante Dom Pedro in Aveiro. Taken with a Samsung Digimax U-CA3 digital camera from 2003, the camera has been set to monochrome mode and the image taken through a Hoya 720nm Infrared filter. It’s a typical looking infrared image, with white vegetation, which reflects the infrared wavelengths falling upon it, and dark skies and the metal of the bridge, which do not.

But when you take more monochrome images, using red and green filters, and edit the images as layers in a photo editor, everything changes. Suddenly the vegetation becomes shades of red, the sky becomes a bright blue or turquoise, and the image just pops. This is what I call a digital aerochrome, after the long defunct colour infrared emulsion made by Kodak and based on the procedure devised by Joshua Bird. He developed his method using infrared film, but the same technique applies to digital photography as well.

You can have a lot of fun with a digital camera and a set of filters. Take this infrared image of a landscape with lovely wispy clouds in the sky. It’s an OK infrared image in black and white, with the clouds popping against a dark sky. But make it into a digital aerochrome and suddenly the clouds become a kaleidoscope of colour. This is down to the clouds moving in the sky between the three exposures. When the images are lined up in the photo editor the colours of the filters don’t match and are presented in the image as individual colours.

Of course, it doesn’t always go as planned. Turns out this Konica Q-M100, a 1,3MP digital camera from 1997, can’t actually be set to monochrome mode, and the digital aerochromes were absolutely awful. That said, the regular colour images were quite stunning, but through an infrared filter, all of a sudden the image became almost monochrome in appearance. It looked as though a sepia filter had been applied, and personally I found this much more appealing than the colour image.

Sometimes we can combine two techniques. I thought that it might be a nice idea to try some infrared ICM. The results were less than stellar, though, I’m not sure that I’ve ever seen a more boring infrared image, or ICM image for that matter.

But when you make a digital aerochrome of the infrared woodland image, by taking further ICM images through red and green filters, all of a sudden the ICM becomes much more interesting. I’ve used this technique two or three times, and I really love how it comes out.

So instead of using these noughties digicams for ‘regular’ colour photography, odds are that during the sunny spring and summer months you’ll find me wandering around the woods behind our house or in Aveiro with a noughties digicam set to monochrome mode and my little collection of filters. So if you ask me, do I prefer to use colour or black and white, I can happy say, BOTH!

Next week, Ann-Christine will host the Challenge, so I hope that you can join us then. Themes for the Lens-Artists Challenge are posted each Saturday at 12:00 noon EST (which is 4pm, GMT) and anyone who wants to take part can post their images during the week. If you want to know more about the Challenge, details can be found here, and entries can be found on the WordPress reader using the tag ‘Lens-Artists’.

If you are on Mastodon, you can now follow this blog directly. Just go to Mastodon and follow the ‘Snapshot’ WordPress account at @keithdevereux.wordpress.com. All new posts will be automatically updated to your timeline.

#Aerochrome #Blackandwhite #Challenge #Colour #Infrared #Landscape #LensArtists #Monochrome #Nature #Tree #Trichrome #TrichromeEverything #VintageDigital #LensArtists

Lens-Artists Challenge #335: Exploring Colour vs Black & White

This week, Patti of Creative Exploration in Words and Pictures is hosting the Challenge and she’s asking us to look at our use of colour or black & white in our photography. ‘When is it best to use one vs the other?’ She ponders: ‘What’s the benefit of each one?’

Patti sets us a challenge, ‘to explore the difference and the impact of using color [sic] or black & white photography in your selected photos. … Post pairs of the same image in both color and black & white. Limit the number of images to 3 pairs.’ She continues by asking us to: ‘Compare the differences in mood, texture, and light. Share your thoughts on how black & white or color processing impacts each photo. Tell us which one you prefer.’

I tend to use colour a lot in my photography, especially in film photography where I’m a big fan of those colour shifting emulsions like Lomochrome Turquoise or Purple. But in my digital work, I’m a little less … picky. 

Often it will depend on the subject. Most of my intentional camera movement (ICM) work is done in colour, I feel that ICM benefits from colour a lot, but the exception is urban ICM, which I think is much better in black and white. Similarly, if I’m out recording some street art then that always deserves colour — even if, or especially if, it’s starting to decay.

Sometimes, though, I set out to make images in black and white, then create colour images from them. There’s nothing I like more than taking an old digicam from the 2000s (the noughties) and testing out the infrared sensitivity of its lovely, lovely CCD sensor. This is often the first thing I do with every new digital camera I get my hands on, and the results can be … interesting. 

For example, here is a black and white infrared image of the steel footbridge over the Parque de Infante Dom Pedro in Aveiro. Taken with a Samsung Digimax U-CA3 digital camera from 2003, the camera has been set to monochrome mode and the image taken through a Hoya 720nm Infrared filter. It’s a typical looking infrared image, with white vegetation, which reflects the infrared wavelengths falling upon it, and dark skies and the metal of the bridge, which do not.

But when you take more monochrome images, using red and green filters, and edit the images as layers in a photo editor, everything changes. Suddenly the vegetation becomes shades of red, the sky becomes a bright blue or turquoise, and the image just pops. This is what I call a digital aerochrome, after the long defunct colour infrared emulsion made by Kodak and based on the procedure devised by Joshua Bird. He developed his method using infrared film, but the same technique applies to digital photography as well.

You can have a lot of fun with a digital camera and a set of filters. Take this infrared image of a landscape with lovely wispy clouds in the sky. It’s an OK infrared image in black and white, with the clouds popping against a dark sky. But make it into a digital aerochrome and suddenly the clouds become a kaleidoscope of colour. This is down to the clouds moving in the sky between the three exposures. When the images are lined up in the photo editor the colours of the filters don’t match and are presented in the image as individual colours.

Of course, it doesn’t always go as planned. Turns out this Konica Q-M100, a 1,3MP digital camera from 1997, can’t actually be set to monochrome mode, and the digital aerochromes were absolutely awful. That said, the regular colour images were quite stunning, but through an infrared filter, all of a sudden the image became almost monochrome in appearance. It looked as though a sepia filter had been applied, and personally I found this much more appealing than the colour image.

Sometimes we can combine two techniques. I thought that it might be a nice idea to try some infrared ICM. The results were less than stellar, though, I’m not sure that I’ve ever seen a more boring infrared image, or ICM image for that matter.

But when you make a digital aerochrome of the infrared woodland image, by taking further ICM images through red and green filters, all of a sudden the ICM becomes much more interesting. I’ve used this technique two or three times, and I really love how it comes out.

So instead of using these noughties digicams for ‘regular’ colour photography, odds are that during the sunny spring and summer months you’ll find me wandering around the woods behind our house or in Aveiro with a noughties digicam set to monochrome mode and my little collection of filters. So if you ask me, do I prefer to use colour or black and white, I can happy say, BOTH!

Next week, Ann-Christine will host the Challenge, so I hope that you can join us then. Themes for the Lens-Artists Challenge are posted each Saturday at 12:00 noon EST (which is 4pm, GMT) and anyone who wants to take part can post their images during the week. If you want to know more about the Challenge, details can be found here, and entries can be found on the WordPress reader using the tag ‘Lens-Artists’.

If you are on Mastodon, you can now follow this blog directly. Just go to Mastodon and follow the ‘Snapshot’ WordPress account at @keithdevereux.wordpress.com. All new posts will be automatically updated to your timeline.

#Aerochrome #Blackandwhite #Challenge #Colour #Infrared #Landscape #LensArtists #Monochrome #Nature #Tree #Trichrome #TrichromeEverything #VintageDigital #LensArtists

Lens-Artists Challenge #335: Exploring Colour vs Black & White

This week, Patti of Creative Exploration in Words and Pictures is hosting the Challenge and she’s asking us to look at our use of colour or black & white in our photography. ‘When is it best to use one vs the other?’ She ponders: ‘What’s the benefit of each one?’

Patti sets us a challenge, ‘to explore the difference and the impact of using color [sic] or black & white photography in your selected photos. … Post pairs of the same image in both color and black & white. Limit the number of images to 3 pairs.’ She continues by asking us to: ‘Compare the differences in mood, texture, and light. Share your thoughts on how black & white or color processing impacts each photo. Tell us which one you prefer.’

I tend to use colour a lot in my photography, especially in film photography where I’m a big fan of those colour shifting emulsions like Lomochrome Turquoise or Purple. But in my digital work, I’m a little less … picky. 

Often it will depend on the subject. Most of my intentional camera movement (ICM) work is done in colour, I feel that ICM benefits from colour a lot, but the exception is urban ICM, which I think is much better in black and white. Similarly, if I’m out recording some street art then that always deserves colour — even if, or especially if, it’s starting to decay.

Sometimes, though, I set out to make images in black and white, then create colour images from them. There’s nothing I like more than taking an old digicam from the 2000s (the noughties) and testing out the infrared sensitivity of its lovely, lovely CCD sensor. This is often the first thing I do with every new digital camera I get my hands on, and the results can be … interesting. 

For example, here is a black and white infrared image of the steel footbridge over the Parque de Infante Dom Pedro in Aveiro. Taken with a Samsung Digimax U-CA3 digital camera from 2003, the camera has been set to monochrome mode and the image taken through a Hoya 720nm Infrared filter. It’s a typical looking infrared image, with white vegetation, which reflects the infrared wavelengths falling upon it, and dark skies and the metal of the bridge, which do not.

But when you take more monochrome images, using red and green filters, and edit the images as layers in a photo editor, everything changes. Suddenly the vegetation becomes shades of red, the sky becomes a bright blue or turquoise, and the image just pops. This is what I call a digital aerochrome, after the long defunct colour infrared emulsion made by Kodak and based on the procedure devised by Joshua Bird. He developed his method using infrared film, but the same technique applies to digital photography as well.

You can have a lot of fun with a digital camera and a set of filters. Take this infrared image of a landscape with lovely wispy clouds in the sky. It’s an OK infrared image in black and white, with the clouds popping against a dark sky. But make it into a digital aerochrome and suddenly the clouds become a kaleidoscope of colour. This is down to the clouds moving in the sky between the three exposures. When the images are lined up in the photo editor the colours of the filters don’t match and are presented in the image as individual colours.

Of course, it doesn’t always go as planned. Turns out this Konica Q-M100, a 1,3MP digital camera from 1997, can’t actually be set to monochrome mode, and the digital aerochromes were absolutely awful. That said, the regular colour images were quite stunning, but through an infrared filter, all of a sudden the image became almost monochrome in appearance. It looked as though a sepia filter had been applied, and personally I found this much more appealing than the colour image.

Sometimes we can combine two techniques. I thought that it might be a nice idea to try some infrared ICM. The results were less than stellar, though, I’m not sure that I’ve ever seen a more boring infrared image, or ICM image for that matter.

But when you make a digital aerochrome of the infrared woodland image, by taking further ICM images through red and green filters, all of a sudden the ICM becomes much more interesting. I’ve used this technique two or three times, and I really love how it comes out.

So instead of using these noughties digicams for ‘regular’ colour photography, odds are that during the sunny spring and summer months you’ll find me wandering around the woods behind our house or in Aveiro with a noughties digicam set to monochrome mode and my little collection of filters. So if you ask me, do I prefer to use colour or black and white, I can happy say, BOTH!

Next week, Ann-Christine will host the Challenge, so I hope that you can join us then. Themes for the Lens-Artists Challenge are posted each Saturday at 12:00 noon EST (which is 4pm, GMT) and anyone who wants to take part can post their images during the week. If you want to know more about the Challenge, details can be found here, and entries can be found on the WordPress reader using the tag ‘Lens-Artists’.

If you are on Mastodon, you can now follow this blog directly. Just go to Mastodon and follow the ‘Snapshot’ WordPress account at @keithdevereux.wordpress.com. All new posts will be automatically updated to your timeline.

#Aerochrome #Blackandwhite #Challenge #Colour #Infrared #Landscape #LensArtists #Monochrome #Nature #Tree #Trichrome #TrichromeEverything #VintageDigital #LensArtists

Lens-Artists Challenge #335: Exploring Colour vs Black & White

This week, Patti of Creative Exploration in Words and Pictures is hosting the Challenge and she’s asking us to look at our use of colour or black & white in our photography. ‘When is it best to use one vs the other?’ She ponders: ‘What’s the benefit of each one?’

Patti sets us a challenge, ‘to explore the difference and the impact of using color [sic] or black & white photography in your selected photos. … Post pairs of the same image in both color and black & white. Limit the number of images to 3 pairs.’ She continues by asking us to: ‘Compare the differences in mood, texture, and light. Share your thoughts on how black & white or color processing impacts each photo. Tell us which one you prefer.’

I tend to use colour a lot in my photography, especially in film photography where I’m a big fan of those colour shifting emulsions like Lomochrome Turquoise or Purple. But in my digital work, I’m a little less … picky. 

Often it will depend on the subject. Most of my intentional camera movement (ICM) work is done in colour, I feel that ICM benefits from colour a lot, but the exception is urban ICM, which I think is much better in black and white. Similarly, if I’m out recording some street art then that always deserves colour — even if, or especially if, it’s starting to decay.

Sometimes, though, I set out to make images in black and white, then create colour images from them. There’s nothing I like more than taking an old digicam from the 2000s (the noughties) and testing out the infrared sensitivity of its lovely, lovely CCD sensor. This is often the first thing I do with every new digital camera I get my hands on, and the results can be … interesting. 

For example, here is a black and white infrared image of the steel footbridge over the Parque de Infante Dom Pedro in Aveiro. Taken with a Samsung Digimax U-CA3 digital camera from 2003, the camera has been set to monochrome mode and the image taken through a Hoya 720nm Infrared filter. It’s a typical looking infrared image, with white vegetation, which reflects the infrared wavelengths falling upon it, and dark skies and the metal of the bridge, which do not.

But when you take more monochrome images, using red and green filters, and edit the images as layers in a photo editor, everything changes. Suddenly the vegetation becomes shades of red, the sky becomes a bright blue or turquoise, and the image just pops. This is what I call a digital aerochrome, after the long defunct colour infrared emulsion made by Kodak and based on the procedure devised by Joshua Bird. He developed his method using infrared film, but the same technique applies to digital photography as well.

You can have a lot of fun with a digital camera and a set of filters. Take this infrared image of a landscape with lovely wispy clouds in the sky. It’s an OK infrared image in black and white, with the clouds popping against a dark sky. But make it into a digital aerochrome and suddenly the clouds become a kaleidoscope of colour. This is down to the clouds moving in the sky between the three exposures. When the images are lined up in the photo editor the colours of the filters don’t match and are presented in the image as individual colours.

Of course, it doesn’t always go as planned. Turns out this Konica Q-M100, a 1,3MP digital camera from 1997, can’t actually be set to monochrome mode, and the digital aerochromes were absolutely awful. That said, the regular colour images were quite stunning, but through an infrared filter, all of a sudden the image became almost monochrome in appearance. It looked as though a sepia filter had been applied, and personally I found this much more appealing than the colour image.

Sometimes we can combine two techniques. I thought that it might be a nice idea to try some infrared ICM. The results were less than stellar, though, I’m not sure that I’ve ever seen a more boring infrared image, or ICM image for that matter.

But when you make a digital aerochrome of the infrared woodland image, by taking further ICM images through red and green filters, all of a sudden the ICM becomes much more interesting. I’ve used this technique two or three times, and I really love how it comes out.

So instead of using these noughties digicams for ‘regular’ colour photography, odds are that during the sunny spring and summer months you’ll find me wandering around the woods behind our house or in Aveiro with a noughties digicam set to monochrome mode and my little collection of filters. So if you ask me, do I prefer to use colour or black and white, I can happy say, BOTH!

Next week, Ann-Christine will host the Challenge, so I hope that you can join us then. Themes for the Lens-Artists Challenge are posted each Saturday at 12:00 noon EST (which is 4pm, GMT) and anyone who wants to take part can post their images during the week. If you want to know more about the Challenge, details can be found here, and entries can be found on the WordPress reader using the tag ‘Lens-Artists’.

If you are on Mastodon, you can now follow this blog directly. Just go to Mastodon and follow the ‘Snapshot’ WordPress account at @keithdevereux.wordpress.com. All new posts will be automatically updated to your timeline.

#Aerochrome #Blackandwhite #Challenge #Colour #Infrared #Landscape #LensArtists #Monochrome #Nature #Tree #Trichrome #TrichromeEverything #VintageDigital #LensArtists

Lens-Artists Challenge #335: Exploring Colour vs Black & White

This week, Patti of Creative Exploration in Words and Pictures is hosting the Challenge and she’s asking us to look at our use of colour or black & white in our photography. ‘When is it best to use one vs the other?’ She ponders: ‘What’s the benefit of each one?’

Patti sets us a challenge, ‘to explore the difference and the impact of using color [sic] or black & white photography in your selected photos. … Post pairs of the same image in both color and black & white. Limit the number of images to 3 pairs.’ She continues by asking us to: ‘Compare the differences in mood, texture, and light. Share your thoughts on how black & white or color processing impacts each photo. Tell us which one you prefer.’

I tend to use colour a lot in my photography, especially in film photography where I’m a big fan of those colour shifting emulsions like Lomochrome Turquoise or Purple. But in my digital work, I’m a little less … picky. 

Often it will depend on the subject. Most of my intentional camera movement (ICM) work is done in colour, I feel that ICM benefits from colour a lot, but the exception is urban ICM, which I think is much better in black and white. Similarly, if I’m out recording some street art then that always deserves colour — even if, or especially if, it’s starting to decay.

Sometimes, though, I set out to make images in black and white, then create colour images from them. There’s nothing I like more than taking an old digicam from the 2000s (the noughties) and testing out the infrared sensitivity of its lovely, lovely CCD sensor. This is often the first thing I do with every new digital camera I get my hands on, and the results can be … interesting. 

For example, here is a black and white infrared image of the steel footbridge over the Parque de Infante Dom Pedro in Aveiro. Taken with a Samsung Digimax U-CA3 digital camera from 2003, the camera has been set to monochrome mode and the image taken through a Hoya 720nm Infrared filter. It’s a typical looking infrared image, with white vegetation, which reflects the infrared wavelengths falling upon it, and dark skies and the metal of the bridge, which do not.

But when you take more monochrome images, using red and green filters, and edit the images as layers in a photo editor, everything changes. Suddenly the vegetation becomes shades of red, the sky becomes a bright blue or turquoise, and the image just pops. This is what I call a digital aerochrome, after the long defunct colour infrared emulsion made by Kodak and based on the procedure devised by Joshua Bird. He developed his method using infrared film, but the same technique applies to digital photography as well.

You can have a lot of fun with a digital camera and a set of filters. Take this infrared image of a landscape with lovely wispy clouds in the sky. It’s an OK infrared image in black and white, with the clouds popping against a dark sky. But make it into a digital aerochrome and suddenly the clouds become a kaleidoscope of colour. This is down to the clouds moving in the sky between the three exposures. When the images are lined up in the photo editor the colours of the filters don’t match and are presented in the image as individual colours.

Of course, it doesn’t always go as planned. Turns out this Konica Q-M100, a 1,3MP digital camera from 1997, can’t actually be set to monochrome mode, and the digital aerochromes were absolutely awful. That said, the regular colour images were quite stunning, but through an infrared filter, all of a sudden the image became almost monochrome in appearance. It looked as though a sepia filter had been applied, and personally I found this much more appealing than the colour image.

Sometimes we can combine two techniques. I thought that it might be a nice idea to try some infrared ICM. The results were less than stellar, though, I’m not sure that I’ve ever seen a more boring infrared image, or ICM image for that matter.

But when you make a digital aerochrome of the infrared woodland image, by taking further ICM images through red and green filters, all of a sudden the ICM becomes much more interesting. I’ve used this technique two or three times, and I really love how it comes out.

So instead of using these noughties digicams for ‘regular’ colour photography, odds are that during the sunny spring and summer months you’ll find me wandering around the woods behind our house or in Aveiro with a noughties digicam set to monochrome mode and my little collection of filters. So if you ask me, do I prefer to use colour or black and white, I can happy say, BOTH!

Next week, Ann-Christine will host the Challenge, so I hope that you can join us then. Themes for the Lens-Artists Challenge are posted each Saturday at 12:00 noon EST (which is 4pm, GMT) and anyone who wants to take part can post their images during the week. If you want to know more about the Challenge, details can be found here, and entries can be found on the WordPress reader using the tag ‘Lens-Artists’.

If you are on Mastodon, you can now follow this blog directly. Just go to Mastodon and follow the ‘Snapshot’ WordPress account at @keithdevereux.wordpress.com. All new posts will be automatically updated to your timeline.

#Aerochrome #Blackandwhite #Challenge #Colour #Infrared #Landscape #LensArtists #Monochrome #Nature #Tree #Trichrome #TrichromeEverything #VintageDigital #LensArtists

#ArtAdventCalendar 11, aerochrome landscape, June 2024

#Aerochrome #infrared #photography #fotografie #darktable #SamsungNX

#ArtAdventCalendar 11, aerochrome landscape, June 2024

#Aerochrome #infrared #photography #fotografie #darktable #SamsungNX

#ArtAdventCalendar 11, aerochrome landscape, June 2024

#Aerochrome #infrared #photography #fotografie #darktable #SamsungNX

#ArtAdventCalendar 11, aerochrome landscape, June 2024

#Aerochrome #infrared #photography #fotografie #darktable #SamsungNX

#ArtAdventCalendar 11, aerochrome landscape, June 2024

#Aerochrome #infrared #photography #fotografie #darktable #SamsungNX

Lens-Artists Challenge #326: This Made Me Smile

This week it was the turn of Ann-Christine (Leya) from To See a World in a Grain of Sand … to host the Lens-Artists Challenge, and she chose as her theme, ‘This Made Me Smile‘. In her post she says, ‘So much in this world is rather tough right now, … don’t we all need a smile? Let’s share something that made us smile, … and make the world smile with us!’ 

Well naturally this was a bit of a head-scratcher for me since my images are rarely funny or cute. We don’t have any pets and the kid is all grown up so most of my ‘fun’ images are strange out of focus abstracts, or blurred ICM landscapes. So I thought I would introduce you to one of my favourite pastimes: taking funtographs. What? You might say, don’t you mean photographs? No, definitely funtographs, with emphasis on the fun.

Back in 1998, Nintendo released the Gameboy camera to accompany its hand held gaming console, the Gameboy. The Gameboy Camera is a monochrome camera that records four shades of grey to produce super low resolution funtographs (as Gameboy photographs are known). In today’s terms the Gameboy camera has a whopping 0.014MP.

The Gameboy camera is actually a full spectrum device — the sensor has no infrared cut filter to stop wavelengths outside the visible spectrum from showing on the image — so in full sunlight trees and vegetation come out a strange white (‘strange’ if you’re not familiar with how infrared images look). Indoors, or at night, you don’t have so many issues and images look normal, but during the day using an infrared cut filter stops these extra infrared wavelengths reaching the sensor and the images look much more natural.

Although getting good results from the Gameboy camera can be quite hit-and-miss, it can produce some lovely monochrome funtographs. But with a little work it can also produce some striking trichromes too, and even digital aerochromes using infrared filters. Making infrared trichromes — digital aerochromes that emulate the look of the defunct film Kodak Aerochrome film — is one of my favourite pastimes, and I attempt this with all new cameras, often with mixed success. 

I’ve been the proud owner of a Gameboy console and the Gameboy Camera since January 2023, and it’s my favourite camera of all time. I managed to get my hands on one for the Shitty Camera Challenge #1990sCameraChallenge, and since I’ve had one it’s been hard to put down. I’m also convinced that the Gameboy was the factor that tipped the scales into my becoming Shitty Camera Challenge Champion for the 1990s Camera Challenge, probably the single most important achievement of my whole life. 😉

I hope these few examples of Gameboy funtographs brought a smile to your face, and the next time you are shopping around for a new digital camera perhaps the Gameboy might fit the bill? Themes for the Lens-Artists Challenge are posted each Saturday at 12:00 noon EST (which is 4pm, GMT) and anyone who wants to take part can post their images during the week. If you want to know more about the Challenge, details can be found here, and entries can be found on the WordPress reader using the tag ‘Lens-Artists’.

If you are on Mastodon, you can now follow this blog directly. Just go to Mastodon and follow the ‘Snapshot’ WordPress account at @keithdevereux.wordpress.com. All new posts will be automatically updated to your timeline.

#2Bit #Aerochrome #Challenge #Digicam #Funtography #Gameboy #Infrared #LensArtists #Nintendo #PixelArt #Smile #Trichrome #LensArtists

Lens-Artists Challenge #326: This Made Me Smile

This week it was the turn of Ann-Christine (Leya) from To See a World in a Grain of Sand … to host the Lens-Artists Challenge, and she chose as her theme, ‘This Made Me Smile‘. In her post she says, ‘So much in this world is rather tough right now, … don’t we all need a smile? Let’s share something that made us smile, … and make the world smile with us!’ 

Well naturally this was a bit of a head-scratcher for me since my images are rarely funny or cute. We don’t have any pets and the kid is all grown up so most of my ‘fun’ images are strange out of focus abstracts, or blurred ICM landscapes. So I thought I would introduce you to one of my favourite pastimes: taking funtographs. What? You might say, don’t you mean photographs? No, definitely funtographs, with emphasis on the fun.

Back in 1998, Nintendo released the Gameboy camera to accompany its hand held gaming console, the Gameboy. The Gameboy Camera is a monochrome camera that records four shades of grey to produce super low resolution funtographs (as Gameboy photographs are known). In today’s terms the Gameboy camera has a whopping 0.014MP.

The Gameboy camera is actually a full spectrum device — the sensor has no infrared cut filter to stop wavelengths outside the visible spectrum from showing on the image — so in full sunlight trees and vegetation come out a strange white (‘strange’ if you’re not familiar with how infrared images look). Indoors, or at night, you don’t have so many issues and images look normal, but during the day using an infrared cut filter stops these extra infrared wavelengths reaching the sensor and the images look much more natural.

Although getting good results from the Gameboy camera can be quite hit-and-miss, it can produce some lovely monochrome funtographs. But with a little work it can also produce some striking trichromes too, and even digital aerochromes using infrared filters. Making infrared trichromes — digital aerochromes that emulate the look of the defunct film Kodak Aerochrome film — is one of my favourite pastimes, and I attempt this with all new cameras, often with mixed success. 

I’ve been the proud owner of a Gameboy console and the Gameboy Camera since January 2023, and it’s my favourite camera of all time. I managed to get my hands on one for the Shitty Camera Challenge #1990sCameraChallenge, and since I’ve had one it’s been hard to put down. I’m also convinced that the Gameboy was the factor that tipped the scales into my becoming Shitty Camera Challenge Champion for the 1990s Camera Challenge, probably the single most important achievement of my whole life. 😉

I hope these few examples of Gameboy funtographs brought a smile to your face, and the next time you are shopping around for a new digital camera perhaps the Gameboy might fit the bill? Themes for the Lens-Artists Challenge are posted each Saturday at 12:00 noon EST (which is 4pm, GMT) and anyone who wants to take part can post their images during the week. If you want to know more about the Challenge, details can be found here, and entries can be found on the WordPress reader using the tag ‘Lens-Artists’.

If you are on Mastodon, you can now follow this blog directly. Just go to Mastodon and follow the ‘Snapshot’ WordPress account at @keithdevereux.wordpress.com. All new posts will be automatically updated to your timeline.

#2Bit #Aerochrome #Challenge #Digicam #Funtography #Gameboy #Infrared #LensArtists #Nintendo #PixelArt #Smile #Trichrome #LensArtists

Lens-Artists Challenge #326: This Made Me Smile

This week it was the turn of Ann-Christine (Leya) from To See a World in a Grain of Sand … to host the Lens-Artists Challenge, and she chose as her theme, ‘This Made Me Smile‘. In her post she says, ‘So much in this world is rather tough right now, … don’t we all need a smile? Let’s share something that made us smile, … and make the world smile with us!’ 

Well naturally this was a bit of a head-scratcher for me since my images are rarely funny or cute. We don’t have any pets and the kid is all grown up so most of my ‘fun’ images are strange out of focus abstracts, or blurred ICM landscapes. So I thought I would introduce you to one of my favourite pastimes: taking funtographs. What? You might say, don’t you mean photographs? No, definitely funtographs, with emphasis on the fun.

Back in 1998, Nintendo released the Gameboy camera to accompany its hand held gaming console, the Gameboy. The Gameboy Camera is a monochrome camera that records four shades of grey to produce super low resolution funtographs (as Gameboy photographs are known). In today’s terms the Gameboy camera has a whopping 0.014MP.

The Gameboy camera is actually a full spectrum device — the sensor has no infrared cut filter to stop wavelengths outside the visible spectrum from showing on the image — so in full sunlight trees and vegetation come out a strange white (‘strange’ if you’re not familiar with how infrared images look). Indoors, or at night, you don’t have so many issues and images look normal, but during the day using an infrared cut filter stops these extra infrared wavelengths reaching the sensor and the images look much more natural.

Although getting good results from the Gameboy camera can be quite hit-and-miss, it can produce some lovely monochrome funtographs. But with a little work it can also produce some striking trichromes too, and even digital aerochromes using infrared filters. Making infrared trichromes — digital aerochromes that emulate the look of the defunct film Kodak Aerochrome film — is one of my favourite pastimes, and I attempt this with all new cameras, often with mixed success. 

I’ve been the proud owner of a Gameboy console and the Gameboy Camera since January 2023, and it’s my favourite camera of all time. I managed to get my hands on one for the Shitty Camera Challenge #1990sCameraChallenge, and since I’ve had one it’s been hard to put down. I’m also convinced that the Gameboy was the factor that tipped the scales into my becoming Shitty Camera Challenge Champion for the 1990s Camera Challenge, probably the single most important achievement of my whole life. 😉

I hope these few examples of Gameboy funtographs brought a smile to your face, and the next time you are shopping around for a new digital camera perhaps the Gameboy might fit the bill? Themes for the Lens-Artists Challenge are posted each Saturday at 12:00 noon EST (which is 4pm, GMT) and anyone who wants to take part can post their images during the week. If you want to know more about the Challenge, details can be found here, and entries can be found on the WordPress reader using the tag ‘Lens-Artists’.

If you are on Mastodon, you can now follow this blog directly. Just go to Mastodon and follow the ‘Snapshot’ WordPress account at @keithdevereux.wordpress.com. All new posts will be automatically updated to your timeline.

#2Bit #Aerochrome #Challenge #Digicam #Funtography #Gameboy #Infrared #LensArtists #Nintendo #PixelArt #Smile #Trichrome #LensArtists

Lens-Artists Challenge #326: This Made Me Smile

This week it was the turn of Ann-Christine (Leya) from To See a World in a Grain of Sand … to host the Lens-Artists Challenge, and she chose as her theme, ‘This Made Me Smile‘. In her post she says, ‘So much in this world is rather tough right now, … don’t we all need a smile? Let’s share something that made us smile, … and make the world smile with us!’ 

Well naturally this was a bit of a head-scratcher for me since my images are rarely funny or cute. We don’t have any pets and the kid is all grown up so most of my ‘fun’ images are strange out of focus abstracts, or blurred ICM landscapes. So I thought I would introduce you to one of my favourite pastimes: taking funtographs. What? You might say, don’t you mean photographs? No, definitely funtographs, with emphasis on the fun.

Back in 1998, Nintendo released the Gameboy camera to accompany its hand held gaming console, the Gameboy. The Gameboy Camera is a monochrome camera that records four shades of grey to produce super low resolution funtographs (as Gameboy photographs are known). In today’s terms the Gameboy camera has a whopping 0.014MP.

The Gameboy camera is actually a full spectrum device — the sensor has no infrared cut filter to stop wavelengths outside the visible spectrum from showing on the image — so in full sunlight trees and vegetation come out a strange white (‘strange’ if you’re not familiar with how infrared images look). Indoors, or at night, you don’t have so many issues and images look normal, but during the day using an infrared cut filter stops these extra infrared wavelengths reaching the sensor and the images look much more natural.

Although getting good results from the Gameboy camera can be quite hit-and-miss, it can produce some lovely monochrome funtographs. But with a little work it can also produce some striking trichromes too, and even digital aerochromes using infrared filters. Making infrared trichromes — digital aerochromes that emulate the look of the defunct film Kodak Aerochrome film — is one of my favourite pastimes, and I attempt this with all new cameras, often with mixed success. 

I’ve been the proud owner of a Gameboy console and the Gameboy Camera since January 2023, and it’s my favourite camera of all time. I managed to get my hands on one for the Shitty Camera Challenge #1990sCameraChallenge, and since I’ve had one it’s been hard to put down. I’m also convinced that the Gameboy was the factor that tipped the scales into my becoming Shitty Camera Challenge Champion for the 1990s Camera Challenge, probably the single most important achievement of my whole life. 😉

I hope these few examples of Gameboy funtographs brought a smile to your face, and the next time you are shopping around for a new digital camera perhaps the Gameboy might fit the bill? Themes for the Lens-Artists Challenge are posted each Saturday at 12:00 noon EST (which is 4pm, GMT) and anyone who wants to take part can post their images during the week. If you want to know more about the Challenge, details can be found here, and entries can be found on the WordPress reader using the tag ‘Lens-Artists’.

If you are on Mastodon, you can now follow this blog directly. Just go to Mastodon and follow the ‘Snapshot’ WordPress account at @keithdevereux.wordpress.com. All new posts will be automatically updated to your timeline.

#2Bit #Aerochrome #Challenge #Digicam #Funtography #Gameboy #Infrared #LensArtists #Nintendo #PixelArt #Smile #Trichrome #LensArtists

Lens-Artists Challenge #326: This Made Me Smile

This week it was the turn of Ann-Christine (Leya) from To See a World in a Grain of Sand … to host the Lens-Artists Challenge, and she chose as her theme, ‘This Made Me Smile‘. In her post she says, ‘So much in this world is rather tough right now, … don’t we all need a smile? Let’s share something that made us smile, … and make the world smile with us!’ 

Well naturally this was a bit of a head-scratcher for me since my images are rarely funny or cute. We don’t have any pets and the kid is all grown up so most of my ‘fun’ images are strange out of focus abstracts, or blurred ICM landscapes. So I thought I would introduce you to one of my favourite pastimes: taking funtographs. What? You might say, don’t you mean photographs? No, definitely funtographs, with emphasis on the fun.

Back in 1998, Nintendo released the Gameboy camera to accompany its hand held gaming console, the Gameboy. The Gameboy Camera is a monochrome camera that records four shades of grey to produce super low resolution funtographs (as Gameboy photographs are known). In today’s terms the Gameboy camera has a whopping 0.014MP.

The Gameboy camera is actually a full spectrum device — the sensor has no infrared cut filter to stop wavelengths outside the visible spectrum from showing on the image — so in full sunlight trees and vegetation come out a strange white (‘strange’ if you’re not familiar with how infrared images look). Indoors, or at night, you don’t have so many issues and images look normal, but during the day using an infrared cut filter stops these extra infrared wavelengths reaching the sensor and the images look much more natural.

Although getting good results from the Gameboy camera can be quite hit-and-miss, it can produce some lovely monochrome funtographs. But with a little work it can also produce some striking trichromes too, and even digital aerochromes using infrared filters. Making infrared trichromes — digital aerochromes that emulate the look of the defunct film Kodak Aerochrome film — is one of my favourite pastimes, and I attempt this with all new cameras, often with mixed success. 

I’ve been the proud owner of a Gameboy console and the Gameboy Camera since January 2023, and it’s my favourite camera of all time. I managed to get my hands on one for the Shitty Camera Challenge #1990sCameraChallenge, and since I’ve had one it’s been hard to put down. I’m also convinced that the Gameboy was the factor that tipped the scales into my becoming Shitty Camera Challenge Champion for the 1990s Camera Challenge, probably the single most important achievement of my whole life. 😉

I hope these few examples of Gameboy funtographs brought a smile to your face, and the next time you are shopping around for a new digital camera perhaps the Gameboy might fit the bill? Themes for the Lens-Artists Challenge are posted each Saturday at 12:00 noon EST (which is 4pm, GMT) and anyone who wants to take part can post their images during the week. If you want to know more about the Challenge, details can be found here, and entries can be found on the WordPress reader using the tag ‘Lens-Artists’.

If you are on Mastodon, you can now follow this blog directly. Just go to Mastodon and follow the ‘Snapshot’ WordPress account at @keithdevereux.wordpress.com. All new posts will be automatically updated to your timeline.

#2Bit #Aerochrome #Challenge #Digicam #Funtography #Gameboy #Infrared #LensArtists #Nintendo #PixelArt #Smile #Trichrome #LensArtists

The Kodak Easyshare Z710, a 7MP noughties digicam

It’s been a while since I picked up a ‘generic’ camera from the CEX website, but last week they were advertising a ‘generic 7MP camera’ for 4€. I like these as you are never quite sure what you are going to get and for a few Euros the outlay is minimal. This time it turned out to be a Kodak Easyshare Z710 digicam from 2006. 

The Kodak Easyshare Z710 is a general point and shoot camera with a 7.1MP CCD sensor and a 38-380mm zoom lens. This 10x zoom was one of its selling points at the time, alongside the Easyshare brand, which meant you could share images straight to a computer with either the USB connection or an optional docking station. The camera has 32MB of internal memory, enough for about 10 images, and although there is a slot for an SD cards use was described as ‘optional’. Fortunately the camera will read my 2GB SD cards so downloading images is not a problem. 

As usual,with all new cameras I took the Z710 across the road to test it with my favourite tree and well. The colour images were competent enough, nothing special, but let’s face it, this is a basic point and shoot camera. Then I brought out the colour filters to make a trichrome and the 720nm infrared filter to see what the infrared response was like.

I took one colour photograph with the infrared filter and then set the camera to black and white so that I could make some trichromes. It was a bit fiddly to find tge right options in the menu, but I took photographs with red, green, blue and the 720nm Infrared filter. Back home I loaded the images into GuIMP and using the infrared, red, and green filtered images (for red, green and blue layers, respectively) made a digital aerodrome.

I also took the colour infrared image and channel swapped the red and blue channels. Often this can be ‘hit-or-miss’ but this time the channel-swapped photograph came out really well. Mind you, the infrared photographs were full of noise.

On the whole I was really happy with how this camera performed, especially on the tree, where the afternoon autumn sun was behind me. With the shed in the field the sun was to one side, so the light was not ideal, but the aerochrome and channel swapped infrared image came out well. I don’t think this is a special camera, by any stretch, but for €, what’s not to like?

If you are on Mastodon, you can now follow this blog directly. Just go to Mastodon and follow the ‘Snapshot’ WordPress account at @keithdevereux.wordpress.com. All new posts will be automatically updated to your timeline.

#Aerochrome #Digicam #Digitalcamera #Kodak #Photography #Retro #Shittycamerachallenge #Shittydigital #TrichromeEverything #Vintage

The Kodak Easyshare Z710, a 7MP noughties digicam

It’s been a while since I picked up a ‘generic’ camera from the CEX website, but last week they were advertising a ‘generic 7MP camera’ for 4€. I like these as you are never quite sure what you are going to get and for a few Euros the outlay is minimal. This time it turned out to be a Kodak Easyshare Z710 digicam from 2006. 

The Kodak Easyshare Z710 is a general point and shoot camera with a 7.1MP CCD sensor and a 38-380mm zoom lens. This 10x zoom was one of its selling points at the time, alongside the Easyshare brand, which meant you could share images straight to a computer with either the USB connection or an optional docking station. The camera has 32MB of internal memory, enough for about 10 images, and although there is a slot for an SD cards use was described as ‘optional’. Fortunately the camera will read my 2GB SD cards so downloading images is not a problem. 

As usual,with all new cameras I took the Z710 across the road to test it with my favourite tree and well. The colour images were competent enough, nothing special, but let’s face it, this is a basic point and shoot camera. Then I brought out the colour filters to make a trichrome and the 720nm infrared filter to see what the infrared response was like.

I took one colour photograph with the infrared filter and then set the camera to black and white so that I could make some trichromes. It was a bit fiddly to find tge right options in the menu, but I took photographs with red, green, blue and the 720nm Infrared filter. Back home I loaded the images into GuIMP and using the infrared, red, and green filtered images (for red, green and blue layers, respectively) made a digital aerodrome.

I also took the colour infrared image and channel swapped the red and blue channels. Often this can be ‘hit-or-miss’ but this time the channel-swapped photograph came out really well. Mind you, the infrared photographs were full of noise.

On the whole I was really happy with how this camera performed, especially on the tree, where the afternoon autumn sun was behind me. With the shed in the field the sun was to one side, so the light was not ideal, but the aerochrome and channel swapped infrared image came out well. I don’t think this is a special camera, by any stretch, but for €, what’s not to like?

If you are on Mastodon, you can now follow this blog directly. Just go to Mastodon and follow the ‘Snapshot’ WordPress account at @keithdevereux.wordpress.com. All new posts will be automatically updated to your timeline.

#Aerochrome #Digicam #Digitalcamera #Kodak #Photography #Retro #Shittycamerachallenge #Shittydigital #TrichromeEverything #Vintage

The Kodak Easyshare Z710, a 7MP noughties digicam

It’s been a while since I picked up a ‘generic’ camera from the CEX website, but last week they were advertising a ‘generic 7MP camera’ for 4€. I like these as you are never quite sure what you are going to get and for a few Euros the outlay is minimal. This time it turned out to be a Kodak Easyshare Z710 digicam from 2006. 

The Kodak Easyshare Z710 is a general point and shoot camera with a 7.1MP CCD sensor and a 38-380mm zoom lens. This 10x zoom was one of its selling points at the time, alongside the Easyshare brand, which meant you could share images straight to a computer with either the USB connection or an optional docking station. The camera has 32MB of internal memory, enough for about 10 images, and although there is a slot for an SD cards use was described as ‘optional’. Fortunately the camera will read my 2GB SD cards so downloading images is not a problem. 

As usual,with all new cameras I took the Z710 across the road to test it with my favourite tree and well. The colour images were competent enough, nothing special, but let’s face it, this is a basic point and shoot camera. Then I brought out the colour filters to make a trichrome and the 720nm infrared filter to see what the infrared response was like.

I took one colour photograph with the infrared filter and then set the camera to black and white so that I could make some trichromes. It was a bit fiddly to find tge right options in the menu, but I took photographs with red, green, blue and the 720nm Infrared filter. Back home I loaded the images into GuIMP and using the infrared, red, and green filtered images (for red, green and blue layers, respectively) made a digital aerodrome.

I also took the colour infrared image and channel swapped the red and blue channels. Often this can be ‘hit-or-miss’ but this time the channel-swapped photograph came out really well. Mind you, the infrared photographs were full of noise.

On the whole I was really happy with how this camera performed, especially on the tree, where the afternoon autumn sun was behind me. With the shed in the field the sun was to one side, so the light was not ideal, but the aerochrome and channel swapped infrared image came out well. I don’t think this is a special camera, by any stretch, but for €, what’s not to like?

If you are on Mastodon, you can now follow this blog directly. Just go to Mastodon and follow the ‘Snapshot’ WordPress account at @keithdevereux.wordpress.com. All new posts will be automatically updated to your timeline.

#Aerochrome #Digicam #Digitalcamera #Kodak #Photography #Retro #Shittycamerachallenge #Shittydigital #TrichromeEverything #Vintage

The Kodak Easyshare Z710, a 7MP noughties digicam

It’s been a while since I picked up a ‘generic’ camera from the CEX website, but last week they were advertising a ‘generic 7MP camera’ for 4€. I like these as you are never quite sure what you are going to get and for a few Euros the outlay is minimal. This time it turned out to be a Kodak Easyshare Z710 digicam from 2006. 

The Kodak Easyshare Z710 is a general point and shoot camera with a 7.1MP CCD sensor and a 38-380mm zoom lens. This 10x zoom was one of its selling points at the time, alongside the Easyshare brand, which meant you could share images straight to a computer with either the USB connection or an optional docking station. The camera has 32MB of internal memory, enough for about 10 images, and although there is a slot for an SD cards use was described as ‘optional’. Fortunately the camera will read my 2GB SD cards so downloading images is not a problem. 

As usual,with all new cameras I took the Z710 across the road to test it with my favourite tree and well. The colour images were competent enough, nothing special, but let’s face it, this is a basic point and shoot camera. Then I brought out the colour filters to make a trichrome and the 720nm infrared filter to see what the infrared response was like.

I took one colour photograph with the infrared filter and then set the camera to black and white so that I could make some trichromes. It was a bit fiddly to find tge right options in the menu, but I took photographs with red, green, blue and the 720nm Infrared filter. Back home I loaded the images into GuIMP and using the infrared, red, and green filtered images (for red, green and blue layers, respectively) made a digital aerodrome.

I also took the colour infrared image and channel swapped the red and blue channels. Often this can be ‘hit-or-miss’ but this time the channel-swapped photograph came out really well. Mind you, the infrared photographs were full of noise.

On the whole I was really happy with how this camera performed, especially on the tree, where the afternoon autumn sun was behind me. With the shed in the field the sun was to one side, so the light was not ideal, but the aerochrome and channel swapped infrared image came out well. I don’t think this is a special camera, by any stretch, but for €, what’s not to like?

If you are on Mastodon, you can now follow this blog directly. Just go to Mastodon and follow the ‘Snapshot’ WordPress account at @keithdevereux.wordpress.com. All new posts will be automatically updated to your timeline.

#Aerochrome #Digicam #Digitalcamera #Kodak #Photography #Retro #Shittycamerachallenge #Shittydigital #TrichromeEverything #Vintage

The Kodak Easyshare Z710, a 7MP noughties digicam

It’s been a while since I picked up a ‘generic’ camera from the CEX website, but last week they were advertising a ‘generic 7MP camera’ for 4€. I like these as you are never quite sure what you are going to get and for a few Euros the outlay is minimal. This time it turned out to be a Kodak Easyshare Z710 digicam from 2006. 

The Kodak Easyshare Z710 is a general point and shoot camera with a 7.1MP CCD sensor and a 38-380mm zoom lens. This 10x zoom was one of its selling points at the time, alongside the Easyshare brand, which meant you could share images straight to a computer with either the USB connection or an optional docking station. The camera has 32MB of internal memory, enough for about 10 images, and although there is a slot for an SD cards use was described as ‘optional’. Fortunately the camera will read my 2GB SD cards so downloading images is not a problem. 

As usual,with all new cameras I took the Z710 across the road to test it with my favourite tree and well. The colour images were competent enough, nothing special, but let’s face it, this is a basic point and shoot camera. Then I brought out the colour filters to make a trichrome and the 720nm infrared filter to see what the infrared response was like.

I took one colour photograph with the infrared filter and then set the camera to black and white so that I could make some trichromes. It was a bit fiddly to find tge right options in the menu, but I took photographs with red, green, blue and the 720nm Infrared filter. Back home I loaded the images into GuIMP and using the infrared, red, and green filtered images (for red, green and blue layers, respectively) made a digital aerodrome.

I also took the colour infrared image and channel swapped the red and blue channels. Often this can be ‘hit-or-miss’ but this time the channel-swapped photograph came out really well. Mind you, the infrared photographs were full of noise.

On the whole I was really happy with how this camera performed, especially on the tree, where the afternoon autumn sun was behind me. With the shed in the field the sun was to one side, so the light was not ideal, but the aerochrome and channel swapped infrared image came out well. I don’t think this is a special camera, by any stretch, but for €, what’s not to like?

If you are on Mastodon, you can now follow this blog directly. Just go to Mastodon and follow the ‘Snapshot’ WordPress account at @keithdevereux.wordpress.com. All new posts will be automatically updated to your timeline.

#Aerochrome #Digicam #Digitalcamera #Kodak #Photography #Retro #Shittycamerachallenge #Shittydigital #TrichromeEverything #Vintage

"walking on air"

6x6 shot on #kodachromeeir #aerochrome with a #holga #kodakaerochrome

"walking on air"

6x6 shot on #kodachromeeir #aerochrome with a #holga #kodakaerochrome

"walking on air"

6x6 shot on #kodachromeeir #aerochrome with a #holga #kodakaerochrome

"walking on air"

6x6 shot on #kodachromeeir #aerochrome with a #holga #kodakaerochrome

"walking on air"

6x6 shot on #kodachromeeir #aerochrome with a #holga #kodakaerochrome

"church"

shot on #DodakEIR #aerochrome color #infrared film.

with a Holga... for fucks sake, so the lights leaks on the left are from that

"church"

shot on #DodakEIR #aerochrome color #infrared film.

with a Holga... for fucks sake, so the lights leaks on the left are from that

"church"

shot on #DodakEIR #aerochrome color #infrared film.

with a Holga... for fucks sake, so the lights leaks on the left are from that

"church"

shot on #DodakEIR #aerochrome color #infrared film.

with a Holga... for fucks sake, so the lights leaks on the left are from that

"church"

shot on #DodakEIR #aerochrome color #infrared film.

with a Holga... for fucks sake, so the lights leaks on the left are from that

shot on #KodadEIR #Aerochrome #infrared film with #mamiyarb67pros

shot on #KodadEIR #Aerochrome #infrared film with #mamiyarb67pros

shot on #KodadEIR #Aerochrome #infrared film with #mamiyarb67pros

shot on #KodadEIR #Aerochrome #infrared film with #mamiyarb67pros

shot on #KodadEIR #Aerochrome #infrared film with #mamiyarb67pros

Last week I took the Powershot G12 and colour filters into the cornfields before they were all cut down
#IntentionalCameraMovement, #ICM, #Digicam, #Landscape, #DigitalCamera, #Abstract, #TrichromeEverything, #Aerochrome,

Last week I took the Powershot G12 and colour filters into the cornfields before they were all cut down
#IntentionalCameraMovement, #ICM, #Digicam, #Landscape, #DigitalCamera, #Abstract, #TrichromeEverything, #Aerochrome,

Last week I took the Powershot G12 and colour filters into the cornfields before they were all cut down
#IntentionalCameraMovement, #ICM, #Digicam, #Landscape, #DigitalCamera, #Abstract, #TrichromeEverything, #Aerochrome,

Last week I took the Powershot G12 and colour filters into the cornfields before they were all cut down
#IntentionalCameraMovement, #ICM, #Digicam, #Landscape, #DigitalCamera, #Abstract, #TrichromeEverything, #Aerochrome,

Last week I took the Powershot G12 and colour filters into the cornfields before they were all cut down
#IntentionalCameraMovement, #ICM, #Digicam, #Landscape, #DigitalCamera, #Abstract, #TrichromeEverything, #Aerochrome,